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"content": "\u003cp>Julia Child, the late American chef who is credited for making French cuisine accessible in the U.S., remains widely influential nearly 20 years after her death. In the last few months alone, she’s been the subject of a new documentary and the inspiration for a new reality cooking show.\u003c/p>\n\u003cp>Now, she is having another moment in the new \u003ca href=\"https://www.hbomax.com/series/urn:hbo:series:GYip0jQfJ7MPDDQEAAAAD\" target=\"_blank\" rel=\"noopener noreferrer\">HBO Max series \u003cem>Julia\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PZBacZqwbCA\u003c/p>\n\u003cp>Actress Sarah Lancashire plays the woman considered America’s first “celebrity chef” and describes Child as someone who “took performance to a whole different level.”\u003c/p>\n\u003cp>“She was like this beautiful bird of paradise with this extraordinary energy and vivacity,” said Lancashire.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show dramatizes how Child was inspired to launch her show, \u003cem>The French Chef \u003c/em>in 1963 after an appearance on a sleepy public television show about reading. She was one of the first to host her own cooking show.\u003c/p>\n\u003cp>“She was bringing a new genre to the screen,” says Lancashire. “It hadn’t really been done before.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">[aside tag='food' label='More KQED Food Stories.']\u003c/span>\u003c/p>\n\u003cp>Lancashire was born and raised in the U.K., so she wasn’t quite as familiar with Child as American audiences were. Still, she says the challenge of making a cultural icon feel human came easy to her.\u003c/p>\n\u003cp>“The starting point has to be their humanity and their authenticity,” she says. So she focused on the complicated person behind Child’s unique voice and exuberant public persona.\u003c/p>\n\u003cp>“She’s naturally very funny [but] I never approached the series as a comedy,” Lancashire says. “I didn’t really want that to be the launch pad.”\u003c/p>\n\u003cp>“I needed to know specifically who Julia was when she was away from the cameras, when she wasn’t on the show,” says Lancashire. “The Julia behind closed doors. The Julia when she was with her friends, when she was with Paul. That, to me, is equally as important as trying to portray the woman in front of the camera.”\u003c/p>\n\u003cp>\u003cem>The French Chef\u003c/em> aired on WGBH and became a phenomenon, running for 10 seasons. By the time it ended in 1973, Child had cemented herself as a household name. She had mastered the art of French cooking and even co-wrote a book about it, appropriately titled \u003cem>Mastering the Art of French Cooking\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13911559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-800x533.jpg\" alt=\"A woman stands behind a counter authoritatively. Before her is a counter covered in cooking equipment, two TV cameras trained on her and eight men and women avidly watching her. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julia Child’s cooking show, ‘The French Chef,’ became a phenomenon and helped popularize French cuisine. \u003ccite>(HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She radiated sunshine and optimism, and I think that’s why people wanted to watch her,” says Lancashire. “She made them feel capable and competent. And she never judged at all.”\u003c/p>\n\u003cp>In fact, Child insisted on keeping her phone number in the phone book so people could contact her if they had issues with one of her recipes.\u003c/p>\n\u003cp>“This is a woman who had no ego,” Lancashire says. “This was not about celebrity. This was Julia as a teacher, and she wanted to ensure that her pupils could access her if they needed her.”\u003c/p>\n\u003cp>Lancashire says, Child lived a “tremendously interesting” life.\u003c/p>\n\u003cp>[aside postid='arts_13879706']“She only followed her own mantra, this wonderful phrase that she has of—find something you’re passionate about, and keep tremendously interested in it,” says Lancashire. “I don’t think she was doing it for any other reason than wanting to impart her knowledge.”\u003c/p>\n\u003cp>Child continued to share that knowledge well after her show ended. In 1981, she co-founded the American Institute of Wine and Food. And in the mid-’90s, she established the Julia Child Foundation for Gastronomy and Culinary Arts, which helped cement her legacy of teaching people about cooking.\u003c/p>\n\u003cp>It is a legacy that Lancashire hopes comes through in the new HBO Max series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think people hold her so dear in their hearts because of the qualities that she had,” says Lancashire. “What I hope more than anything is that we’ve lived up to that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sarah+Lancashire+becomes+master+%E2%80%94+and+teacher+%E2%80%94+of+French+cooking+as+Julia+Child&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/span>\u003c/p>\n\u003cp>Lancashire was born and raised in the U.K., so she wasn’t quite as familiar with Child as American audiences were. Still, she says the challenge of making a cultural icon feel human came easy to her.\u003c/p>\n\u003cp>“The starting point has to be their humanity and their authenticity,” she says. So she focused on the complicated person behind Child’s unique voice and exuberant public persona.\u003c/p>\n\u003cp>“She’s naturally very funny [but] I never approached the series as a comedy,” Lancashire says. “I didn’t really want that to be the launch pad.”\u003c/p>\n\u003cp>“I needed to know specifically who Julia was when she was away from the cameras, when she wasn’t on the show,” says Lancashire. “The Julia behind closed doors. The Julia when she was with her friends, when she was with Paul. That, to me, is equally as important as trying to portray the woman in front of the camera.”\u003c/p>\n\u003cp>\u003cem>The French Chef\u003c/em> aired on WGBH and became a phenomenon, running for 10 seasons. By the time it ended in 1973, Child had cemented herself as a household name. She had mastered the art of French cooking and even co-wrote a book about it, appropriately titled \u003cem>Mastering the Art of French Cooking\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13911559\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911559\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-800x533.jpg\" alt=\"A woman stands behind a counter authoritatively. Before her is a counter covered in cooking equipment, two TV cameras trained on her and eight men and women avidly watching her. \" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501-1536x1023.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/04/ep.-6-fran-kranz-sarah-lancashire_custom-93a14f3e6f2824abfb6a1a92dde34afa75bb9501.jpg 1584w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Julia Child’s cooking show, ‘The French Chef,’ became a phenomenon and helped popularize French cuisine. \u003ccite>(HBO Max)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She radiated sunshine and optimism, and I think that’s why people wanted to watch her,” says Lancashire. “She made them feel capable and competent. And she never judged at all.”\u003c/p>\n\u003cp>In fact, Child insisted on keeping her phone number in the phone book so people could contact her if they had issues with one of her recipes.\u003c/p>\n\u003cp>“This is a woman who had no ego,” Lancashire says. “This was not about celebrity. This was Julia as a teacher, and she wanted to ensure that her pupils could access her if they needed her.”\u003c/p>\n\u003cp>Lancashire says, Child lived a “tremendously interesting” life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“She only followed her own mantra, this wonderful phrase that she has of—find something you’re passionate about, and keep tremendously interested in it,” says Lancashire. “I don’t think she was doing it for any other reason than wanting to impart her knowledge.”\u003c/p>\n\u003cp>Child continued to share that knowledge well after her show ended. In 1981, she co-founded the American Institute of Wine and Food. And in the mid-’90s, she established the Julia Child Foundation for Gastronomy and Culinary Arts, which helped cement her legacy of teaching people about cooking.\u003c/p>\n\u003cp>It is a legacy that Lancashire hopes comes through in the new HBO Max series.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think people hold her so dear in their hearts because of the qualities that she had,” says Lancashire. “What I hope more than anything is that we’ve lived up to that.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sarah+Lancashire+becomes+master+%E2%80%94+and+teacher+%E2%80%94+of+French+cooking+as+Julia+Child&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "10 Takeaways From a Night of Strong Performances and Curveballs at the Grammys",
"headTitle": "10 Takeaways From a Night of Strong Performances and Curveballs at the Grammys | KQED",
"content": "\u003cp>This year’s Grammy Awards were \u003ca href=\"https://www.npr.org/2022/01/18/1073871920/grammys-rescheduled-moved-las-vegas-april-3\" target=\"_blank\" rel=\"noopener noreferrer\">supposed to take place in January\u003c/a>, but they wound up postponed until seven days after \u003ca href=\"https://www.npr.org/2022/03/24/1088592585/our-2022-oscars-recap\" target=\"_blank\" rel=\"noopener noreferrer\">a cursed Oscars telecast\u003c/a>. So, now that the awards season has mercifully concluded, here’s what you need to know about \u003ca href=\"https://www.npr.org/2022/04/04/1090348793/2022-grammys-winners-jon-batiste-silk-sonic\" target=\"_blank\" rel=\"noopener noreferrer\">the 2022 Grammys\u003c/a>—the lessons, storylines, triumphs and irritations that defined \u003ca href=\"https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees\" target=\"_blank\" rel=\"noopener noreferrer\">the very long night\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>1. Never, ever underestimate the Grammys’ love for Bruno Mars.\u003c/strong>\u003c/p>\n\u003cp>Some of us—including this writer—decided months ago that song of the year and record of the year were bound to go to \u003ca href=\"https://www.npr.org/artists/998736720/olivia-rodrigo\" target=\"_blank\" rel=\"noopener noreferrer\">Olivia Rodrigo\u003c/a>‘s “drivers license.” The song was a massive smash, Rodrigo was 2021’s breakout star and the Grammys love to announce the arrival of new A-listers by burying them in trophies. (See \u003ca href=\"https://www.npr.org/artists/691274976/billie-eilish\" target=\"_blank\" rel=\"noopener noreferrer\">Billie Eilish\u003c/a>‘s \u003ca href=\"https://www.npr.org/2020/01/27/799879297/billie-eilish-sweeps-grammys-in-ceremony-clouded-by-controversy-and-mourning\" target=\"_blank\" rel=\"noopener noreferrer\">2020 Grammy sweep\u003c/a> for evidence of this phenomenon.)