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"content": "\u003cp>“I can make you legit.”\u003c/p>\n\u003cp>That’s the promise Jerry Heller, a veteran rock manager, makes to Eric “Eazy-E” Wright in an early scene in \u003cem>Straight Outta Compton\u003c/em>, a mostly exhilarating biopic about L.A. hip-hop legends N.W.A. The phrase missing from the end of that first sentence is “…with the white people who hold all the power in the music industry.” It doesn’t need to be said. Even with talents as electric as Andre Young and O’Shea Jackson — future icons we’d come to know as Dr. Dre and Ice Cube, respectively — N.W.A. cannot cross over to the mainstream without getting past white gatekeepers. And if that means signing on with a backroom operator like Heller, the trade-off seems reasonable to five young men looking for a way out of the ghetto. 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"content": "\u003cp>For the dozen or two regulars at The Salt Well in the San Fernando Valley, watching the house band is like stepping into a musical time machine, where everyone has aged but the song remains the same. By any standard, Ricki and the Flash rates as a better-than-average bar band, fronted by Ricki Randazzo—a stage name that now almost poignantly reflects a long-forgotten dream of rock superstardom. They perform serviceable covers of Tom Petty and U2, and, with some reluctance, bust out the occasional song from the last few years to get the handful of under-40 people in the crowd on the dance floor. The lead guitarist has a thing for Ricki, but it mostly manifests itself as banter on stage and a casual romp on lonely nights, so long as it doesn’t get serious. Playing at The Salt Well isn’t a springboard to anything, but the last stop on the tour, a pleasant venue for a band slipping into obsolescence.\u003c/p>\n\u003cp>Written by Diablo Cody and directed by Jonathan Demme, \u003cem>Ricki and the Flash\u003c/em> could be called \u003cem>Ragged Glory\u003c/em> if Neil Young, Demme’s friend and frequent collaborator, hadn’t already taken the title for himself. In front of fossilized barflies, Ricki can get away with her black-leather wardrobe, her side braids and raccoon eyeliner, and her assortment of regrettable tattoos and tacky costume jewelry. But in the harsh light of day, she’s just an odd-looking supermarket cashier named Linda Brummell, collecting $450 a week while a supervisor half her age asks her to smile more. As played by Meryl Streep, who can now add “play guitar” to the long list of things she can do as an actress, Ricki lives every day with the consequences of a choice she made long ago. She wanted to be a Chrissie Hynde. It didn’t work out for her.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=x8PVK6Hky2A\u003c/p>\n\u003cp>The film \u003cem>Ricki and the Flash\u003c/em> looks like poor Linda Brummell inside a multiplex still humming with superhero movies, remakes, and remakes of superhero movies, but it also possesses her abundance of personality and soul. Against the machine-tooled blockbusters of summer, Demme’s film stands out for its modesty of scale and its abiding interest in the untidy business of being human. To put it in rock terms, Demme and Cody don’t care about putting on the perfect show; they care about putting on a \u003cem>great\u003c/em> show, which can accommodate some looseness in the set.\u003c/p>\n\u003cp>Shortly after establishing the sad parameters of Ricki’s life, which currently teeters on financial bankruptcy, the film whisks her away to Indianapolis, where her grown daughter, Julie (played by Streep’s own talented child, Mamie Gummer) is reeling from a sudden divorce. Since leaving her own husband Pete (Kevin Kline) to pursue her musical ambitions, Ricki has been a woefully inconsistent presence in the lives of Julie and her two sons, Adam (Nick Westrate) and Josh (Sebastian Stan), who have long since taken to calling Pete’s current wife (Audra McDonald) their mother. She looks out of place among the snobs in Pete’s gated community and she scarcely does better with Julie and her other children, who use the opportunity to hammer her for past and present wrongs. Meanwhile, back in California, her guitarist Greg (Rick Springfield) seeks the type of deep commitment that she’s been historically reluctant to give.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Ricki and the Flash\u003c/em> doesn’t behave like an ordinary musical drama, in that it’s willing to abandon the music for the entire second act (and then some) to allow Ricki to work out the tension with her family. Their grievances with her are absolutely legitimate, as are the reasons she’s become estranged from them: poverty, geographical distance, another woman assuming her role. Typical of many Demme films, there are no villains here, just the natural conflict between fundamentally decent people whose choices have put them at odds with one another.\u003c/p>\n\u003cp>Cody’s script has the funny, feminist kick expected of the writer behind \u003cem>Juno\u003c/em> and \u003cem>Young Adult\u003c/em>, but like Charlize Theron in \u003cem>Young Adult\u003c/em>, Ricki’s attempt to cling to her rebellious past carries a devastating cost. She’s both resilient for keeping the dream alive and a sad relic of another era, and Cody and Demme present her as the hot mess she is. Streep plays Ricki as lovably oblivious, but also wry and caring when the occasion calls for it, and earnest in her desire for some sliver of redemption.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ricki and the Flash \u003c/em>favors conventional dramatic payoffs, but at least they’re hard-won, with Ricki fighting her way through class differences, ugly family history, and humiliation to find her place. Demme’s humanity and optimism has been a hallmark of his work from \u003cem>Melvin and Howard\u003c/em> to \u003cem>Rachel Getting Married\u003c/em>. A warmth radiates through \u003cem>Ricki and the Flash \u003c/em>like a song sung true. A film that adores its characters this much is sure to be adored in kind.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For the dozen or two regulars at The Salt Well in the San Fernando Valley, watching the house band is like stepping into a musical time machine, where everyone has aged but the song remains the same. By any standard, Ricki and the Flash rates as a better-than-average bar band, fronted by Ricki Randazzo—a stage name that now almost poignantly reflects a long-forgotten dream of rock superstardom. They perform serviceable covers of Tom Petty and U2, and, with some reluctance, bust out the occasional song from the last few years to get the handful of under-40 people in the crowd on the dance floor. The lead guitarist has a thing for Ricki, but it mostly manifests itself as banter on stage and a casual romp on lonely nights, so long as it doesn’t get serious. Playing at The Salt Well isn’t a springboard to anything, but the last stop on the tour, a pleasant venue for a band slipping into obsolescence.\u003c/p>\n\u003cp>Written by Diablo Cody and directed by Jonathan Demme, \u003cem>Ricki and the Flash\u003c/em> could be called \u003cem>Ragged Glory\u003c/em> if Neil Young, Demme’s friend and frequent collaborator, hadn’t already taken the title for himself. In front of fossilized barflies, Ricki can get away with her black-leather wardrobe, her side braids and raccoon eyeliner, and her assortment of regrettable tattoos and tacky costume jewelry. But in the harsh light of day, she’s just an odd-looking supermarket cashier named Linda Brummell, collecting $450 a week while a supervisor half her age asks her to smile more. As played by Meryl Streep, who can now add “play guitar” to the long list of things she can do as an actress, Ricki lives every day with the consequences of a choice she made long ago. She wanted to be a Chrissie Hynde. It didn’t work out for her.\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/x8PVK6Hky2A'\n title='//www.youtube.com/embed/x8PVK6Hky2A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film \u003cem>Ricki and the Flash\u003c/em> looks like poor Linda Brummell inside a multiplex still humming with superhero movies, remakes, and remakes of superhero movies, but it also possesses her abundance of personality and soul. Against the machine-tooled blockbusters of summer, Demme’s film stands out for its modesty of scale and its abiding interest in the untidy business of being human. To put it in rock terms, Demme and Cody don’t care about putting on the perfect show; they care about putting on a \u003cem>great\u003c/em> show, which can accommodate some looseness in the set.\u003c/p>\n\u003cp>Shortly after establishing the sad parameters of Ricki’s life, which currently teeters on financial bankruptcy, the film whisks her away to Indianapolis, where her grown daughter, Julie (played by Streep’s own talented child, Mamie Gummer) is reeling from a sudden divorce. Since leaving her own husband Pete (Kevin Kline) to pursue her musical ambitions, Ricki has been a woefully inconsistent presence in the lives of Julie and her two sons, Adam (Nick Westrate) and Josh (Sebastian Stan), who have long since taken to calling Pete’s current wife (Audra McDonald) their mother. She looks out of place among the snobs in Pete’s gated community and she scarcely does better with Julie and her other children, who use the opportunity to hammer her for past and present wrongs. Meanwhile, back in California, her guitarist Greg (Rick Springfield) seeks the type of deep commitment that she’s been historically reluctant to give.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ricki and the Flash\u003c/em> doesn’t behave like an ordinary musical drama, in that it’s willing to abandon the music for the entire second act (and then some) to allow Ricki to work out the tension with her family. Their grievances with her are absolutely legitimate, as are the reasons she’s become estranged from them: poverty, geographical distance, another woman assuming her role. Typical of many Demme films, there are no villains here, just the natural conflict between fundamentally decent people whose choices have put them at odds with one another.\u003c/p>\n\u003cp>Cody’s script has the funny, feminist kick expected of the writer behind \u003cem>Juno\u003c/em> and \u003cem>Young Adult\u003c/em>, but like Charlize Theron in \u003cem>Young Adult\u003c/em>, Ricki’s attempt to cling to her rebellious past carries a devastating cost. She’s both resilient for keeping the dream alive and a sad relic of another era, and Cody and Demme present her as the hot mess she is. Streep plays Ricki as lovably oblivious, but also wry and caring when the occasion calls for it, and earnest in her desire for some sliver of redemption.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ricki and the Flash \u003c/em>favors conventional dramatic payoffs, but at least they’re hard-won, with Ricki fighting her way through class differences, ugly family history, and humiliation to find her place. Demme’s humanity and optimism has been a hallmark of his work from \u003cem>Melvin and Howard\u003c/em> to \u003cem>Rachel Getting Married\u003c/em>. A warmth radiates through \u003cem>Ricki and the Flash \u003c/em>like a song sung true. A film that adores its characters this much is sure to be adored in kind.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>As part of a series called\u003c/em> \u003ca href=\"http://www.npr.org/series/274340198/my-big-break\" target=\"_blank\" rel=\"noopener\">My Big Break\u003c/a>\u003cem>, \u003c/em>All Things Considered\u003cem> is collecting stories of triumph, big and small. These are the moments when everything seems to click, and people leap forward into their careers\u003c/em>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Reggie Watts is a one-man show. He beatboxes, imitates and impersonates with incredible accuracy — and, equipped with just a keyboard, looping pedals and a microphone, he crafts one-of-a-kind musical pieces.\u003c/p>\n\u003cp>Watts calls his style of entertainment “disinformationist.” He disorients his audience, sometimes talking nonsense and switching seamlessly between accents — all improvised on the spot.\u003c/p>\n\u003cp>“When I get on stage, I really just like to listen to what’s happening in the moment,” Watts says. “And because I’ve been doing it long enough, I definitely have structures that I can lean on. I know that I can make a beat. And if I make a beat, then I can create a bass line. One thing inspires the next thing, I really just wait until I’m on stage to be inspired to do whatever it is I’m doing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=BdHK_r9RXTc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watts says a couple of his childhood heroes helped him find his many voices. It all started back when he was a kid watching \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“I can remember Victor Borge being a guest on \u003cem>Sesame Street\u003c/em> and Victor Borge being this legendary musical comedian,” Watts says. “He was a virtuosic piano player and he would do these popping sounds with his mouth.”\u003c/p>\n\u003cp>Watts says he was transfixed to the television.\u003c/p>\n\u003cp>“I would see him perform — playing piano, a brainiac of a musician, but using it to an absurd scale,” he says.\u003c/p>\n\u003cp>Then there was the 1984 film \u003cem>Police Academy\u003c/em>, featuring Michael Winslow, the so-called “Man of 10,000 Sound Effects.”\u003c/p>\n\u003cp>“I heard the human voice as capable of imitating machines and other people’s voices and accents and also music — and that’s really where it all came from,” he says. “And I would practice incessantly, as I still do … It’s mostly just me walking around, making noises, oftentimes annoying other people.”\u003c/p>\n\u003cp>For Watts, he says his big break is all thanks to comedian Conan O’Brien.\u003c/p>\n\u003cp>He got an unexpected call from his manager, saying O’Brien wanted him to be the opening act for his 2010 \u003cem>Legally Prohibited From Being Funny on Television Tour. \u003c/em>\u003c/p>\n\u003cp>Watts says he was shocked that O’Brien knew who he was.\u003c/p>\n\u003cp>“I was just like, ‘What? Why?’ ” Watts says. “But I remember running into Conan for the first time, he came into my dressing room and he was like, the sweetest guy … Things changed from that point on.”\u003c/p>\n\u003cp>Watts is now the band leader of \u003cem>The Late, Late Show\u003c/em> \u003cem>with James Cordon\u003c/em> on CBS.\u003c/p>\n\u003cp>He’s mastered his craft of disinformationist entertainment. Yet he still thinks back to his childhood days, growing up as an only child and making up voices for his action figures to pass the time.\u003c/p>\n\u003cp>He says not that much has changed.\u003c/p>\n\u003cp>“It’s still me just screwing around, having a fun, super-imaginative time,” he says. “Really the only thing you have to do is just have a good time and engage with people and don’t be a jerk. That’s it.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=428415046&mediaId=428432071\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Reggie+Watts%2C+Man+Of+Many+Voices%2C+Improvised+His+Way+To+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Watts says a couple of his childhood heroes helped him find his many voices. It all started back when he was a kid watching \u003cem>Sesame Street\u003c/em>.\u003c/p>\n\u003cp>“I can remember Victor Borge being a guest on \u003cem>Sesame Street\u003c/em> and Victor Borge being this legendary musical comedian,” Watts says. “He was a virtuosic piano player and he would do these popping sounds with his mouth.”\u003c/p>\n\u003cp>Watts says he was transfixed to the television.\u003c/p>\n\u003cp>“I would see him perform — playing piano, a brainiac of a musician, but using it to an absurd scale,” he says.\u003c/p>\n\u003cp>Then there was the 1984 film \u003cem>Police Academy\u003c/em>, featuring Michael Winslow, the so-called “Man of 10,000 Sound Effects.”\u003c/p>\n\u003cp>“I heard the human voice as capable of imitating machines and other people’s voices and accents and also music — and that’s really where it all came from,” he says. “And I would practice incessantly, as I still do … It’s mostly just me walking around, making noises, oftentimes annoying other people.”\u003c/p>\n\u003cp>For Watts, he says his big break is all thanks to comedian Conan O’Brien.\u003c/p>\n\u003cp>He got an unexpected call from his manager, saying O’Brien wanted him to be the opening act for his 2010 \u003cem>Legally Prohibited From Being Funny on Television Tour. \u003c/em>\u003c/p>\n\u003cp>Watts says he was shocked that O’Brien knew who he was.\u003c/p>\n\u003cp>“I was just like, ‘What? Why?’ ” Watts says. “But I remember running into Conan for the first time, he came into my dressing room and he was like, the sweetest guy … Things changed from that point on.”\u003c/p>\n\u003cp>Watts is now the band leader of \u003cem>The Late, Late Show\u003c/em> \u003cem>with James Cordon\u003c/em> on CBS.\u003c/p>\n\u003cp>He’s mastered his craft of disinformationist entertainment. Yet he still thinks back to his childhood days, growing up as an only child and making up voices for his action figures to pass the time.