\u003c/p>\n\u003cp>But Rodrigo ran into a buzzsaw that prognosticators—again, including this writer—should have seen coming. The Grammys love \u003ca href=\"https://www.npr.org/artists/166969902/bruno-mars\" target=\"_blank\" rel=\"noopener noreferrer\">Bruno Mars\u003c/a> with the intensity of 10,000 suns and would prefer not to pass up \u003cem>any\u003c/em> opportunity to lavish Grammys on him. \u003ca href=\"https://www.npr.org/artists/1054392430/silk-sonic\" target=\"_blank\" rel=\"noopener noreferrer\">Silk Sonic\u003c/a>, his collaboration with \u003ca href=\"https://www.npr.org/artists/464866525/anderson-paak\" target=\"_blank\" rel=\"noopener noreferrer\">Anderson .Paak\u003c/a>, crafts impeccable throwback soul that’s essentially one big sprawling field of fresh-cut catnip for Grammy voters. Silk Sonic’s debut album, \u003cem>An Evening With Silk Sonic\u003c/em>, wasn’t eligible for album of the year consideration, but don’t be surprised if it’s a frontrunner for the award in 2023; if “Leave the Door Open” could win song and record of the year against this competition, the album is going to be tough to beat once it’s finally eligible.\u003c/p>\n\u003cp>\u003cstrong>2. The Rodrigopocalypse didn’t quite materialize.\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She was always a sure thing for best new artist, plus she took home best pop solo performance and best pop vocal album, beating out heavy hitters Eilish, \u003ca href=\"https://www.npr.org/artists/623390256/doja-cat\" target=\"_blank\" rel=\"noopener noreferrer\">Doja Cat\u003c/a>, \u003ca href=\"https://www.npr.org/artists/125915323/justin-bieber\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Bieber\u003c/a> and \u003ca href=\"https://www.npr.org/artists/522184181/ariana-grande\" target=\"_blank\" rel=\"noopener noreferrer\">Ariana Grande\u003c/a> in the process. But talks of a sweep in the big four categories—song of the year, record of the year, best new artist, album of the year—took a big hit right away. Song of the year went to Silk Sonic early in the telecast, and Rodrigo wound up only batting .250.\u003c/p>\n\u003cp>That said, she still had a good night: She got to give two speeches during the telecast and her performance of “drivers license” was enormously assured. At 19, she helped further establish herself as a force worthy of music’s grandest stage.\u003c/p>\n\u003cfigure id=\"attachment_13902590\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902590\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2725.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Batiste backstage at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>3. Those 11 Jon Batiste nominations were no fluke.\u003c/strong>\u003c/p>\n\u003cp>Speaking of forces… bandleader, pianist and composer \u003ca href=\"https://www.npr.org/artists/208638149/jon-batiste\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Batiste\u003c/a> was nominated across an astounding 11 different Grammy categories Sunday—including album of the year and record of the year, plus genres as far afield as jazz, R&B and contemporary classical. He’d won four trophies before the telecast even began, then locked down a fifth at the end of the night, when \u003cem>We Are\u003c/em> won album of the year. Much of the pre-show chatter about this particular category was centered on Rodrigo, Eilish or a dark horse in the form of \u003ca href=\"https://www.npr.org/artists/15200004/tony-bennett\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Bennett\u003c/a> and \u003ca href=\"https://www.npr.org/artists/120001078/lady-gaga\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga\u003c/a>‘s \u003cem>Love for Sale\u003c/em>. But in the end, the year’s most decorated nominee took the night’s biggest prize.\u003c/p>\n\u003cp>\u003cstrong>4. Jazmine Sullivan and Doja Cat broke major winless streaks…\u003c/strong>\u003c/p>\n\u003cp>R&B singer-songwriter \u003ca href=\"https://www.npr.org/artists/519967140/jazmine-sullivan\" target=\"_blank\" rel=\"noopener noreferrer\">Jazmine Sullivan\u003c/a> was 0-for-12 at the Grammys coming into Sunday—and seemed at serious risk of extending her winless streak to 15, in spite of \u003cem>Heaux Tales\u003c/em>‘ status as one of 2021’s best-loved albums. (NPR Music had it at \u003ca href=\"https://www.npr.org/2021/12/01/1054333297/the-50-best-albums-of-2021-page-5\" target=\"_blank\" rel=\"noopener noreferrer\">No. 1 for the year\u003c/a>.) But Sullivan’s “Pick Up Your Feelings” sneaked into a tie with Silk Sonic’s “Leave the Door Open” for best R&B performance, and then \u003cem>Heaux Tales\u003c/em> beat a powerhouse field—including Batiste’s \u003cem>We Are\u003c/em>—to take best R&B album.\u003c/p>\n\u003cp>Later, Doja Cat ended her own winless streak: She \u003cem>would\u003c/em> have been 0-for-11 if “Kiss Me More”—her hit with \u003ca href=\"https://www.npr.org/artists/532236099/sza\" target=\"_blank\" rel=\"noopener noreferrer\">SZA\u003c/a>—hadn’t taken the prize for best pop duo/group performance. Her emotional speech made it clear that the Grammy validation mattered.\u003c/p>\n\u003cp>\u003cstrong>5. …but there were a few surprising shutouts.\u003c/strong>\u003c/p>\n\u003cp>Justin Bieber has never been a runaway Grammy favorite (he’s only won twice in 22 nominations) so his 0-for-8 result on the night wasn’t a massive surprise. But few saw Eilish’s 0-for-7 evening coming—not that the superstar seemed to mind, given that she’d won an Oscar a week earlier and has never seemed to stake her happiness on awards anyway. \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a> and \u003ca href=\"https://www.npr.org/artists/14994052/brandi-carlile\" target=\"_blank\" rel=\"noopener noreferrer\">Brandi Carlile\u003c/a> each went 0-for-5 and had to console themselves with the knowledge that their live performances were characteristically fantastic.\u003c/p>\n\u003cp>\u003cstrong>6. The first hour was pretty mind-blowing.\u003c/strong>\u003c/p>\n\u003cp>The Grammys are, first and foremost, a three-and-a-half-hour infomercial for the music industry: They’re meant to sweep across as many popular genres as possible, showcase the best those genres have to offer and attract the largest possible audience in the process. As such, it only makes sense that this year’s Grammys were front-loaded to an immensely satisfying degree, with a string of superstars operating at the top of their game.\u003c/p>\n\u003cp>Silk Sonic kicked off the night with “777,” a song about Las Vegas befitting the Grammy ceremony’s new home, then gave way to five more slam dunks in the show’s first hour—namely Rodrigo, \u003ca href=\"https://www.npr.org/artists/611374965/j-balvin\" target=\"_blank\" rel=\"noopener noreferrer\">J Balvin\u003c/a>, \u003ca href=\"https://www.npr.org/artists/554496915/bts\">BTS\u003c/a>, Lil Nas X and Eilish. With six headliners packed into its first hour, the Grammys set the bar extraordinarily high early on.\u003c/p>\n\u003cp>\u003cstrong>7. The Grammys did what the Oscars couldn’t…\u003c/strong>\u003c/p>\n\u003cp>Not only did Questlove get to accept an award for \u003cem>Summer of Soul\u003c/em> without it being overshadowed by a violent temper tantrum, but the Grammys also did a far more effective job highlighting the plight of the Ukrainian people. President Volodymyr Zelenskyy spoke via video about music and resilience before \u003ca href=\"https://www.npr.org/artists/15838633/john-legend\" target=\"_blank\" rel=\"noopener noreferrer\">John Legend\u003c/a> performed “Free” with the aid of musicians Siuzanna Iglidan and Mika Newton, as well as poet Lyuba Yakimchuk. It was an elegant display and a good look for the Grammys. [aside postid='arts_13911492']\u003c/p>\n\u003cp>\u003cstrong>8. …but that Louis C.K. win will burn for a while.\u003c/strong>\u003c/p>\n\u003cp>The Grammys did so much right Sunday, and offered so many wins worth celebrating, but they couldn’t help but step on a rake when it came time to pick a winner for best comedy album. Watching them \u003ca href=\"https://www.npr.org/2022/04/04/1090743278/louis-c-k-crawls-out-of-cancellation-wins-a-grammy-and-triggers-a-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">reward Louis C.K.\u003c/a>, who has faced allegations of sexual misconduct from multiple women—and admitted that “\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener noreferrer\">the stories are true\u003c/a>“—really stung. It’s hard to make the (already specious) case that cancel culture is running amok and unfairly ruining lives when Louis C.K., of all people, wins a Grammy Award in 2022.\u003c/p>\n\u003cp>\u003cstrong>9. The tributes were truly heartwarming.\u003c/strong>\u003c/p>\n\u003cp>The “In Memoriam” section of any awards show is bound to unlock a few emotional floodgates: Great entertainers die all the time, after all. But the Grammys did a nice job bookending their tribute with lovely tributes to \u003ca href=\"https://www.npr.org/artists/17000138/foo-fighters\" target=\"_blank\" rel=\"noopener noreferrer\">Foo Fighters\u003c/a> drummer Taylor Hawkins (who died March 25) and Broadway legend \u003ca href=\"https://www.npr.org/artists/15871266/stephen-sondheim\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen Sondheim\u003c/a> (who died in November). Set to pieces sung by \u003ca href=\"https://www.npr.org/2021/09/27/1040848525/ben-platt-dear-evan-hansen-movie\" target=\"_blank\" rel=\"noopener noreferrer\">Ben Platt\u003c/a>, \u003ca href=\"https://www.npr.org/2021/09/25/1040718364/cynthia-erivo-sings-her-own-words-in-her-1st-solo-album\" target=\"_blank\" rel=\"noopener noreferrer\">Cynthia Erivo\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/14/1063788231/ariana-debose-and-rachel-zegler-say-west-side-story-gets-it-right-on-representat\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Zegler\u003c/a> and \u003ca href=\"https://www.npr.org/artists/783342863/leslie-odom-jr\" target=\"_blank\" rel=\"noopener noreferrer\">Leslie Odom Jr.\u003c/a>, the segment did justice to its subjects while also reminding viewers about the power of live theater.\u003c/p>\n\u003cp>As a nice bonus, Eilish performed “Happier Than Ever” while clad in a T-shirt with Hawkins’ face on it.\u003c/p>\n\u003cp>\u003cstrong>10. The Grammys really need to figure out what to do about hip-hop.\u003c/strong>\u003c/p>\n\u003cp>If the Grammys are looking for a note to take into next year, besides maybe “Don’t give an award to Louis C.K. next time,” they’d do well to assess just how much credibility they’ve lost in the world of hip-hop. Two of the rap categories (best rap performance and best rap album) had only four nominees because \u003ca href=\"https://www.npr.org/artists/250250872/drake\" target=\"_blank\" rel=\"noopener noreferrer\">Drake\u003c/a> pulled his music from contention between the announcement of nominations and the telecast. \u003ca href=\"https://www.npr.org/artists/780443851/baby-keem\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Keem\u003c/a> and \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener noreferrer\">Kendrick Lamar\u003c/a>‘s excellent “family ties” was a great choice for best rap performance, but Lamar skipped the ceremony; two more prizes went to \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\" target=\"_blank\" rel=\"noopener noreferrer\">Kanye West\u003c/a>, who was absent for \u003ca href=\"https://www.npr.org/2022/03/20/1087787313/ye-kanye-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">different reasons\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>West picked up the only hip-hop nomination among 10 contenders for album of the year—an award he was pretty clearly never a threat to win—and rap (\u003ca href=\"https://www.npr.org/artists/16001441/nas\" target=\"_blank\" rel=\"noopener noreferrer\">Nas\u003c/a> aside) scarcely turned up amid the dozens of performances throughout the night. The Grammys’ relationship with hip-hop has only grown more fraught in recent years, and Sunday night’s telecast did nothing to help.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n",