\u003c/p>\n\u003cp>He says not that much has changed.\u003c/p>\n\u003cp>“It’s still me just screwing around, having a fun, super-imaginative time,” he says. “Really the only thing you have to do is just have a good time and engage with people and don’t be a jerk. That’s it.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" width=\"600\" height=\"338\" src=\"http://www.npr.org/templates/event/embeddedVideo.php?storyId=428415046&mediaId=428432071\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Reggie+Watts%2C+Man+Of+Many+Voices%2C+Improvised+His+Way+To+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Late in a series of bruising televised debates on ABC tied to the momentous Republican and Democratic Conventions of 1968, Gore Vidal beamed one of his supercilious side-eyes at William F. Buckley Jr. and called him a “crypto-fascist.” Buckley bared his teeth, branded Vidal a “queer” and threatened to rearrange his face.\u003c/p>\n\u003cp>You may be wondering why upper-crust privilege failed to inhibit a couple of brilliant intellectuals from carrying on like 8-year-olds in the schoolyard. More likely, you’re unfazed because trading insults in public is commonplace these days. That, in part, is the point of \u003cem>Best of Enemies\u003c/em>, an ambitious documentary that frames the faceoff between these two massively entitled egos as a milestone in the intertwined histories of television, politics and culture. When their habitual repartee — a barbed counterpoint to the politely “balanced” musings of NBC’s nightly newscast, \u003cem>The Huntley-Brinkley Report \u003c/em>— tipped over into pure vitriol, filmmakers Morgan Neville and Robert Gordon argue, it set the stage for the media wars of today.\u003c/p>\n\u003cp>That may be a reach, if only because television punditry remains pretty anodyne in the 21st century, while few, if any of today’s radio shock jocks and Internet screamers can be compared to Buckley or Vidal. Genuine public intellectuals are an endangered species these days, and may indeed have become extinct with the recent death of Christopher Hitchens, who appears posthumously in the film as one of many amused and bemused witnesses to the Vidal-Buckley feud.\u003c/p>\n\u003cp>Equal parts brash entertainment and cultural alarm bell, \u003cem>Best of Enemies\u003c/em> bowls along smartly, with clips from the tapes spiced with intelligently snarky asides from friends and adversaries of the two men, and spliced with archival footage of the tumultuous times they addressed. Trailing badly in the ratings, ABC went out on a limb and paired up two pundits from opposite ends of the political spectrum, who could speak to the swelling conflicts of race, class and gender at home, and American imperialism abroad, without reducing them to pap.\u003c/p>\n\u003cp>As living-room wars go, theirs was without parallel. On the face of it the two men were as irreconcilably different as they could be. Buckley was a devout Catholic traditionalist who founded the modern conservative movement and palled around with Ronald Reagan. Vidal was an acclaimed writer of historical novels, a liberal and a champion of sexual freedom whose satirical novel, \u003cem>Myra Breckinridge\u003c/em>, was made into a magnificently terrible movie with Raquel Welch as a trans-gendered siren who visits mayhem on Hollywood.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Watching the two men square off, though, it seems likely that their intense competition escalated less from their differences than from what they shared. Both came from gilded families. Both spoke in complete, gold-plated paragraphs; both were given to apocalyptic pronouncements. Today they’d be avid Tweeters, but Buckley and Vidal also shared an erudite sense of history, a breadth of vision and the sense of a common culture that’s all but lost in today’s single-issue wars. Each in his way was a libertarian maverick unable to fit neatly into his party of affiliation. Both had tried and failed to win public office — only to succeed brilliantly in the brashly populist medium that gave them their bully pulpit.\u003c/p>\n\u003cp>“We gave them their money’s worth tonight,” whispered Vidal to a visibly shaken Buckley after eviscerating him in the war of words that brought their mutual antipathy to a head. It wasn’t just a show: as every witness in the film agrees, the two men — de facto sibling rivals — genuinely loathed one another.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The epic climax is fun to watch, but nothing good came of it. There was suit and countersuit, and years later, the otherwise irrepressible Buckley was reduced to silence when someone mentioned it. Was he humiliated because he lost, or because he felt he had disgraced himself? \u003cem>Best of Enemies\u003c/em> doesn’t try for a glib answer, but watching this enormously entertaining movie (Neville also made the wonderful back-up singer doc, \u003cem>20 Feet From Stardom\u003c/em>), I felt complicit in a spectacle, a gladiator fight that probably should never have gone public. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=In+1968%2C+The+%27Best+Of+Enemies%27+Faced+Off+In+A+Brutal%2C+Televised+Feud&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Almost three years ago, Joshua Oppenheimer unveiled \u003cem>The Act of Killing\u003c/em>, a startling documentary about the 1965-66 mass killings in Indonesia. Its audacious ploy was to encourage unrepentant murderers to re-enact their deeds in the form of scenes from action flicks, a tactic that was extremely well-received by Western critics.\u003c/p>\n\u003cp>The gimmick yielded some sequences that were cathartic, but others that were at best distracting. At times, the film trivialized a subject that Oppenheimer clearly took very seriously. Widespread acclaim for the documentary seemed to reflect its emphasis on something movie reviewers know well — movies — over the considerably more obscure subject of Indonesian history.\u003c/p>\n\u003cp>Of course, both Westerners and Indonesians have good reason to know little about the horrific episode broached by Oppenheimer’s films: It’s a taboo subject, one the Denmark-based American filmmaker is nearly alone in addressing. He does so much more effectively in \u003cem>The Look of Silence\u003c/em>, which uses members of a single family to represent the millions of victims and survivors.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=HtAohrVK7qc\u003c/p>\n\u003cp>Obeying the strictures of cinema verite, the director generally avoids historical context. But he couldn’t resist the clip that opens \u003cem>The Look of Silence\u003c/em>: a 1967 TV news report in which an NBC correspondent exults in the “purge” of communists from Indonesia. He interviews a local man who says, with earnest absurdity, that some of the alleged communists actually asked to be killed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The nationwide murder spree did target members of the Indonesian Communist Party, but also labor unionists, ethnic Chinese, and people — whether Muslim or Hindu — who were considered irreligious. Among the victims was Ramli, extraordinary not for who he was, but because his killing was witnessed and his name and fate became widely known.\u003c/p>\n\u003cp>Oppenheimer and his Indonesian colleagues — many of them listed in the credits as “anonymous” — filmed Ramli’s executioners a decade ago, early in the process that led to the two films. Later, the director met Ramli’s brother, pseudonymously identified in the movie as Adi. The younger man had been born two years after Ramli’s death as a sort of substitute son for his parents, who are now over 100.\u003c/p>\n\u003cp>Adi is a middle-aged optician whose profession provides the movie with a ready-made metaphor. The camera observes Adi as he simultaneously evaluates people for glasses and asks them about the slaughter. He is quiet but determined, and phenomenally unafraid. “Joshua never asked questions this deep,” complains one former death-squad leader in response to Adi’s detailed interrogation.\u003c/p>\n\u003cp>\u003cem>The Look of Silence\u003c/em> is a subtler film than its predecessor, but the madness of the killers comes across, notably in their repeated admissions of drinking victims’ blood. “America taught us to hate communists,” explains one veteran of the grisly campaign, but once the slayings began they were guided as much by superstition and tribal conflict as by any claimed American involvement. A man blithely recalls how he brought a severed head to a Chinese-owned coffee shop to scare the proprietors. Such atavistic behavior has nothing to do with geopolitics.\u003c/p>\n\u003cp>The movie sticks closely to Adi and his parents. It even includes a scene of the family’s senile patriarch, confused and fearful, that was shot by Adi himself. But in searching for information about the brother he never knew, Adi opens the door to a much broader investigation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A former death-squad commander who became a prominent local politician warns that, if troublemakers don’t stop asking questions, another round of slayings will occur. The opposite of that prophecy seems more likely true: that only the challenges of brave people like Adi and uncompromising movies like \u003cem>The Look of Silence\u003c/em> can immunize Indonesia against another internecine slaughter.\u003c/p>\n\n",