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"excerpt": "Here's what you need to know about the 2022 Grammys—the lessons, storylines, triumphs and irritations that defined the night.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>This year’s Grammy Awards were \u003ca href=\"https://www.npr.org/2022/01/18/1073871920/grammys-rescheduled-moved-las-vegas-april-3\" target=\"_blank\" rel=\"noopener noreferrer\">supposed to take place in January\u003c/a>, but they wound up postponed until seven days after \u003ca href=\"https://www.npr.org/2022/03/24/1088592585/our-2022-oscars-recap\" target=\"_blank\" rel=\"noopener noreferrer\">a cursed Oscars telecast\u003c/a>. So, now that the awards season has mercifully concluded, here’s what you need to know about \u003ca href=\"https://www.npr.org/2022/04/04/1090348793/2022-grammys-winners-jon-batiste-silk-sonic\" target=\"_blank\" rel=\"noopener noreferrer\">the 2022 Grammys\u003c/a>—the lessons, storylines, triumphs and irritations that defined \u003ca href=\"https://www.npr.org/2022/04/03/1090342877/2022-grammys-full-list-winners-nominees\" target=\"_blank\" rel=\"noopener noreferrer\">the very long night\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>1. Never, ever underestimate the Grammys’ love for Bruno Mars.\u003c/strong>\u003c/p>\n\u003cp>Some of us—including this writer—decided months ago that song of the year and record of the year were bound to go to \u003ca href=\"https://www.npr.org/artists/998736720/olivia-rodrigo\" target=\"_blank\" rel=\"noopener noreferrer\">Olivia Rodrigo\u003c/a>‘s “drivers license.” The song was a massive smash, Rodrigo was 2021’s breakout star and the Grammys love to announce the arrival of new A-listers by burying them in trophies. (See \u003ca href=\"https://www.npr.org/artists/691274976/billie-eilish\" target=\"_blank\" rel=\"noopener noreferrer\">Billie Eilish\u003c/a>‘s \u003ca href=\"https://www.npr.org/2020/01/27/799879297/billie-eilish-sweeps-grammys-in-ceremony-clouded-by-controversy-and-mourning\" target=\"_blank\" rel=\"noopener noreferrer\">2020 Grammy sweep\u003c/a> for evidence of this phenomenon.)\u003c/p>\n\u003cp>But Rodrigo ran into a buzzsaw that prognosticators—again, including this writer—should have seen coming. The Grammys love \u003ca href=\"https://www.npr.org/artists/166969902/bruno-mars\" target=\"_blank\" rel=\"noopener noreferrer\">Bruno Mars\u003c/a> with the intensity of 10,000 suns and would prefer not to pass up \u003cem>any\u003c/em> opportunity to lavish Grammys on him. \u003ca href=\"https://www.npr.org/artists/1054392430/silk-sonic\" target=\"_blank\" rel=\"noopener noreferrer\">Silk Sonic\u003c/a>, his collaboration with \u003ca href=\"https://www.npr.org/artists/464866525/anderson-paak\" target=\"_blank\" rel=\"noopener noreferrer\">Anderson .Paak\u003c/a>, crafts impeccable throwback soul that’s essentially one big sprawling field of fresh-cut catnip for Grammy voters. Silk Sonic’s debut album, \u003cem>An Evening With Silk Sonic\u003c/em>, wasn’t eligible for album of the year consideration, but don’t be surprised if it’s a frontrunner for the award in 2023; if “Leave the Door Open” could win song and record of the year against this competition, the album is going to be tough to beat once it’s finally eligible.\u003c/p>\n\u003cp>\u003cstrong>2. The Rodrigopocalypse didn’t quite materialize.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She was always a sure thing for best new artist, plus she took home best pop solo performance and best pop vocal album, beating out heavy hitters Eilish, \u003ca href=\"https://www.npr.org/artists/623390256/doja-cat\" target=\"_blank\" rel=\"noopener noreferrer\">Doja Cat\u003c/a>, \u003ca href=\"https://www.npr.org/artists/125915323/justin-bieber\" target=\"_blank\" rel=\"noopener noreferrer\">Justin Bieber\u003c/a> and \u003ca href=\"https://www.npr.org/artists/522184181/ariana-grande\" target=\"_blank\" rel=\"noopener noreferrer\">Ariana Grande\u003c/a> in the process. But talks of a sweep in the big four categories—song of the year, record of the year, best new artist, album of the year—took a big hit right away. Song of the year went to Silk Sonic early in the telecast, and Rodrigo wound up only batting .250.\u003c/p>\n\u003cp>That said, she still had a good night: She got to give two speeches during the telecast and her performance of “drivers license” was enormously assured. At 19, she helped further establish herself as a force worthy of music’s grandest stage.\u003c/p>\n\u003cfigure id=\"attachment_13902590\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13902590\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/09/D7A2725.jpg\" alt=\"\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/09/D7A2725-768x512.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jon Batiste backstage at BottleRock Napa Valley festival on Sunday, Sept. 5, 2021. \u003ccite>(Estefany Gonzalez/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>3. Those 11 Jon Batiste nominations were no fluke.\u003c/strong>\u003c/p>\n\u003cp>Speaking of forces… bandleader, pianist and composer \u003ca href=\"https://www.npr.org/artists/208638149/jon-batiste\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Batiste\u003c/a> was nominated across an astounding 11 different Grammy categories Sunday—including album of the year and record of the year, plus genres as far afield as jazz, R&B and contemporary classical. He’d won four trophies before the telecast even began, then locked down a fifth at the end of the night, when \u003cem>We Are\u003c/em> won album of the year. Much of the pre-show chatter about this particular category was centered on Rodrigo, Eilish or a dark horse in the form of \u003ca href=\"https://www.npr.org/artists/15200004/tony-bennett\" target=\"_blank\" rel=\"noopener noreferrer\">Tony Bennett\u003c/a> and \u003ca href=\"https://www.npr.org/artists/120001078/lady-gaga\" target=\"_blank\" rel=\"noopener noreferrer\">Lady Gaga\u003c/a>‘s \u003cem>Love for Sale\u003c/em>. But in the end, the year’s most decorated nominee took the night’s biggest prize.\u003c/p>\n\u003cp>\u003cstrong>4. Jazmine Sullivan and Doja Cat broke major winless streaks…\u003c/strong>\u003c/p>\n\u003cp>R&B singer-songwriter \u003ca href=\"https://www.npr.org/artists/519967140/jazmine-sullivan\" target=\"_blank\" rel=\"noopener noreferrer\">Jazmine Sullivan\u003c/a> was 0-for-12 at the Grammys coming into Sunday—and seemed at serious risk of extending her winless streak to 15, in spite of \u003cem>Heaux Tales\u003c/em>‘ status as one of 2021’s best-loved albums. (NPR Music had it at \u003ca href=\"https://www.npr.org/2021/12/01/1054333297/the-50-best-albums-of-2021-page-5\" target=\"_blank\" rel=\"noopener noreferrer\">No. 1 for the year\u003c/a>.) But Sullivan’s “Pick Up Your Feelings” sneaked into a tie with Silk Sonic’s “Leave the Door Open” for best R&B performance, and then \u003cem>Heaux Tales\u003c/em> beat a powerhouse field—including Batiste’s \u003cem>We Are\u003c/em>—to take best R&B album.\u003c/p>\n\u003cp>Later, Doja Cat ended her own winless streak: She \u003cem>would\u003c/em> have been 0-for-11 if “Kiss Me More”—her hit with \u003ca href=\"https://www.npr.org/artists/532236099/sza\" target=\"_blank\" rel=\"noopener noreferrer\">SZA\u003c/a>—hadn’t taken the prize for best pop duo/group performance. Her emotional speech made it clear that the Grammy validation mattered.\u003c/p>\n\u003cp>\u003cstrong>5. …but there were a few surprising shutouts.\u003c/strong>\u003c/p>\n\u003cp>Justin Bieber has never been a runaway Grammy favorite (he’s only won twice in 22 nominations) so his 0-for-8 result on the night wasn’t a massive surprise. But few saw Eilish’s 0-for-7 evening coming—not that the superstar seemed to mind, given that she’d won an Oscar a week earlier and has never seemed to stake her happiness on awards anyway. \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\" target=\"_blank\" rel=\"noopener noreferrer\">Lil Nas X\u003c/a> and \u003ca href=\"https://www.npr.org/artists/14994052/brandi-carlile\" target=\"_blank\" rel=\"noopener noreferrer\">Brandi Carlile\u003c/a> each went 0-for-5 and had to console themselves with the knowledge that their live performances were characteristically fantastic.\u003c/p>\n\u003cp>\u003cstrong>6. The first hour was pretty mind-blowing.\u003c/strong>\u003c/p>\n\u003cp>The Grammys are, first and foremost, a three-and-a-half-hour infomercial for the music industry: They’re meant to sweep across as many popular genres as possible, showcase the best those genres have to offer and attract the largest possible audience in the process. As such, it only makes sense that this year’s Grammys were front-loaded to an immensely satisfying degree, with a string of superstars operating at the top of their game.\u003c/p>\n\u003cp>Silk Sonic kicked off the night with “777,” a song about Las Vegas befitting the Grammy ceremony’s new home, then gave way to five more slam dunks in the show’s first hour—namely Rodrigo, \u003ca href=\"https://www.npr.org/artists/611374965/j-balvin\" target=\"_blank\" rel=\"noopener noreferrer\">J Balvin\u003c/a>, \u003ca href=\"https://www.npr.org/artists/554496915/bts\">BTS\u003c/a>, Lil Nas X and Eilish. With six headliners packed into its first hour, the Grammys set the bar extraordinarily high early on.\u003c/p>\n\u003cp>\u003cstrong>7. The Grammys did what the Oscars couldn’t…\u003c/strong>\u003c/p>\n\u003cp>Not only did Questlove get to accept an award for \u003cem>Summer of Soul\u003c/em> without it being overshadowed by a violent temper tantrum, but the Grammys also did a far more effective job highlighting the plight of the Ukrainian people. President Volodymyr Zelenskyy spoke via video about music and resilience before \u003ca href=\"https://www.npr.org/artists/15838633/john-legend\" target=\"_blank\" rel=\"noopener noreferrer\">John Legend\u003c/a> performed “Free” with the aid of musicians Siuzanna Iglidan and Mika Newton, as well as poet Lyuba Yakimchuk. It was an elegant display and a good look for the Grammys. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>8. …but that Louis C.K. win will burn for a while.\u003c/strong>\u003c/p>\n\u003cp>The Grammys did so much right Sunday, and offered so many wins worth celebrating, but they couldn’t help but step on a rake when it came time to pick a winner for best comedy album. Watching them \u003ca href=\"https://www.npr.org/2022/04/04/1090743278/louis-c-k-crawls-out-of-cancellation-wins-a-grammy-and-triggers-a-backlash\" target=\"_blank\" rel=\"noopener noreferrer\">reward Louis C.K.\u003c/a>, who has faced allegations of sexual misconduct from multiple women—and admitted that “\u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener noreferrer\">the stories are true\u003c/a>“—really stung. It’s hard to make the (already specious) case that cancel culture is running amok and unfairly ruining lives when Louis C.K., of all people, wins a Grammy Award in 2022.\u003c/p>\n\u003cp>\u003cstrong>9. The tributes were truly heartwarming.