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"content": "\u003cp>Twitter has started taking down jokes for copyright infringement. The removals were first spotted by \u003ca href=\"https://twitter.com/plagiarismbad/status/624926843322396672\">@PlagiarismBad\u003c/a>, which traced the takedown notices to Olga Lexell, a freelance writer in Los Angeles.\u003c/p>\n\u003cp>Lexell, whose bio describes her as a freelance writer, \u003ca href=\"https://twitter.com/runolgarun/status/624971697075019776/photo/1\" target=\"_blank\" rel=\"noopener\">confirmed that she had asked Twitter to take down jokes\u003c/a>. In her post, Lexell says she makes her living writing jokes, and that the users who had tweeted them — many of them spam accounts that “re-post tons of other people’s jokes every day” — did not give her credit.\u003c/p>\n\u003cp>But Lexell may not have a good copyright claim, according to \u003ca href=\"http://www.thompsoncoburn.com/people/find-a-professional/james-burger.aspx\">Jim Burger, a Washington, D.C.-based copyright attorney\u003c/a>.\u003c/p>\n\u003cp>“You can copyright a joke, but it’s not a very strong copyright,” he says. “And a lot of jokes are derivative of other jokes, so I think you would have a hard time defending your copyright.”\u003c/p>\n\u003cp>Christopher Jon Sprigman, a law professor at New York University \u003ca href=\"http://www.law.virginia.edu/pdf/faculty/hein/sprigman/94va_l_rev1787_2008.pdf\" target=\"_blank\" rel=\"noopener\">who has written about jokes and copyright\u003c/a>, agrees. He says you can’t copyright an idea, only a way of expression; if a joke can only be expressed in a few ways you probably can’t get a copyright on it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Among Lexell’s reposted jokes that were taken down by Twitter: “Saw someone spill their high-end juice cleanse all over the sidewalk and now I know God is on my side.”\u003c/p>\n\u003cp>Sprigman says it’s debatable whether that joke can be copyrighted. Sometimes, he says, a joke is just in the zeitgeist of the moment.\u003c/p>\n\u003cp>Take the case of Carlos Mencia, who made a joke during an appearance on Comedy Central about plans to build a fence along the southern U.S. border to keep Mexicans from entering the U.S. illegally. Mencia quipped, “Um, who’s going to build it?”\u003c/p>\n\u003cp>Comedian Ari Shaffir claimed Mencia stole the joke from him, and cited earlier recordings of himself making the joke — but it turned out that \u003ca href=\"http://www.dead-frog.com/blog/entry/whose_joke_is_it_ari_shaffir_carlos_mencia_dl_hughley_george_lopez\" target=\"_blank\" rel=\"noopener\">comedians D.L. Hughley and George Lopez also had told similar jokes\u003c/a>.\u003c/p>\n\u003cp>Sprigman says that, historically, the comedy community has policed itself by shaming those who steal jokes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to Twitter, the accounts that had Lexell’s jokes removed can file a counter notice under the Digital Millennium Copyright Act within 10 days. But, if Lexell is right and it’s only spambot accounts stealing her jokes, they’ll just move on to finding other good lines to pilfer. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Twitter+Takes+Down+Unoriginal+Jokes%2C+But+All+Of+Yours+Are+Probably+Safe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Twitter has started taking down jokes for copyright infringement. The removals were first spotted by \u003ca href=\"https://twitter.com/plagiarismbad/status/624926843322396672\">@PlagiarismBad\u003c/a>, which traced the takedown notices to Olga Lexell, a freelance writer in Los Angeles.\u003c/p>\n\u003cp>Lexell, whose bio describes her as a freelance writer, \u003ca href=\"https://twitter.com/runolgarun/status/624971697075019776/photo/1\" target=\"_blank\" rel=\"noopener\">confirmed that she had asked Twitter to take down jokes\u003c/a>. In her post, Lexell says she makes her living writing jokes, and that the users who had tweeted them — many of them spam accounts that “re-post tons of other people’s jokes every day” — did not give her credit.\u003c/p>\n\u003cp>But Lexell may not have a good copyright claim, according to \u003ca href=\"http://www.thompsoncoburn.com/people/find-a-professional/james-burger.aspx\">Jim Burger, a Washington, D.C.-based copyright attorney\u003c/a>.\u003c/p>\n\u003cp>“You can copyright a joke, but it’s not a very strong copyright,” he says. “And a lot of jokes are derivative of other jokes, so I think you would have a hard time defending your copyright.”\u003c/p>\n\u003cp>Christopher Jon Sprigman, a law professor at New York University \u003ca href=\"http://www.law.virginia.edu/pdf/faculty/hein/sprigman/94va_l_rev1787_2008.pdf\" target=\"_blank\" rel=\"noopener\">who has written about jokes and copyright\u003c/a>, agrees. He says you can’t copyright an idea, only a way of expression; if a joke can only be expressed in a few ways you probably can’t get a copyright on it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Among Lexell’s reposted jokes that were taken down by Twitter: “Saw someone spill their high-end juice cleanse all over the sidewalk and now I know God is on my side.”\u003c/p>\n\u003cp>Sprigman says it’s debatable whether that joke can be copyrighted. Sometimes, he says, a joke is just in the zeitgeist of the moment.\u003c/p>\n\u003cp>Take the case of Carlos Mencia, who made a joke during an appearance on Comedy Central about plans to build a fence along the southern U.S. border to keep Mexicans from entering the U.S. illegally. Mencia quipped, “Um, who’s going to build it?”\u003c/p>\n\u003cp>Comedian Ari Shaffir claimed Mencia stole the joke from him, and cited earlier recordings of himself making the joke — but it turned out that \u003ca href=\"http://www.dead-frog.com/blog/entry/whose_joke_is_it_ari_shaffir_carlos_mencia_dl_hughley_george_lopez\" target=\"_blank\" rel=\"noopener\">comedians D.L. Hughley and George Lopez also had told similar jokes\u003c/a>.\u003c/p>\n\u003cp>Sprigman says that, historically, the comedy community has policed itself by shaming those who steal jokes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to Twitter, the accounts that had Lexell’s jokes removed can file a counter notice under the Digital Millennium Copyright Act within 10 days. But, if Lexell is right and it’s only spambot accounts stealing her jokes, they’ll just move on to finding other good lines to pilfer. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Twitter+Takes+Down+Unoriginal+Jokes%2C+But+All+Of+Yours+Are+Probably+Safe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Don’t call it a comeback: The grimy boxing melodrama \u003cem>Southpaw\u003c/em> is so old-fashioned and unsophisticated it’s almost new. Initiated as a remake of 1979’s sap-soaked \u003cem>The Champ\u003c/em> with Eminem in the lead role, it morphed into yet another opportunity for Jake Gyllenhaal to prove he’s a contender. When he finally gets that Oscar he so clearly covets, it’ll likely as not be a make-up award for his spooky turn as a sociopathic TV news cameraman in \u003cem>Nightcrawler\u003c/em> last year.\u003c/p>\n\u003cp>Gyllenhaal isn’t quite that good in \u003cem>Southpaw,\u003c/em> but he’s still pretty great. The orphan-turned-ex-con-turned-light-heavyweight champion Gyllenhaal plays is named Billy Hope — a sign of the degree of subtlety in \u003cem>Sons of Anarchy\u003c/em> creator Kurt Sutter’s screenplay, wherein every plot turn is as telegraphed as a tomato can’s jab. I didn’t care: Enough of it felt earned to me that \u003cem>Southpaw\u003c/em> wins on points. With movies and TV inching ever closer to the meta singularity that will render all earnestness extinct, a film that doubles down on performance and dares to tell a simple story simply feels vaguely punk rock.\u003c/p>\n\u003cp>Or at least punk rock-\u003cem>era.\u003c/em> In ’70s-cinema terms, \u003cem>Southpaw\u003c/em> is a mashup of \u003cem>Rocky\u003c/em> and \u003cem>Kramer vs. Kramer — \u003c/em>though it borrows more from the latter, actually. When Billy’s wife (Rachel McAdams, trading in her \u003cem>True Detective\u003c/em> \u003ca href=\"https://en.wikipedia.org/wiki/Ka-Bar\" target=\"_blank\" rel=\"noopener\">Ka-Bar collection\u003c/a> for a slinky dress and big hoop earrings) exits the scene, he falls into a tailspin, losing his boxing license, his manager (Curtis “50 Cent” Jackson), his fancy house, and finally, custody of his 10-year-old daughter Leila. (Oona Laurence avoids the cereal-commercial poise that makes most child actors so grating.) Billy’s need for income, so that he can convince a judge that he’s fit for fatherhood, is what sends him to the gym run by Tick Wills, who trained the only boxer ever to beat him. (Billy still got the decision, but he suspects that was because someone in his camp paid a bribe. “The fight game, you know,” he shrugs.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mh2ebPxhoLs\u003c/p>\n\u003cp>Wills is the movie’s \u003cem>other\u003c/em> bravura performance. Can it be true that the great Forest Whitaker has never played a crusty, philosophically inclined fight trainer before now? With a glass eye that doesn’t match his real one? Who is secretly a big softie who lets the neighborhood kids train for free but fines them 50 pushups for cursing? It seems impossible, and yet IMDB insists ’tis so. Whatever: There’s great pleasure to be had from watching Gyllenhaal and Whitaker play lonely, inarticulate guys trying squint and grunt — and above all, sweat — their way to revelation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie spends a lot of time alone with Billy and Leila, too, as he faithfully visits her, hoping she’ll finally speak to him. Sutter actually \u003cem>does\u003c/em> do some subtle work in these scenes, never expecting us to care about this father-daughter relationship just because. Leila is more mature and rational than Billy, and the movie is smart enough to realize that’s not funny or cute; it’s a serious problem.\u003c/p>\n\u003cp>Indeed, Billy is the most nonverbal character Gyllenhaal has ever embodied, frequently defeated by the labor of stringing sentences together. Rocky Balboa sounds like Ali at his rhyming-trash-talk peak compared to this guy. But it’s expressly because fight films emphasize discipline over eloquence that actors like Gyllenhaal — the ones who seem to crave respect even more than wealth or fame — can’t resist them.\u003c/p>\n\u003cp>Like (in chronological order) Robert De Niro, Daniel Day-Lewis, Will Smith, Mark Wahlberg and Tom Hardy before, Gyllenhaal trained hard for months to look and move like a champion. \u003cem>Southpaw’\u003c/em>s press notes insist he didn’t use a stunt double in the ring, and director Antoine Fuqua — an amateur fighter himself, though he usually makes movies about cops or soldiers — brought in HBO Boxing camera operators Todd Palladino and Rick Cypher to make the choreographed bouts look real. (David O. Russell did this in 2010’s \u003cem>The Fighter,\u003c/em> too.) Naturally, Fuqua takes advantage of the fact that these are staged fights to put his camera where it could never go in a real one. And as in every non-documentary boxing flick, the blows seem to land more cleanly and with more immediate effect than in life. Still, \u003cem>Southpaw’\u003c/em>s fights are still visceral and involving.\u003c/p>\n\u003cp>Once upon a time, physical transformations like Gyllenhaal’s — he half-starved himself for \u003cem>Nightcrawler,\u003c/em> then followed that up by making himself at least a convincing replica of an elite athlete — were rare signifiers of an actor’s commitment. Fairly or not, they feel less significant now that Hollywood has gone full-time into the superhero business, spawning an entire sub-industry devoted to making youngish men from England, Ireland, Scotland, Australia, and on rare occasions the United States of America, look like Jim Lee drawings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The difference is that playing Superman or Wolverine means making yourself look invulnerable, while vulnerability and exhaustion are what boxing movies are all about. \u003cem>Southpaw\u003c/em> sometimes carries that idea to a laughable extreme: Gyllenhaal’s face is an oozing deep-dish pizza of bruises and lacerations in \u003cem>every\u003c/em> scene, even when months are supposed to have passed since his last fight. Still, you can’t blame the guy. You’ve heard the expression that an actor’s face is his tool? Sometimes it’s his trophy, too.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Don’t call it a comeback: The grimy boxing melodrama \u003cem>Southpaw\u003c/em> is so old-fashioned and unsophisticated it’s almost new. Initiated as a remake of 1979’s sap-soaked \u003cem>The Champ\u003c/em> with Eminem in the lead role, it morphed into yet another opportunity for Jake Gyllenhaal to prove he’s a contender. When he finally gets that Oscar he so clearly covets, it’ll likely as not be a make-up award for his spooky turn as a sociopathic TV news cameraman in \u003cem>Nightcrawler\u003c/em> last year.\u003c/p>\n\u003cp>Gyllenhaal isn’t quite that good in \u003cem>Southpaw,\u003c/em> but he’s still pretty great. The orphan-turned-ex-con-turned-light-heavyweight champion Gyllenhaal plays is named Billy Hope — a sign of the degree of subtlety in \u003cem>Sons of Anarchy\u003c/em> creator Kurt Sutter’s screenplay, wherein every plot turn is as telegraphed as a tomato can’s jab. I didn’t care: Enough of it felt earned to me that \u003cem>Southpaw\u003c/em> wins on points. With movies and TV inching ever closer to the meta singularity that will render all earnestness extinct, a film that doubles down on performance and dares to tell a simple story simply feels vaguely punk rock.\u003c/p>\n\u003cp>Or at least punk rock-\u003cem>era.\u003c/em> In ’70s-cinema terms, \u003cem>Southpaw\u003c/em> is a mashup of \u003cem>Rocky\u003c/em> and \u003cem>Kramer vs. Kramer — \u003c/em>though it borrows more from the latter, actually. When Billy’s wife (Rachel McAdams, trading in her \u003cem>True Detective\u003c/em> \u003ca href=\"https://en.wikipedia.org/wiki/Ka-Bar\" target=\"_blank\" rel=\"noopener\">Ka-Bar collection\u003c/a> for a slinky dress and big hoop earrings) exits the scene, he falls into a tailspin, losing his boxing license, his manager (Curtis “50 Cent” Jackson), his fancy house, and finally, custody of his 10-year-old daughter Leila. (Oona Laurence avoids the cereal-commercial poise that makes most child actors so grating.) Billy’s need for income, so that he can convince a judge that he’s fit for fatherhood, is what sends him to the gym run by Tick Wills, who trained the only boxer ever to beat him. (Billy still got the decision, but he suspects that was because someone in his camp paid a bribe. “The fight game, you know,” he shrugs.)\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/Mh2ebPxhoLs'\n title='//www.youtube.com/embed/Mh2ebPxhoLs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wills is the movie’s \u003cem>other\u003c/em> bravura performance. Can it be true that the great Forest Whitaker has never played a crusty, philosophically inclined fight trainer before now? With a glass eye that doesn’t match his real one? Who is secretly a big softie who lets the neighborhood kids train for free but fines them 50 pushups for cursing? It seems impossible, and yet IMDB insists ’tis so. Whatever: There’s great pleasure to be had from watching Gyllenhaal and Whitaker play lonely, inarticulate guys trying squint and grunt — and above all, sweat — their way to revelation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie spends a lot of time alone with Billy and Leila, too, as he faithfully visits her, hoping she’ll finally speak to him. Sutter actually \u003cem>does\u003c/em> do some subtle work in these scenes, never expecting us to care about this father-daughter relationship just because. Leila is more mature and rational than Billy, and the movie is smart enough to realize that’s not funny or cute; it’s a serious problem.