\u003c/strong>\u003c/p>\n\u003cp>The “In Memoriam” section of any awards show is bound to unlock a few emotional floodgates: Great entertainers die all the time, after all. But the Grammys did a nice job bookending their tribute with lovely tributes to \u003ca href=\"https://www.npr.org/artists/17000138/foo-fighters\" target=\"_blank\" rel=\"noopener noreferrer\">Foo Fighters\u003c/a> drummer Taylor Hawkins (who died March 25) and Broadway legend \u003ca href=\"https://www.npr.org/artists/15871266/stephen-sondheim\" target=\"_blank\" rel=\"noopener noreferrer\">Stephen Sondheim\u003c/a> (who died in November). Set to pieces sung by \u003ca href=\"https://www.npr.org/2021/09/27/1040848525/ben-platt-dear-evan-hansen-movie\" target=\"_blank\" rel=\"noopener noreferrer\">Ben Platt\u003c/a>, \u003ca href=\"https://www.npr.org/2021/09/25/1040718364/cynthia-erivo-sings-her-own-words-in-her-1st-solo-album\" target=\"_blank\" rel=\"noopener noreferrer\">Cynthia Erivo\u003c/a>, \u003ca href=\"https://www.npr.org/2021/12/14/1063788231/ariana-debose-and-rachel-zegler-say-west-side-story-gets-it-right-on-representat\" target=\"_blank\" rel=\"noopener noreferrer\">Rachel Zegler\u003c/a> and \u003ca href=\"https://www.npr.org/artists/783342863/leslie-odom-jr\" target=\"_blank\" rel=\"noopener noreferrer\">Leslie Odom Jr.\u003c/a>, the segment did justice to its subjects while also reminding viewers about the power of live theater.\u003c/p>\n\u003cp>As a nice bonus, Eilish performed “Happier Than Ever” while clad in a T-shirt with Hawkins’ face on it.\u003c/p>\n\u003cp>\u003cstrong>10. The Grammys really need to figure out what to do about hip-hop.\u003c/strong>\u003c/p>\n\u003cp>If the Grammys are looking for a note to take into next year, besides maybe “Don’t give an award to Louis C.K. next time,” they’d do well to assess just how much credibility they’ve lost in the world of hip-hop. Two of the rap categories (best rap performance and best rap album) had only four nominees because \u003ca href=\"https://www.npr.org/artists/250250872/drake\" target=\"_blank\" rel=\"noopener noreferrer\">Drake\u003c/a> pulled his music from contention between the announcement of nominations and the telecast. \u003ca href=\"https://www.npr.org/artists/780443851/baby-keem\" target=\"_blank\" rel=\"noopener noreferrer\">Baby Keem\u003c/a> and \u003ca href=\"https://www.npr.org/artists/166009689/kendrick-lamar\" target=\"_blank\" rel=\"noopener noreferrer\">Kendrick Lamar\u003c/a>‘s excellent “family ties” was a great choice for best rap performance, but Lamar skipped the ceremony; two more prizes went to \u003ca href=\"https://www.npr.org/artists/14889532/kanye-west\" target=\"_blank\" rel=\"noopener noreferrer\">Kanye West\u003c/a>, who was absent for \u003ca href=\"https://www.npr.org/2022/03/20/1087787313/ye-kanye-grammys\" target=\"_blank\" rel=\"noopener noreferrer\">different reasons\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>West picked up the only hip-hop nomination among 10 contenders for album of the year—an award he was pretty clearly never a threat to win—and rap (\u003ca href=\"https://www.npr.org/artists/16001441/nas\" target=\"_blank\" rel=\"noopener noreferrer\">Nas\u003c/a> aside) scarcely turned up amid the dozens of performances throughout the night. The Grammys’ relationship with hip-hop has only grown more fraught in recent years, and Sunday night’s telecast did nothing to help.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Despite Ridicule, the Patagonia Vest Endures in San Francisco Tech",
"headTitle": "Despite Ridicule, the Patagonia Vest Endures in San Francisco Tech | KQED",
"content": "\u003cfigure id=\"attachment_13911476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-800x600.jpg\" alt='Two men on the sidewalk wearing \"tech vasts\" in the financial district of San Francisco' width=\"800\" height=\"600\" class=\"size-medium wp-image-13911476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-2048x1535.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-1920x1439.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faris Ajluni (right) and Jose Nazario pose in their vests in downtown San Francisco. \u003ccite>(Bobby Allyn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long associated with Wall Street and Silicon Valley, the Patagonia vest has endured as a tribal symbol of finance and tech. But those who’ve dared in recent weeks to put on their vests in San Francisco have \u003ca href=\"https://www.sfgate.com/local/article/Anti-tech-bro-flyers-posted-in-San-Francisco-17012521.php\">been the target\u003c/a> of a resistance of sorts.\u003c/p>\n\u003cp>“Urgent: Stop wearing vests,” implore flyers plastered around the city. “You live in San Francisco now. It’s time to start acting like it.”\u003c/p>\n\u003cp>It’s the latest show of frustration from city residents against the tech workers that many blame for making the city one of the nation’s most expensive. NPR tried but was unable to track down the creator of the flyers.\u003c/p>\n\u003cp>Not everyone who sports a Patagonia vest is a “tech bro,” says proud Patagonia vest-wearer Sam Runkle.\u003c/p>\n\u003cp>“The kind of people who wear Patagonia are maybe raising rents and maybe are the kind of people that these other groups are trying to push back on,” he said on a recent afternoon as he played fetch with his golden retriever, with a lacrosse stick and ball, in a grassy field overlooking the San Francisco Bay. “But there’s another cohort of people who do wear Patagonia who are not at all part of that.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For instance, Runkle, who works in sales at the software startup Paylode, said of his digs in the city’s trendy Marina neighborhood: “I live in a four-bedroom that’s really a two-bedroom with a plywood wall, so I don’t think I’m raising any rents.”\u003c/p>\n\u003cp>And, he notes, a Patagonia vest is practical in San Francisco: the perfect wind shield for a city on the tip of a peninsula.\u003c/p>\n\u003cp>“It’s comfy,” Runkle says. “It gets the job done.”\u003c/p>\n\u003cp>Indeed, plenty of women and non-tech workers adore the vests in the Bay Area for the same reason, but Runkle admits it’s most often sported by bros. In particular, bros who know something about venture capital or software engineering.\u003c/p>\n\u003cp>“It’s true,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13911477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-800x600.jpg\" alt=\"A guy in a blue vest, shorts, hat, playing on the Marina green with his dog\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13911477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-2048x1535.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-1920x1439.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sam Runkle sports a blue Patagonia vest while out with his golden retriever in San Francisco’s Marina neighborhood. \u003ccite>(Bobby Allyn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The vest “hits the right sweet spot between East Coast money and West Coast casual”\u003c/h2>\n\u003cp>The tension fueled by the vests comes as no surprise to historian Margaret O’Mara at the University of Washington, author of the book \u003cem>The Code: Silicon Valley and the Remaking of America\u003c/em>.\u003c/p>\n\u003cp>She said the rise of the fleece vest in tech circles coincided with the throng of new investors piling into flashy startups in the early 2000s.\u003c/p>\n\u003cp>“In a way, it has its roots in the marriage of Silicon Valley and Wall Street that started with the dot-com boom,” she said.\u003c/p>\n\u003cp>As the finance and tech industries became closer over the years, venture capitalists ditched preppy sweater vests for Wall Street’s favorite garment: the Patagonia vest.\u003c/p>\n\u003cp>“You can wear your pressed khakis and your collared shirt, and you put on a fleece vest and it just hits the right sweet spot between East Coast money and West Coast casual,” O’Mara said.\u003c/p>\n\u003ch2>‘VC Starter Packs’ offer Patagonia vests, a Twitter feed audit and a Peter Thiel book\u003c/h2>\n\u003cp>It became a status symbol to waltz around the Bay Area rocking a vest with the name of a venture capital firm you recently closed a deal with, or one with the embroidered logo of your new job at a Big Tech company. Elite tech conferences used to hand them out as swag. The vests carried cachet.\u003c/p>\n\u003cp>Sumukh Sridhara remembers walking to his tech job one day shortly after moving to San Francisco and seeing person after person wearing the same exact vest.\u003c/p>\n\u003cp>“It just seemed like something that didn’t necessarily fit in San Francisco,” he said. “In a place that’s usually known for its diversity of types of people and types of things that people work on, everybody just ends up wearing the same outfit in this one industry.”\u003c/p>\n\u003cp>So, in jest, he \u003ca href=\"https://www.businessinsider.com/vc-starter-kit-patagonia-2019-3\">began selling\u003c/a> a “VC Starter Pack.” It \u003ca href=\"https://i.insider.com/5c93f98edc676702a57e19d3?width=700&format=jpeg&auto=webp\">included\u003c/a> a gray Patagonia fleece vest, the book \u003cem>Zero to One\u003c/em> by entrepreneur Peter Thiel and a personalized Twitter feed audit, among other things.\u003c/p>\n\u003cp>He did find some takers at $699 a pop, and he donated the proceeds to charity. Then, as part of the joke, he redirected the website he created for the VC Starter Pack to job listings at the prominent venture capital firm Andreessen Horowitz.\u003c/p>\n\u003cp>“It seems like nowadays the way to work in VC is to just work there,” he said.\u003c/p>\n\u003cp>Of late, Sridhara said, he has seen fewer vests with the names of companies and tech conferences around town. That’s in part because of Patagonia. \u003ca href=\"https://www.patagonia.com/transitioning-away-from-logos.html\">Last year, it announced\u003c/a> it would stop selling vests with corporate logos. (Patagonia declined to comment for this story and Andreessen Horowitz did not respond to multiple emails.)\u003c/p>\n\u003cp>Still, walk around the windy streets of San Francisco and you’ll still find plenty of people wearing the vest.\u003c/p>\n\u003cp>On a recent afternoon in the city’s financial district, a group of colleagues at a fintech firm strolled out of their office building, some in their vests. Among them: Faris Ajluni, who says he started just two weeks ago.\u003c/p>\n\u003cp>“In preparation, because I knew I wasn’t wearing a suit, I bought three vests,” he said. “I made sure not to get a Patagonia one. I didn’t want to get stereotyped, so I got non-labeled vests for that reason.”\u003c/p>\n\u003cp>He acknowledges that, yes, he might look like a tech or finance bro, but so what?\u003c/p>\n\u003cp>“It’s part of the uniform. And it fits. I like the way vests look on me. They make your shoulders look big. I’m a guy, so big shoulders help,” he said.\u003c/p>\n\u003cp>The fleece vest does not add flair to one’s look in every city.\u003c/p>\n\u003cp>Sridhara, who made the VC Starter Pack website, recently launched a new kit \u003ca href=\"https://miami.vcstarterkit.com/\">for techies moving to Miami\u003c/a>. Among the items: an appointment with a fashion consultant, so tech workers don’t look ridiculous wearing their fleece vests while holding their piña coladas along South Beach.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“You can’t tan in a fleece jacket, ” the site instructs. “A local stylist will acquire palm prints, Versace jungle prints, and guayaberas for you.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Patagonia+vest+endures+in+San+Francisco+tech+circles%2C+despite+ridicule&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13911476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-800x600.jpg\" alt='Two men on the sidewalk wearing \"tech vasts\" in the financial district of San Francisco' width=\"800\" height=\"600\" class=\"size-medium wp-image-13911476\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-2048x1535.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic21_custom-d15ef73a41bd0beba1a25bddb18947e30a113d7e-1920x1439.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Faris Ajluni (right) and Jose Nazario pose in their vests in downtown San Francisco. \u003ccite>(Bobby Allyn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Long associated with Wall Street and Silicon Valley, the Patagonia vest has endured as a tribal symbol of finance and tech. But those who’ve dared in recent weeks to put on their vests in San Francisco have \u003ca href=\"https://www.sfgate.com/local/article/Anti-tech-bro-flyers-posted-in-San-Francisco-17012521.php\">been the target\u003c/a> of a resistance of sorts.\u003c/p>\n\u003cp>“Urgent: Stop wearing vests,” implore flyers plastered around the city. “You live in San Francisco now. It’s time to start acting like it.”\u003c/p>\n\u003cp>It’s the latest show of frustration from city residents against the tech workers that many blame for making the city one of the nation’s most expensive. NPR tried but was unable to track down the creator of the flyers.\u003c/p>\n\u003cp>Not everyone who sports a Patagonia vest is a “tech bro,” says proud Patagonia vest-wearer Sam Runkle.\u003c/p>\n\u003cp>“The kind of people who wear Patagonia are maybe raising rents and maybe are the kind of people that these other groups are trying to push back on,” he said on a recent afternoon as he played fetch with his golden retriever, with a lacrosse stick and ball, in a grassy field overlooking the San Francisco Bay. “But there’s another cohort of people who do wear Patagonia who are not at all part of that.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For instance, Runkle, who works in sales at the software startup Paylode, said of his digs in the city’s trendy Marina neighborhood: “I live in a four-bedroom that’s really a two-bedroom with a plywood wall, so I don’t think I’m raising any rents.”\u003c/p>\n\u003cp>And, he notes, a Patagonia vest is practical in San Francisco: the perfect wind shield for a city on the tip of a peninsula.\u003c/p>\n\u003cp>“It’s comfy,” Runkle says. “It gets the job done.”\u003c/p>\n\u003cp>Indeed, plenty of women and non-tech workers adore the vests in the Bay Area for the same reason, but Runkle admits it’s most often sported by bros. In particular, bros who know something about venture capital or software engineering.\u003c/p>\n\u003cp>“It’s true,” he says.\u003c/p>\n\u003cfigure id=\"attachment_13911477\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-800x600.jpg\" alt=\"A guy in a blue vest, shorts, hat, playing on the Marina green with his dog\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13911477\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-1536x1151.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-2048x1535.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/pic1_custom-b6cc90e3448df652191d9349ab501327bb280224-1920x1439.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sam Runkle sports a blue Patagonia vest while out with his golden retriever in San Francisco’s Marina neighborhood. \u003ccite>(Bobby Allyn/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>The vest “hits the right sweet spot between East Coast money and West Coast casual”\u003c/h2>\n\u003cp>The tension fueled by the vests comes as no surprise to historian Margaret O’Mara at the University of Washington, author of the book \u003cem>The Code: Silicon Valley and the Remaking of America\u003c/em>.\u003c/p>\n\u003cp>She said the rise of the fleece vest in tech circles coincided with the throng of new investors piling into flashy startups in the early 2000s.\u003c/p>\n\u003cp>“In a way, it has its roots in the marriage of Silicon Valley and Wall Street that started with the dot-com boom,” she said.\u003c/p>\n\u003cp>As the finance and tech industries became closer over the years, venture capitalists ditched preppy sweater vests for Wall Street’s favorite garment: the Patagonia vest.\u003c/p>\n\u003cp>“You can wear your pressed khakis and your collared shirt, and you put on a fleece vest and it just hits the right sweet spot between East Coast money and West Coast casual,” O’Mara said.\u003c/p>\n\u003ch2>‘VC Starter Packs’ offer Patagonia vests, a Twitter feed audit and a Peter Thiel book\u003c/h2>\n\u003cp>It became a status symbol to waltz around the Bay Area rocking a vest with the name of a venture capital firm you recently closed a deal with, or one with the embroidered logo of your new job at a Big Tech company. Elite tech conferences used to hand them out as swag. The vests carried cachet.\u003c/p>\n\u003cp>Sumukh Sridhara remembers walking to his tech job one day shortly after moving to San Francisco and seeing person after person wearing the same exact vest.\u003c/p>\n\u003cp>“It just seemed like something that didn’t necessarily fit in San Francisco,” he said. “In a place that’s usually known for its diversity of types of people and types of things that people work on, everybody just ends up wearing the same outfit in this one industry.”\u003c/p>\n\u003cp>So, in jest, he \u003ca href=\"https://www.businessinsider.com/vc-starter-kit-patagonia-2019-3\">began selling\u003c/a> a “VC Starter Pack.” It \u003ca href=\"https://i.insider.com/5c93f98edc676702a57e19d3?width=700&format=jpeg&auto=webp\">included\u003c/a> a gray Patagonia fleece vest, the book \u003cem>Zero to One\u003c/em> by entrepreneur Peter Thiel and a personalized Twitter feed audit, among other things.\u003c/p>\n\u003cp>He did find some takers at $699 a pop, and he donated the proceeds to charity. Then, as part of the joke, he redirected the website he created for the VC Starter Pack to job listings at the prominent venture capital firm Andreessen Horowitz.\u003c/p>\n\u003cp>“It seems like nowadays the way to work in VC is to just work there,” he said.\u003c/p>\n\u003cp>Of late, Sridhara said, he has seen fewer vests with the names of companies and tech conferences around town. That’s in part because of Patagonia. \u003ca href=\"https://www.patagonia.com/transitioning-away-from-logos.html\">Last year, it announced\u003c/a> it would stop selling vests with corporate logos. (Patagonia declined to comment for this story and Andreessen Horowitz did not respond to multiple emails.)\u003c/p>\n\u003cp>Still, walk around the windy streets of San Francisco and you’ll still find plenty of people wearing the vest.\u003c/p>\n\u003cp>On a recent afternoon in the city’s financial district, a group of colleagues at a fintech firm strolled out of their office building, some in their vests. Among them: Faris Ajluni, who says he started just two weeks ago.\u003c/p>\n\u003cp>“In preparation, because I knew I wasn’t wearing a suit, I bought three vests,” he said. “I made sure not to get a Patagonia one. I didn’t want to get stereotyped, so I got non-labeled vests for that reason.”\u003c/p>\n\u003cp>He acknowledges that, yes, he might look like a tech or finance bro, but so what?\u003c/p>\n\u003cp>“It’s part of the uniform. And it fits. I like the way vests look on me. They make your shoulders look big. I’m a guy, so big shoulders help,” he said.\u003c/p>\n\u003cp>The fleece vest does not add flair to one’s look in every city.\u003c/p>\n\u003cp>Sridhara, who made the VC Starter Pack website, recently launched a new kit \u003ca href=\"https://miami.vcstarterkit.com/\">for techies moving to Miami\u003c/a>. Among the items: an appointment with a fashion consultant, so tech workers don’t look ridiculous wearing their fleece vests while holding their piña coladas along South Beach.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You can’t tan in a fleece jacket, ” the site instructs. “A local stylist will acquire palm prints, Versace jungle prints, and guayaberas for you.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener noreferrer\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Patagonia+vest+endures+in+San+Francisco+tech+circles%2C+despite+ridicule&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Book Bans Won't Stop These Authors From Telling the Stories of Trans Youth",
"headTitle": "Book Bans Won’t Stop These Authors From Telling the Stories of Trans Youth | KQED",
"content": "\u003cfigure id=\"attachment_13911378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-800x275.jpg\" alt=\"Three colorful children's book covers depict bodies of different sizes, colors and genders.\" width=\"800\" height=\"275\" class=\"size-medium wp-image-13911378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-800x275.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-1020x351.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-160x55.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-768x264.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-1536x528.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Bodies are Cool’ by Tyler Feder, ‘Téo’s Tutu’ by Maryann Jacob Macias, and ‘My Rainbow’ by Trinity Neal and DeShanna Neal. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was just two weeks ago that DeShanna Neal found out that \u003cem>My Rainbow,\u003c/em> a book she wrote with their daughter Trinity and published in 2020, was being targeted for a ban.\u003c/p>\n\u003cp>The book tells the story of designing and creating the perfect rainbow wig for a young Trinity, who transitioned when she was 4. It was \u003ca href=\"https://www.npr.org/2021/10/28/1050013664/texas-lawmaker-matt-krause-launches-inquiry-into-850-books\">one of 850 books \u003c/a>that Texas lawmaker Matt Krause targeted in October 2021 — unbeknownst to Neal until recently.\u003c/p>\n\u003cp>Bans on books about race and LGBTQ+ identities are common. Last year, stories about Black American history and diversity were among the most banned or protested books in schools and libraries, according to the \u003ca href=\"https://www.ala.org/advocacy/bbooks/frequentlychallengedbooks/top10\">American Library Association\u003c/a>. And in 2020, \u003ca href=\"https://www.hrc.org/press-releases/human-rights-campaign-foundation-releases-list-of-lgbtq-affirming-books-in-the-wake-of-discriminatory-book-bans-across-the-country\">eight of the 10\u003c/a> most challenged books covered the LGBTQ+ community.\u003c/p>\n\u003cp>As Republican lawmakers continue to push forward with efforts to curb the rights of queer and trans youth \u003ca href=\"https://www.npr.org/2022/03/30/1089462508/teachers-fear-the-chilling-effect-of-floridas-so-called-dont-say-gay-law\">and limit discussion in schools\u003c/a>, authors who’ve written about gender expansive and trans identities say that type of storytelling is crucial.\u003c/p>\n\u003cp>Books about trans identities need space in the classroom, said Cheryl Greene, the Welcoming Schools Director for the Human Rights Campaign.