\u003c/p>\n\u003cp>Indeed, Billy is the most nonverbal character Gyllenhaal has ever embodied, frequently defeated by the labor of stringing sentences together. Rocky Balboa sounds like Ali at his rhyming-trash-talk peak compared to this guy. But it’s expressly because fight films emphasize discipline over eloquence that actors like Gyllenhaal — the ones who seem to crave respect even more than wealth or fame — can’t resist them.\u003c/p>\n\u003cp>Like (in chronological order) Robert De Niro, Daniel Day-Lewis, Will Smith, Mark Wahlberg and Tom Hardy before, Gyllenhaal trained hard for months to look and move like a champion. \u003cem>Southpaw’\u003c/em>s press notes insist he didn’t use a stunt double in the ring, and director Antoine Fuqua — an amateur fighter himself, though he usually makes movies about cops or soldiers — brought in HBO Boxing camera operators Todd Palladino and Rick Cypher to make the choreographed bouts look real. (David O. Russell did this in 2010’s \u003cem>The Fighter,\u003c/em> too.) Naturally, Fuqua takes advantage of the fact that these are staged fights to put his camera where it could never go in a real one. And as in every non-documentary boxing flick, the blows seem to land more cleanly and with more immediate effect than in life. Still, \u003cem>Southpaw’\u003c/em>s fights are still visceral and involving.\u003c/p>\n\u003cp>Once upon a time, physical transformations like Gyllenhaal’s — he half-starved himself for \u003cem>Nightcrawler,\u003c/em> then followed that up by making himself at least a convincing replica of an elite athlete — were rare signifiers of an actor’s commitment. Fairly or not, they feel less significant now that Hollywood has gone full-time into the superhero business, spawning an entire sub-industry devoted to making youngish men from England, Ireland, Scotland, Australia, and on rare occasions the United States of America, look like Jim Lee drawings.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The difference is that playing Superman or Wolverine means making yourself look invulnerable, while vulnerability and exhaustion are what boxing movies are all about. \u003cem>Southpaw\u003c/em> sometimes carries that idea to a laughable extreme: Gyllenhaal’s face is an oozing deep-dish pizza of bruises and lacerations in \u003cem>every\u003c/em> scene, even when months are supposed to have passed since his last fight. Still, you can’t blame the guy. You’ve heard the expression that an actor’s face is his tool? Sometimes it’s his trophy, too.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>As part of a series called\u003c/em> \u003ca href=\"http://www.npr.org/series/274340198/my-big-break\" target=\"_blank\" rel=\"noopener\">My Big Break\u003c/a>\u003cem>, \u003c/em>All Things Considered\u003cem> is collecting stories of triumph, big and small. These are the moments when everything seems to click, and people leap forward into their careers\u003c/em>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>On stage, Jim Gaffigan comes off as an everyday kind of guy. Bearded, pale, the comedian riffs on the mundane stuff — like Hot Pockets, donuts and family vacations to Disneyland.\u003c/p>\n\u003cp>Still, don’t let that fool you: In the cutthroat world of comedy, he’s made it. He’s about to hit the the road with a \u003ca href=\"http://www.jimgaffigan.com/tour-dates\" target=\"_blank\" rel=\"noopener\">national tour\u003c/a>, and \u003cem>The Jim Gaffigan Show\u003c/em> just premiered on TV Land this week.\u003c/p>\n\u003cp>It’s something of a fulfillment of the ambitious dreams he’s harbored since he was young; as a kid, he had a romantic notion of getting into the entertainment industry. But for a long time, those hopes of hitting it big seemed so far away.\u003c/p>\n\u003cp>“I grew up in a small town in Indiana, where there was no one that had a cousin in the entertainment industry,” Gaffigan says. “The closest thing to the entertainment industry was the marching band. I think it was a very successful marching band, to be fair to them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When Gaffigan moved to New York City after college, he was still a long way from the spotlight. He was stuck in a cubicle as an account manager.\u003c/p>\n\u003cp>“I was working in advertising while I was developing stand-up — essentially bombing,” he recalls.\u003c/p>\n\u003cp>He would work his 9-to-5 job, then go to an acting class and do a stand-up gig at a local club. When he got into work the next morning, he’d be so tired from the previous night that he would take naps in his cubicle.\u003c/p>\n\u003cp>Luckily for him, his colleagues thought his napping just habits made him “eccentric.” But his bosses were a different matter. It was only a matter of time before management noticed.\u003c/p>\n\u003cp>“They had to wake me up to fire me,” he says. “My boss had to shake me. … She was like, ‘I’m going to have to lay you off.’ ”\u003c/p>\n\u003cp>It turns out that getting fired was the best thing that could’ve happened to him. His money was saved up, and he had some experience on stage and lots of material to work with.\u003c/p>\n\u003cp>So he pursued stand-up full-time. Still, Gaffigan says it was a long road to success.\u003c/p>\n\u003cp>“I think I’d been doing stand-up for seven or eight years,” he says. “And I was not really getting much success or traction. And I would audition for things and the person that I would be auditioning for would literally leave the room. Just a lot of bad luck.”\u003c/p>\n\u003cp>He knew that an appearance on a late-night talk show would turn things around. Gaffigan grew up watching David Letterman, and he’d always looked up to the longtime host. So he auditioned for a spot on the \u003cem>Late Show\u003c/em> — and made the cut.\u003c/p>\n\u003cp>When he finally made his debut in January 1999, Gaffigan found himself performing in front of the whole country.\u003c/p>\n\u003cp>“My big break was appearing on [Letterman’s show]. It was a big deal,” Gaffigan says. “And the weird thing is, because Letterman thought I was good, everyone changed their mind. It changed the narrative surrounding me, completely. … It’s just a strange transformation. Someone essentially turns on a light switch, and it just changes.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>We want to hear about your big break. Send us an email at mybigbreak@npr.org.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=From+Adman+To+Stand-Up%3A+Jim+Gaffigan%27s+Transition+Took+A+Few+Good+Naps&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Inevitably, several months after a beloved actor dies too young, we are expected to reckon with the ghost. That time has come for Robin Williams, the apple-cheeked performer with the giant heart, whose final onscreen appearance is arriving in theaters 11 months after his suicide (\u003cem>Absolutely Anything\u003c/em>, which features his last voicework, comes out later this year).\u003c/p>\n\u003cp>No matter that the new drama \u003cem>Boulevard \u003c/em>was shot before some of his other movies since released. The film’s timing ensures it joins a club also inhabited by \u003cem>A Most Wanted Man \u003c/em>(Philip Seymour Hoffman), \u003cem>Enough Said \u003c/em>(James Gandolfini), and \u003cem>Soul Men \u003c/em>(Bernie Mac), a club no movie wants to be in: where its defining trait is that its star, regardless of how full of life he may seem onscreen, no longer inhabits our mortal plane.\u003c/p>\n\u003cp>On its own merits, as a story about a middle-aged, married banker who realizes too late in life that he’s gay, \u003cem>Boulevard\u003c/em> is a little slight. As the final showcase for Williams, though, it’s heartbreaking. One of the actor’s least heralded skills was how he was able to so deftly balance two distinct acting personas: rubber-faced comedy and subtle, fragile drama. His work here as long-repressed Nolan Mack carries faint shades of his seminal, Oscar-winning turn in \u003cem>Good Will Hunting\u003c/em>. Once again we’re witnessing a delicate soul, a man so used to internalizing his problems that he seems ready to implode at any minute, gradually coming to grips with the reality of his situation. It’s an exquisite performance, and one with unmissable glimpses of some deep depression.\u003c/p>\n\u003cp>Sitting at the bedside of his dying father in the opening scene, Nolan then silently returns to his wife Joy (Kathy Baker), who seems anything but joyous. The couple sleep in separate beds at home, and Nolan works all the time, despite Joy’s efforts to drag him on a vacation cruise. Turns out he’s more comfortable with a different kind of cruise: the kind that brings him down an unnamed boulevard and within arm’s reach of the young prostitute Leo (Robert Aguire). Watch Williams’ nervous fumbling the first time Nolan brings Leo to a motel room, his quickness to offer coffee (“it’s complimentary with the room”), his eagerness to talk about his childhood. Nothing explicit is ever shown, yet we feel his emotional nakedness. The actor communicates more in that scene than many performers will articulate in their entire careers.