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Trans and nonbinary kids and LGBTQ+ families exist,” she said. “And you know, not talking about them doesn’t make them go away. It just sends the message that they’re not accepted.”\u003c/p>\n\u003cp>Teachers and educators are tasked with ensuring that all families and students are valued and feel like they belong, Greene said. That’s something that books can do, she added.\u003c/p>\n\u003ch2>A rainbow wig for Trinity\u003c/h2>\n\u003cp>DeShanna Neal remembers staying up late into the night making a wig for a young Trinity. Trinity’s brother helped picked out the colors, but it was up to Neal — who had never before made a wig — to put it all together.\u003c/p>\n\u003cp>Neal tells NPR that Trinity felt her gender expression wasn’t valid because her hair was too short. But Trinity, who is autistic, hated the feeling of hair on the back of her neck. Neal also didn’t want to give Trinity straight hair because she is Black, they added.\u003c/p>\n\u003cp>“It was like, ‘How do I make these all come together?’ ” Neal remembers asking. “Because every part of her, every intersection of her — and I teach all my kids this — every part of us is why we are a masterpiece.”\u003c/p>\n\u003cfigure id=\"attachment_13911381\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/myrainbow-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/myrainbow-1.jpg\" alt=\"A yellow children's book showing an African-American woman wearing a rainbow flower crown.\" width=\"450\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/myrainbow-1.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/myrainbow-1-160x160.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘My Rainbow’ by Trinity Neal and DeShanna Neal. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neal says she still has the picture of a young Trinity, who is now 18, smiling and putting on the wig for the first time. Many remembered Trinity as “the girl with the rainbow hair,” Neal said.\u003c/p>\n\u003cp>But the young author doesn’t let the attention get to her head, Neal said of her daughter. When the activist duo is tagged in something, Trinity is excited, but then she goes back to playing Roblox, Neal said.\u003c/p>\n\u003cp>Meanwhile, Trinity’s younger sister, Hyperion, has shared the book with her classmates.\u003c/p>\n\u003cp>“Nothing’s cooler than saying, ‘Yeah, my big sister is an author,’ ” Neal said of Hyperion. ” ‘Don’t mind me, my big sister met Obama.’ ”\u003c/p>\n\u003ch2>Young characters that reflect humanity\u003c/h2>\n\u003cp>When Ellie was growing up, their mom, Vanessa Ford, recalls a lack of books that captured her own child’s experience. Many of the book characters didn’t look like Ellie, Ford said.\u003c/p>\n\u003cp>For Ellie,\u003cem> I am Jazz\u003c/em> by Jazz Jennings was a formative work. The story follows the author’s own experience as a trans child.\u003c/p>\n\u003cp>“But as Ellie mentioned, ‘Jazz was not brown like me,’ ” Ford told NPR.\u003c/p>\n\u003cp>Ford and her husband set out to find books that represented Ellie, who is biracial. When the duo started writing \u003cem>Calvin \u003c/em>in 2018, which follows a young trans boy’s coming out story, Ford said they couldn’t find any books with transgender characters of color.\u003c/p>\n\u003cp>But over the years, the selection has expanded with the addition of books like \u003cem>My Rainbow\u003c/em> and Kyle Lukoff’s \u003cem>When Aidan Became A Brother.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13911382\" class=\"wp-caption aligncenter\" style=\"max-width: 384px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/calvin_custom-802a07a1aa43e7f9b6c931ebc7cc51da360b72db-s1600-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911382\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/calvin_custom-802a07a1aa43e7f9b6c931ebc7cc51da360b72db-s1600-c85.jpg\" alt=\"A lavender children's book showing a young African American boy's face\" width=\"384\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/calvin_custom-802a07a1aa43e7f9b6c931ebc7cc51da360b72db-s1600-c85.jpg 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/calvin_custom-802a07a1aa43e7f9b6c931ebc7cc51da360b72db-s1600-c85-160x188.jpg 160w\" sizes=\"(max-width: 384px) 100vw, 384px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Calvin’ by JR and Vanessa Ford. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Calvin, \u003c/em>the Fords tell the story of a young trans boy, loosely based on the experiences of their own child, Ellie. In the book, Calvin tells his parents that he is a boy “in his heart, in his brain,” Ford says.\u003c/p>\n\u003cp>“We love you if you are a girl, boy, neither, or both,” Calvin’s dad says. “We love you whoever you are.”\u003c/p>\n\u003cp>After coming out, Calvin is met with nothing but support and acceptance. His friend calls him by his name, and in one scene, his grandparents give him a haircut. Nobody bullies Calvin and no one questions his identity, Ford says.\u003c/p>\n\u003cp>“It sends a message that trans kids can thrive and be happy and wonderful in their environments when those around them support and affirm who they are,” Ford told NPR.\u003c/p>\n\u003cp>Including\u003cem> Calvin\u003c/em> in classrooms was important for Ford, who was a teacher in D.C. public schools for 15 years. She said they’ve done virtual school and library visits all over the country, from Oregon to Pennsylvania to Texas.\u003c/p>\n\u003cp>“We want this being utilized in classrooms as a mirror to kids who need to see themselves, and a window for other kids who need to understand what it means to be gender diverse or transgender,” Ford said.\u003c/p>\n\u003ch2>A story about ‘unconditional love’\u003c/h2>\n\u003cp>Growing up, Maryann Jacob Macias loved ballet. But she didn’t like the itchy, polyester outfit that came with it. She was much more partial to the T-shirt and leggings, which was known as the boys’ costume.\u003c/p>\n\u003cp>A young Jacob Macias later dropped ballet altogether, because she felt she couldn’t do it in a way that was “comfortable for me,” she told NPR. But in her book, \u003cem>Téo’s Tutu\u003c/em>, she tells a story where a young Téo thrives in his tutu. It’s a story about “unconditional love,” she added.\u003c/p>\n\u003cfigure id=\"attachment_13911383\" class=\"wp-caption aligncenter\" style=\"max-width: 406px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/teos-tutu_custom-65c32be9d0d2500828b2bad6f5f2f7c0cdf13d35-s1600-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911383\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/teos-tutu_custom-65c32be9d0d2500828b2bad6f5f2f7c0cdf13d35-s1600-c85.jpg\" alt=\"A colorful children's book cover shows a young child with an Afro dancing in a tutu\" width=\"406\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/teos-tutu_custom-65c32be9d0d2500828b2bad6f5f2f7c0cdf13d35-s1600-c85.jpg 406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/teos-tutu_custom-65c32be9d0d2500828b2bad6f5f2f7c0cdf13d35-s1600-c85-160x177.jpg 160w\" sizes=\"(max-width: 406px) 100vw, 406px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Téo’s Tutu’ by Maryann Jacob Macias. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the book, she introduces Téo who is growing up in an Indian and Colombian family, mirroring her own family. Téo loves dancing at home with his family, whether Cumbia or Bhangra, she said. And naturally, Téo is very excited for his first ballet class.\u003c/p>\n\u003cp>“When it comes time to decide which outfit to wear in the recital, whether it’s the sparkly tutu or the shimmering silver pants and T-shirt,” Jacob Macias said, “he wonders if the audience will love him back.”\u003c/p>\n\u003cp>Téo’s story tells readers that “you’re magnificent and you deserve to show up as your best self,” Jacob Macias said.\u003c/p>\n\u003cp>It also might help some readers feel seen. Jacob Macias recalls reading books when she was younger where she couldn’t see herself.\u003c/p>\n\u003cp>“I remember not having books where I felt represented as a little brown girl,” Jacob Macias told NPR. “It was always my dream to write those books and I feel very fortunate that I’m able to do that now.”\u003c/p>\n\u003ch2>Queer and trans communities are not monolithic\u003c/h2>\n\u003cp>In less than two weeks, Kyle Lukoff’s latest book \u003cem>Different Kinds of Fruit\u003c/em> is set for release. The book tells the story of Annabelle, who is just starting sixth grade. Annabelle, who’s realizing that she might not like boys the way some other girls do, befriends Bailey, the new kid.\u003c/p>\n\u003cp>Annabelle thinks they’re pretty cool, and she is drawn to their smile. She later learns that her father and Bailey might have something in common.\u003c/p>\n\u003cp>Annabelle’s father later reveals to her that he is trans, and he had given birth to her. But his local trans community wasn’t supportive of his choice, Lukoff told NPR.\u003c/p>\n\u003cp>The novel follows Annabelle’s emotional journey as she learns more about her parents and her own identity.\u003c/p>\n\u003cp>Lukoff hopes the novel shows that queer and trans communities are diverse. Queer and trans people don’t always agree with each other, whether on politics or in the ways folks talk about their identities, he said.\u003c/p>\n\u003cp>“I would love for people to come away from this book and realize that there’s no one correct way to interact with trans people because we often have different needs and experiences,” he said. “And also, that that’s okay.”\u003c/p>\n\u003ch2>A conversation starter for the youngest readers\u003c/h2>\n\u003cp>Behind Tyler Feder’s \u003cem>Bodies are Cool \u003c/em>was an immense spreadsheet. It was filled with all of the qualities of bodies that she wanted to document in the colorful book. The book, she says, carries a bit of a “Where’s Waldo” energy.\u003c/p>\n\u003cfigure id=\"attachment_13911384\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911384\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-800x800.jpg\" alt=\"A children's book with a pink background shows bodies of different shapes, sizes and colors\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85.jpg 1600w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Bodies are Cool’ by Tyler Feder. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Bodies are Cool\u003c/em>, tons of people — maybe more than 100, Feder says — are shown with different gender presentations, hair types, skin colors, body sizes and shapes, she told NPR.\u003c/p>\n\u003cp>Even those who can’t read yet can engage with the book just by looking at the pages, and asking their parents questions if they have any.\u003c/p>\n\u003cp>The book includes folks with top-surgery scars in different stages of healing. Feder hopes the book shows that “it’s normal to be trans or visibly queer or very fat or with a really noticeable disability.”\u003c/p>\n\u003cp>Across all of the pages, joy is universal. Feder depicts colorful crowds of people who love each other, are friendly and are just having fun, she tells NPR.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“If [kids] just start out thinking that everyone’s fine how they are, they’ll grow up and not want to discriminate,” she said.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+kids%27+authors+are+telling+the+stories+of+trans+youth.+Book+bans+won%27t+stop+them&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "As lawmakers push forward to curb queer and trans youth rights, children's authors who've written about gender-expansive and trans identities say storytelling is crucial.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13911378\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-800x275.jpg\" alt=\"Three colorful children's book covers depict bodies of different sizes, colors and genders.\" width=\"800\" height=\"275\" class=\"size-medium wp-image-13911378\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-800x275.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-1020x351.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-160x55.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-768x264.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy-1536x528.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/books_custom-295758b7fa31d8cf652582140125197368a94b7e-s1600-c85-copy.jpg 1600w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Bodies are Cool’ by Tyler Feder, ‘Téo’s Tutu’ by Maryann Jacob Macias, and ‘My Rainbow’ by Trinity Neal and DeShanna Neal. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was just two weeks ago that DeShanna Neal found out that \u003cem>My Rainbow,\u003c/em> a book she wrote with their daughter Trinity and published in 2020, was being targeted for a ban.\u003c/p>\n\u003cp>The book tells the story of designing and creating the perfect rainbow wig for a young Trinity, who transitioned when she was 4. It was \u003ca href=\"https://www.npr.org/2021/10/28/1050013664/texas-lawmaker-matt-krause-launches-inquiry-into-850-books\">one of 850 books \u003c/a>that Texas lawmaker Matt Krause targeted in October 2021 — unbeknownst to Neal until recently.\u003c/p>\n\u003cp>Bans on books about race and LGBTQ+ identities are common. Last year, stories about Black American history and diversity were among the most banned or protested books in schools and libraries, according to the \u003ca href=\"https://www.ala.org/advocacy/bbooks/frequentlychallengedbooks/top10\">American Library Association\u003c/a>. And in 2020, \u003ca href=\"https://www.hrc.org/press-releases/human-rights-campaign-foundation-releases-list-of-lgbtq-affirming-books-in-the-wake-of-discriminatory-book-bans-across-the-country\">eight of the 10\u003c/a> most challenged books covered the LGBTQ+ community.\u003c/p>\n\u003cp>As Republican lawmakers continue to push forward with efforts to curb the rights of queer and trans youth \u003ca href=\"https://www.npr.org/2022/03/30/1089462508/teachers-fear-the-chilling-effect-of-floridas-so-called-dont-say-gay-law\">and limit discussion in schools\u003c/a>, authors who’ve written about gender expansive and trans identities say that type of storytelling is crucial.\u003c/p>\n\u003cp>Books about trans identities need space in the classroom, said Cheryl Greene, the Welcoming Schools Director for the Human Rights Campaign.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Trans and nonbinary kids and LGBTQ+ families exist,” she said. “And you know, not talking about them doesn’t make them go away. It just sends the message that they’re not accepted.”\u003c/p>\n\u003cp>Teachers and educators are tasked with ensuring that all families and students are valued and feel like they belong, Greene said. That’s something that books can do, she added.\u003c/p>\n\u003ch2>A rainbow wig for Trinity\u003c/h2>\n\u003cp>DeShanna Neal remembers staying up late into the night making a wig for a young Trinity. Trinity’s brother helped picked out the colors, but it was up to Neal — who had never before made a wig — to put it all together.\u003c/p>\n\u003cp>Neal tells NPR that Trinity felt her gender expression wasn’t valid because her hair was too short. But Trinity, who is autistic, hated the feeling of hair on the back of her neck. Neal also didn’t want to give Trinity straight hair because she is Black, they added.\u003c/p>\n\u003cp>“It was like, ‘How do I make these all come together?’ ” Neal remembers asking. “Because every part of her, every intersection of her — and I teach all my kids this — every part of us is why we are a masterpiece.”\u003c/p>\n\u003cfigure id=\"attachment_13911381\" class=\"wp-caption aligncenter\" style=\"max-width: 450px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/myrainbow-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911381\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/myrainbow-1.jpg\" alt=\"A yellow children's book showing an African-American woman wearing a rainbow flower crown.\" width=\"450\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/myrainbow-1.jpg 450w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/myrainbow-1-160x160.jpg 160w\" sizes=\"(max-width: 450px) 100vw, 450px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘My Rainbow’ by Trinity Neal and DeShanna Neal. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Neal says she still has the picture of a young Trinity, who is now 18, smiling and putting on the wig for the first time. Many remembered Trinity as “the girl with the rainbow hair,” Neal said.\u003c/p>\n\u003cp>But the young author doesn’t let the attention get to her head, Neal said of her daughter. When the activist duo is tagged in something, Trinity is excited, but then she goes back to playing Roblox, Neal said.\u003c/p>\n\u003cp>Meanwhile, Trinity’s younger sister, Hyperion, has shared the book with her classmates.\u003c/p>\n\u003cp>“Nothing’s cooler than saying, ‘Yeah, my big sister is an author,’ ” Neal said of Hyperion. ” ‘Don’t mind me, my big sister met Obama.’ ”\u003c/p>\n\u003ch2>Young characters that reflect humanity\u003c/h2>\n\u003cp>When Ellie was growing up, their mom, Vanessa Ford, recalls a lack of books that captured her own child’s experience. Many of the book characters didn’t look like Ellie, Ford said.\u003c/p>\n\u003cp>For Ellie,\u003cem> I am Jazz\u003c/em> by Jazz Jennings was a formative work. The story follows the author’s own experience as a trans child.\u003c/p>\n\u003cp>“But as Ellie mentioned, ‘Jazz was not brown like me,’ ” Ford told NPR.\u003c/p>\n\u003cp>Ford and her husband set out to find books that represented Ellie, who is biracial. When the duo started writing \u003cem>Calvin \u003c/em>in 2018, which follows a young trans boy’s coming out story, Ford said they couldn’t find any books with transgender characters of color.\u003c/p>\n\u003cp>But over the years, the selection has expanded with the addition of books like \u003cem>My Rainbow\u003c/em> and Kyle Lukoff’s \u003cem>When Aidan Became A Brother.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13911382\" class=\"wp-caption aligncenter\" style=\"max-width: 384px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/calvin_custom-802a07a1aa43e7f9b6c931ebc7cc51da360b72db-s1600-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911382\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/calvin_custom-802a07a1aa43e7f9b6c931ebc7cc51da360b72db-s1600-c85.jpg\" alt=\"A lavender children's book showing a young African American boy's face\" width=\"384\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/calvin_custom-802a07a1aa43e7f9b6c931ebc7cc51da360b72db-s1600-c85.jpg 384w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/calvin_custom-802a07a1aa43e7f9b6c931ebc7cc51da360b72db-s1600-c85-160x188.jpg 160w\" sizes=\"(max-width: 384px) 100vw, 384px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Calvin’ by JR and Vanessa Ford. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Calvin, \u003c/em>the Fords tell the story of a young trans boy, loosely based on the experiences of their own child, Ellie. In the book, Calvin tells his parents that he is a boy “in his heart, in his brain,” Ford says.\u003c/p>\n\u003cp>“We love you if you are a girl, boy, neither, or both,” Calvin’s dad says. “We love you whoever you are.”\u003c/p>\n\u003cp>After coming out, Calvin is met with nothing but support and acceptance. His friend calls him by his name, and in one scene, his grandparents give him a haircut. Nobody bullies Calvin and no one questions his identity, Ford says.\u003c/p>\n\u003cp>“It sends a message that trans kids can thrive and be happy and wonderful in their environments when those around them support and affirm who they are,” Ford told NPR.\u003c/p>\n\u003cp>Including\u003cem> Calvin\u003c/em> in classrooms was important for Ford, who was a teacher in D.C. public schools for 15 years. She said they’ve done virtual school and library visits all over the country, from Oregon to Pennsylvania to Texas.\u003c/p>\n\u003cp>“We want this being utilized in classrooms as a mirror to kids who need to see themselves, and a window for other kids who need to understand what it means to be gender diverse or transgender,” Ford said.\u003c/p>\n\u003ch2>A story about ‘unconditional love’\u003c/h2>\n\u003cp>Growing up, Maryann Jacob Macias loved ballet. But she didn’t like the itchy, polyester outfit that came with it. She was much more partial to the T-shirt and leggings, which was known as the boys’ costume.\u003c/p>\n\u003cp>A young Jacob Macias later dropped ballet altogether, because she felt she couldn’t do it in a way that was “comfortable for me,” she told NPR. But in her book, \u003cem>Téo’s Tutu\u003c/em>, she tells a story where a young Téo thrives in his tutu. It’s a story about “unconditional love,” she added.\u003c/p>\n\u003cfigure id=\"attachment_13911383\" class=\"wp-caption aligncenter\" style=\"max-width: 406px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/teos-tutu_custom-65c32be9d0d2500828b2bad6f5f2f7c0cdf13d35-s1600-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13911383\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/teos-tutu_custom-65c32be9d0d2500828b2bad6f5f2f7c0cdf13d35-s1600-c85.jpg\" alt=\"A colorful children's book cover shows a young child with an Afro dancing in a tutu\" width=\"406\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/teos-tutu_custom-65c32be9d0d2500828b2bad6f5f2f7c0cdf13d35-s1600-c85.jpg 406w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/teos-tutu_custom-65c32be9d0d2500828b2bad6f5f2f7c0cdf13d35-s1600-c85-160x177.jpg 160w\" sizes=\"(max-width: 406px) 100vw, 406px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Téo’s Tutu’ by Maryann Jacob Macias. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In the book, she introduces Téo who is growing up in an Indian and Colombian family, mirroring her own family. Téo loves dancing at home with his family, whether Cumbia or Bhangra, she said. And naturally, Téo is very excited for his first ballet class.\u003c/p>\n\u003cp>“When it comes time to decide which outfit to wear in the recital, whether it’s the sparkly tutu or the shimmering silver pants and T-shirt,” Jacob Macias said, “he wonders if the audience will love him back.”\u003c/p>\n\u003cp>Téo’s story tells readers that “you’re magnificent and you deserve to show up as your best self,” Jacob Macias said.\u003c/p>\n\u003cp>It also might help some readers feel seen. Jacob Macias recalls reading books when she was younger where she couldn’t see herself.\u003c/p>\n\u003cp>“I remember not having books where I felt represented as a little brown girl,” Jacob Macias told NPR. “It was always my dream to write those books and I feel very fortunate that I’m able to do that now.”