\u003c/p>\n\u003cp>Director Dito Montiel (\u003cem>A Guide To Recognizing Your Saints\u003c/em>) bathes his star in a tremendous amount of shadow, so that Williams is perpetually receding into the darkness. Odd, then, that while Montiel seems to know exactly what to do with Williams, he’s adrift with almost every other component of his film. \u003cem>Better Call Saul\u003c/em>‘s Bob Odenkirk feels wasted in a sidekick role, while a villainous pimp seems to have emerged from a different movie entirely. The familiar trope of movie characters hiring prostitutes for something other than sex continues, and leads into the familiar morale that it’s never too late to do what you want.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Seeds of something more compelling can be found in the relationship between Nolan and Leo, which morphs into something that calls to mind the stereotype of what would unkindly be called a sugar daddy. Nolan, so parched for companionship, gives Leo his phone number; when he doesn’t call, Nolan’s solution is to buy him a phone and preprogram his number into it. If only the object of Nolan’s affections could hold our attention as well: the young man’s most fascinating trait is his standoffishness, which in turn just leaves us pitying the guy so desperately trying to win him over. After so many years, why bother with someone who doesn’t love you back?\u003c/p>\n\u003cp>But all the film’s problems are secondary to Williams himself. Those who viewed his sillier comedies — the ones where he’s doing a million impressions a minute — and wished he would “dial it back” will be satisfied with the melancholy of his role in \u003cem>Boulevard\u003c/em>, though there’s nothing at all dialed back about this performance. Williams is full-bore inside this character, his insecurities, his lifelong regrets, his inklings of desire and hope. There is great power in melancholy, something the actor learned early in his career once he began to tackle dramatic roles with the same immersive gusto that had made him the \u003cem>Mork & Mindy\u003c/em> superstar. In his final gift to us, the one that just about closes the book on his career, he makes clear just what a giant he was.\u003c/p>\n\u003cp>Is.\u003c/p>\n\u003cp>Was.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Is.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inevitably, several months after a beloved actor dies too young, we are expected to reckon with the ghost. That time has come for Robin Williams, the apple-cheeked performer with the giant heart, whose final onscreen appearance is arriving in theaters 11 months after his suicide (\u003cem>Absolutely Anything\u003c/em>, which features his last voicework, comes out later this year).\u003c/p>\n\u003cp>No matter that the new drama \u003cem>Boulevard \u003c/em>was shot before some of his other movies since released. The film’s timing ensures it joins a club also inhabited by \u003cem>A Most Wanted Man \u003c/em>(Philip Seymour Hoffman), \u003cem>Enough Said \u003c/em>(James Gandolfini), and \u003cem>Soul Men \u003c/em>(Bernie Mac), a club no movie wants to be in: where its defining trait is that its star, regardless of how full of life he may seem onscreen, no longer inhabits our mortal plane.\u003c/p>\n\u003cp>On its own merits, as a story about a middle-aged, married banker who realizes too late in life that he’s gay, \u003cem>Boulevard\u003c/em> is a little slight. As the final showcase for Williams, though, it’s heartbreaking. One of the actor’s least heralded skills was how he was able to so deftly balance two distinct acting personas: rubber-faced comedy and subtle, fragile drama. His work here as long-repressed Nolan Mack carries faint shades of his seminal, Oscar-winning turn in \u003cem>Good Will Hunting\u003c/em>. Once again we’re witnessing a delicate soul, a man so used to internalizing his problems that he seems ready to implode at any minute, gradually coming to grips with the reality of his situation. It’s an exquisite performance, and one with unmissable glimpses of some deep depression.\u003c/p>\n\u003cp>Sitting at the bedside of his dying father in the opening scene, Nolan then silently returns to his wife Joy (Kathy Baker), who seems anything but joyous. The couple sleep in separate beds at home, and Nolan works all the time, despite Joy’s efforts to drag him on a vacation cruise. Turns out he’s more comfortable with a different kind of cruise: the kind that brings him down an unnamed boulevard and within arm’s reach of the young prostitute Leo (Robert Aguire). Watch Williams’ nervous fumbling the first time Nolan brings Leo to a motel room, his quickness to offer coffee (“it’s complimentary with the room”), his eagerness to talk about his childhood. Nothing explicit is ever shown, yet we feel his emotional nakedness. The actor communicates more in that scene than many performers will articulate in their entire careers.\u003c/p>\n\u003cp>Director Dito Montiel (\u003cem>A Guide To Recognizing Your Saints\u003c/em>) bathes his star in a tremendous amount of shadow, so that Williams is perpetually receding into the darkness. Odd, then, that while Montiel seems to know exactly what to do with Williams, he’s adrift with almost every other component of his film. \u003cem>Better Call Saul\u003c/em>‘s Bob Odenkirk feels wasted in a sidekick role, while a villainous pimp seems to have emerged from a different movie entirely. The familiar trope of movie characters hiring prostitutes for something other than sex continues, and leads into the familiar morale that it’s never too late to do what you want.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Harper Lee's 'Watchman' is a Mess that Makes Us Reconsider a Masterpiece",
"headTitle": "Harper Lee’s ‘Watchman’ is a Mess that Makes Us Reconsider a Masterpiece | KQED",
"content": "\u003cp>As another Southern writer once said, “You can’t go home again.” In Harper Lee’s \u003cem>Go Set a Watchman,\u003c/em> which takes place in the mid-1950s, a 26-year-old Scout Finch takes the train from New York City home to Maycomb, Ala., and finds the familiar world turned mighty strange.\u003c/p>\n\u003cfigure id=\"attachment_10838132\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Go-Set-A-Watchman-398x600.jpg\" alt=\"<i>Go Set A Watchman</i> by Harper Lee\" width=\"398\" height=\"600\" class=\"size-medium wp-image-10838132\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Go Set A Watchman\u003c/i> by Harper Lee\u003c/figcaption>\u003c/figure>\n\u003cp>TV and air-conditioning have changed the landscape, and beloved childhood friends like Dill and her brother Jem have vanished. Others, like Calpurnia, look at Scout, here called by her grown-up name of “Jean Louise,” as though she were, well, a white lady.\u003c/p>\n\u003cp>And then there’s Atticus. Now 72 and crippled by arthritis, he’s still a wry patriarch, but in one of the novel’s key scenes — set, as in \u003cem>To Kill a Mockingbird,\u003c/em> in Maycomb’s courthouse — Atticus allies himself with the kind of men who several years later stood shoulder to shoulder with Bull Connor and George Wallace.\u003c/p>\n\u003cp>\u003cem>Go Set a Watchman\u003c/em> is a troubling confusion of a novel, politically and artistically, beginning with its fishy origin story. Allegedly, it’s a recently discovered first draft of \u003cem>To Kill a Mockingbird,\u003c/em> but I’m suspicious: It reads much more like a failed sequel. There are lots of dead patches in \u003cem>Go Set a Watchman,\u003c/em> pages where we get long explanations of, say, the fine points of the Methodist worship service.\u003c/p>\n\u003cp>The novel turns on the adult Scout’s disillusionment with her father — a disillusionment that lovers of \u003cem>To Kill a Mockingbird\u003c/em> will surely share. Reeling from the Supreme Court’s recent ruling in \u003cem>Brown v. Board of Education,\u003c/em> Atticus reveals himself as a segregationist and a reactionary extremist. He’s a staunch proponent of states’ rights, a critic of federal programs, even popular ones like Social Security and the G.I. Bill, and a foe of the NAACP.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One could say, as some commentators already have, that Atticus here displays layers of contradictory attitudes about race harbored by whites, no matter how progressive. But, no. This Atticus is different in kind, not just degree: He’s like Ahab turned into a whale lover or Holden Caulfield a phony.\u003c/p>\n\u003cp>In \u003cem>To Kill a Mockingbird,\u003c/em> Atticus was his own man; here, he essentially tells Scout you have to go along to get along. This Atticus, we’re told, joined the Ku Klux Klan in his youth; now, he’s on the local Citizens Council. This Atticus is a eugenicist: He believes in racial theory and reads pamphlets with titles like “The Black Plague.” He warns the horrified Scout that: “We’re outnumbered here [in Maycomb]” and observes that “Our Negro population is backward” and “Negroes down here are still in their childhood as a people.” Scout, who takes up her fallen father’s torch of progressivism, likens his views to those of Hitler and Goebbels.\u003c/p>\n\u003cp>Yet, the more poignant revelations in \u003cem>Go Set a Watchman\u003c/em> have to do with Scout; at 26, she’s still a sort of tomboy, talking herself into marrying a childhood friend named Hank. At least half of this novel is devoted to Scout’s (or Jean Louise’s) torment over not feeling like she has a place in the world.\u003c/p>\n\u003cp>In a moving set-piece about halfway through the novel, Scout dutifully attends a “Coffee” that her prim Aunt Alexandra hosts for her. She wanders from group to group of women — The Newlyweds, The Diaper Set — and feels alienated. We’re told that Scout: “glanced down the long … livingroom at the double row of women, women she had merely known all her life, and she could not talk to them five minutes without drying up stone dead.”\u003c/p>\n\u003cp>I ached for this adult Scout: The civil rights movement may be gathering force, but the second women’s movement hasn’t happened yet. I wanted to transport Scout to our own time — take her to a performance of \u003cem>Fun Home\u003c/em> on Broadway — to know that, if she could only hang on, the possibilities for nonconforming tomboys will open up. Lee herself, writing in the 1950s, lacks the language and social imagination to fully develop this potentially powerful theme.\u003c/p>\n\u003cp>The novel goes on sale Tuesday, and everybody who loves \u003cem>To Kill a Mockingbird\u003c/em> is going to read it, no matter what I or any other reviewer says about its literary quality, the bizarre transformation of Atticus or its odd provenance. All I know for certain is that \u003cem>Go Set a Watchman\u003c/em> is kind of a mess that will forever change the way we read a masterpiece. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/422545987/422614859\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Harper+Lee%27s+%27Watchman%27+Is+A+Mess+That+Makes+Us+Reconsider+A+Masterpiece&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Depending on whom you ask,\u003cem> Go Set a Watchman\u003c/em> is either a recently discovered first draft of \u003cem>To Kill a Mockingbird\u003c/em> — or a failed sequel. Either way, critic Maureen Corrigan calls it\u003cem> \u003c/em>\"kind of a mess.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As another Southern writer once said, “You can’t go home again.” In Harper Lee’s \u003cem>Go Set a Watchman,\u003c/em> which takes place in the mid-1950s, a 26-year-old Scout Finch takes the train from New York City home to Maycomb, Ala., and finds the familiar world turned mighty strange.\u003c/p>\n\u003cfigure id=\"attachment_10838132\" class=\"wp-caption alignright\" style=\"max-width: 398px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2015/07/Go-Set-A-Watchman-398x600.jpg\" alt=\"<i>Go Set A Watchman</i> by Harper Lee\" width=\"398\" height=\"600\" class=\"size-medium wp-image-10838132\">\u003cfigcaption class=\"wp-caption-text\">\u003ci>Go Set A Watchman\u003c/i> by Harper Lee\u003c/figcaption>\u003c/figure>\n\u003cp>TV and air-conditioning have changed the landscape, and beloved childhood friends like Dill and her brother Jem have vanished. Others, like Calpurnia, look at Scout, here called by her grown-up name of “Jean Louise,” as though she were, well, a white lady.\u003c/p>\n\u003cp>And then there’s Atticus. Now 72 and crippled by arthritis, he’s still a wry patriarch, but in one of the novel’s key scenes — set, as in \u003cem>To Kill a Mockingbird,\u003c/em> in Maycomb’s courthouse — Atticus allies himself with the kind of men who several years later stood shoulder to shoulder with Bull Connor and George Wallace.\u003c/p>\n\u003cp>\u003cem>Go Set a Watchman\u003c/em> is a troubling confusion of a novel, politically and artistically, beginning with its fishy origin story. Allegedly, it’s a recently discovered first draft of \u003cem>To Kill a Mockingbird,\u003c/em> but I’m suspicious: It reads much more like a failed sequel. There are lots of dead patches in \u003cem>Go Set a Watchman,\u003c/em> pages where we get long explanations of, say, the fine points of the Methodist worship service.\u003c/p>\n\u003cp>The novel turns on the adult Scout’s disillusionment with her father — a disillusionment that lovers of \u003cem>To Kill a Mockingbird\u003c/em> will surely share. Reeling from the Supreme Court’s recent ruling in \u003cem>Brown v. Board of Education,\u003c/em> Atticus reveals himself as a segregationist and a reactionary extremist. He’s a staunch proponent of states’ rights, a critic of federal programs, even popular ones like Social Security and the G.I. Bill, and a foe of the NAACP.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One could say, as some commentators already have, that Atticus here displays layers of contradictory attitudes about race harbored by whites, no matter how progressive. But, no. This Atticus is different in kind, not just degree: He’s like Ahab turned into a whale lover or Holden Caulfield a phony.\u003c/p>\n\u003cp>In \u003cem>To Kill a Mockingbird,\u003c/em> Atticus was his own man; here, he essentially tells Scout you have to go along to get along. This Atticus, we’re told, joined the Ku Klux Klan in his youth; now, he’s on the local Citizens Council. This Atticus is a eugenicist: He believes in racial theory and reads pamphlets with titles like “The Black Plague.” He warns the horrified Scout that: “We’re outnumbered here [in Maycomb]” and observes that “Our Negro population is backward” and “Negroes down here are still in their childhood as a people.” Scout, who takes up her fallen father’s torch of progressivism, likens his views to those of Hitler and Goebbels.\u003c/p>\n\u003cp>Yet, the more poignant revelations in \u003cem>Go Set a Watchman\u003c/em> have to do with Scout; at 26, she’s still a sort of tomboy, talking herself into marrying a childhood friend named Hank. At least half of this novel is devoted to Scout’s (or Jean Louise’s) torment over not feeling like she has a place in the world.\u003c/p>\n\u003cp>In a moving set-piece about halfway through the novel, Scout dutifully attends a “Coffee” that her prim Aunt Alexandra hosts for her. She wanders from group to group of women — The Newlyweds, The Diaper Set — and feels alienated. We’re told that Scout: “glanced down the long … livingroom at the double row of women, women she had merely known all her life, and she could not talk to them five minutes without drying up stone dead.”\u003c/p>\n\u003cp>I ached for this adult Scout: The civil rights movement may be gathering force, but the second women’s movement hasn’t happened yet. I wanted to transport Scout to our own time — take her to a performance of \u003cem>Fun Home\u003c/em> on Broadway — to know that, if she could only hang on, the possibilities for nonconforming tomboys will open up. Lee herself, writing in the 1950s, lacks the language and social imagination to fully develop this potentially powerful theme.\u003c/p>\n\u003cp>The novel goes on sale Tuesday, and everybody who loves \u003cem>To Kill a Mockingbird\u003c/em> is going to read it, no matter what I or any other reviewer says about its literary quality, the bizarre transformation of Atticus or its odd provenance. All I know for certain is that \u003cem>Go Set a Watchman\u003c/em> is kind of a mess that will forever change the way we read a masterpiece. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/422545987/422614859\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2015 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=Harper+Lee%27s+%27Watchman%27+Is+A+Mess+That+Makes+Us+Reconsider+A+Masterpiece&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
},
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
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