\u003c/p>\n\u003ch2>Queer and trans communities are not monolithic\u003c/h2>\n\u003cp>In less than two weeks, Kyle Lukoff’s latest book \u003cem>Different Kinds of Fruit\u003c/em> is set for release. The book tells the story of Annabelle, who is just starting sixth grade. Annabelle, who’s realizing that she might not like boys the way some other girls do, befriends Bailey, the new kid.\u003c/p>\n\u003cp>Annabelle thinks they’re pretty cool, and she is drawn to their smile. She later learns that her father and Bailey might have something in common.\u003c/p>\n\u003cp>Annabelle’s father later reveals to her that he is trans, and he had given birth to her. But his local trans community wasn’t supportive of his choice, Lukoff told NPR.\u003c/p>\n\u003cp>The novel follows Annabelle’s emotional journey as she learns more about her parents and her own identity.\u003c/p>\n\u003cp>Lukoff hopes the novel shows that queer and trans communities are diverse. Queer and trans people don’t always agree with each other, whether on politics or in the ways folks talk about their identities, he said.\u003c/p>\n\u003cp>“I would love for people to come away from this book and realize that there’s no one correct way to interact with trans people because we often have different needs and experiences,” he said. “And also, that that’s okay.”\u003c/p>\n\u003ch2>A conversation starter for the youngest readers\u003c/h2>\n\u003cp>Behind Tyler Feder’s \u003cem>Bodies are Cool \u003c/em>was an immense spreadsheet. It was filled with all of the qualities of bodies that she wanted to document in the colorful book. The book, she says, carries a bit of a “Where’s Waldo” energy.\u003c/p>\n\u003cfigure id=\"attachment_13911384\" class=\"wp-caption aligncenter\" style=\"max-width: 600px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13911384\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-800x800.jpg\" alt=\"A children's book with a pink background shows bodies of different shapes, sizes and colors\" width=\"600\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85-1536x1536.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/bodies-are-cool_custom-ee0af9bdc0bd3b93cebe098d58f8b0582a1cce66-s1600-c85.jpg 1600w\" sizes=\"(max-width: 600px) 100vw, 600px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">‘Bodies are Cool’ by Tyler Feder. \u003ccite>(Penguin Random House)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>Bodies are Cool\u003c/em>, tons of people — maybe more than 100, Feder says — are shown with different gender presentations, hair types, skin colors, body sizes and shapes, she told NPR.\u003c/p>\n\u003cp>Even those who can’t read yet can engage with the book just by looking at the pages, and asking their parents questions if they have any.\u003c/p>\n\u003cp>The book includes folks with top-surgery scars in different stages of healing. Feder hopes the book shows that “it’s normal to be trans or visibly queer or very fat or with a really noticeable disability.”\u003c/p>\n\u003cp>Across all of the pages, joy is universal. Feder depicts colorful crowds of people who love each other, are friendly and are just having fun, she tells NPR.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“If [kids] just start out thinking that everyone’s fine how they are, they’ll grow up and not want to discriminate,” she said.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=These+kids%27+authors+are+telling+the+stories+of+trans+youth.+Book+bans+won%27t+stop+them&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In Marvel's Uneven 'Moon Knight,' Oscar Isaac Waxes and Wanes",
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"content": "\u003cp>The ‘reluctant hero’ cliche is a tough thing to get right.\u003c/p>\n\u003cp>Whenever a creator busts it out, they’re knowingly inviting the audience’s frustration—in fact, they’re \u003cem>using \u003c/em>it, to drive the story. We the audience don’t understand why a character gifted with whatever power they’re gifted with would avoid using that power; we paid our money to see that power unleashed, after all.\u003c/p>\n\u003cp>But the creator wants to build tension, so for long stretches of time the hero stubbornly refuses to go full ham, even when the situation clearly calls for it. The creator is surfing on a wave of the audience’s frustration for as long as they can, knowing that it will inevitably crash.\u003c/p>\n\u003cp>[aside postid='arts_13902470']In conventional hero stories, the reason for the refusal tends to devolve to 1. an attempt to avoid the weight of heroic responsibility, or 2. an attempt to prevent lots and lots of bad guys from dying extremely wet, splattery, flesh-gobbetty deaths.\u003c/p>\n\u003cp>In Marvel’s \u003cem>Moon Knight\u003c/em>, Steven Grant (Oscar Isaac), the meek museum gift-shop clerk who learns that his sleepwalking condition is more a sleepmurdering condition, is your classic Option 2 kind of guy. He’s horrified at the knowledge that he seems to be sharing his body with a grim ultraviolent mercenary named Marc Spector (also Oscar Isaac), with whom he can only converse by gazing into a mirror or other reflective surface.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(Luckily, Steven/Marc’s particular corner of the Marvel Universe is positively \u003cem>festooned \u003c/em>with wildly convenient reflective surfaces. Seriously, everywhere he looks. The whole show might as well take place in a Bed Bath and Beyond.)\u003c/p>\n\u003cp>The series grounds us in Steven’s point-of-view from the start, which is smart—we get to come along for the ride as he slips in and out of control of the body he shares. These sequences are among the show’s cleverest and most entertaining. Creator Jeremy Slater and his team delight in frustrating our expectations by frequently denying us the visceral thrill of onscreen violence and having Steven “awaken” only in its grisly aftermath.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LzXkpLQUWQo\u003c/p>\n\u003ch3>The reluctant hero setup backfires\u003c/h3>\n\u003cp>Eventually, around halfway through the season’s run (\u003cem>Moon Knight \u003c/em>is a six-episode series, the first four of which were made available to critics), the show dutifully locks into the familiar ‘reluctant hero’ schtick: Marc wants to take over to deal with the bad guys, Steven refuses to let him but then relents, rinse, repeat.\u003c/p>\n\u003cp>The problem, however, is that we the audience aren’t where the show wants us to be, whenever Marc finally gets to unleash himself on the baddies. That all-important impatient/frustrated threshold is still miles away.\u003c/p>\n\u003cp>[aside postid='arts_13901046']Because Marc? Hardcore, badass man of adventure? Is boring.\u003c/p>\n\u003cp>But Steven? Goofy, bumbling museum nerd? Is funny.\u003c/p>\n\u003cp>Isaac is clearly having a great time playing Steven, investing the character with a roster of iffily-accented Cockney vocal tics and other bits of business to flesh him out and make him someone we can care about.\u003c/p>\n\u003cp>But in the underwritten role of Marc, Isaac seems determined to disavow his natural actorly charisma to play a glum, laconic cipher. If he’s going for “lone wolf, wounded by his past,” he’s ended up closer to “surly, jet-lagged office manager.”\u003c/p>\n\u003cp>The net effect is to reverse our rooting interest—instead of impatiently waiting for Steven to let Marc take over and unleash hell, we find ourselves hoping Steven can keep hanging around, so we don’t have to deal with Marc and his one-note, dull-as-dishwater machismo.\u003c/p>\n\u003ch3>\u003cem>Moon Knight\u003c/em> is mostly not about Moon Knight\u003c/h3>\n\u003cp>You might notice I haven’t gotten around to Moon Knight himself, yet. You know: The \u003ca href=\"https://media.giphy.com/media/26hkhQfnuQIiTEgs8/giphy.gif\" target=\"_blank\" rel=\"noopener noreferrer\">titular role\u003c/a>? The guy in the white suit who’s on all the promo materials? Looks like what would happen if you mummified Deadpool? That guy?\u003c/p>\n\u003cp>That’s because the show doesn’t really get around to him a lot, either. Oh, he shows up from time to time, as he’s the avatar of the ancient Egyptian god Khonshu (who also shows up a bunch, mostly to neg on Steven—he’s voiced by F. Murray Abraham). (If you’ve seen \u003cem>Inside Llewyn Davis\u003c/em>, it’s fun to imagine the bird-skull-headed mummy god telling Steven/Marc “I don’t see money here,” in their every scene together.)\u003c/p>\n\u003cp>Both Marc and Steven can become Moon Knight, it turns out—and the show has some fun with their divergent takes on the hero—but \u003cem>Moon Knigh\u003c/em>t is mostly the Steven and Marc show.\u003c/p>\n\u003cp>[aside postid='arts_13904458']That might be the writers deliberately frustrating our expectations again, or it might have more to do with Isaac not wanting to be acting through a facemask in his scenes with Ethan Hawke’s Arthur Harrow, a cult leader doing the dirty work of a rival Egyptian god.\u003c/p>\n\u003cp>\u003cem>Moon Knight\u003c/em>, though a Marvel Universe series, maintains a narrow, almost hermetic focus on the Steven/Marc dynamic in its early episodes. Marvel fans looking for the usual dense network of narrative connections to other properties will have to content themselves with tossed-off asides (“that business in Madripoor”), even though the show’s whole ancient-beings-walk-among-us vibe would seem to invite attention from an Eternal or two.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Something happens at the end of the fourth episode that points to a potential shake-up in the show’s narrative mix between Steven and Marc, which seems promising. In the meantime, however, \u003cem>Moon Knight\u003c/em> plays out as an insular psychodrama involving the three characters (Steven/Marc/Moon Knight) played by Isaac, only one of which—Steven, bruv—is clearly defined enough to hold our interest.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Marvel%27s+uneven+%27Moon+Knight%2C%27+Oscar+Isaac+waxes+and+wanes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The ‘reluctant hero’ cliche is a tough thing to get right.\u003c/p>\n\u003cp>Whenever a creator busts it out, they’re knowingly inviting the audience’s frustration—in fact, they’re \u003cem>using \u003c/em>it, to drive the story. We the audience don’t understand why a character gifted with whatever power they’re gifted with would avoid using that power; we paid our money to see that power unleashed, after all.\u003c/p>\n\u003cp>But the creator wants to build tension, so for long stretches of time the hero stubbornly refuses to go full ham, even when the situation clearly calls for it. The creator is surfing on a wave of the audience’s frustration for as long as they can, knowing that it will inevitably crash.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In conventional hero stories, the reason for the refusal tends to devolve to 1. an attempt to avoid the weight of heroic responsibility, or 2. an attempt to prevent lots and lots of bad guys from dying extremely wet, splattery, flesh-gobbetty deaths.\u003c/p>\n\u003cp>In Marvel’s \u003cem>Moon Knight\u003c/em>, Steven Grant (Oscar Isaac), the meek museum gift-shop clerk who learns that his sleepwalking condition is more a sleepmurdering condition, is your classic Option 2 kind of guy. He’s horrified at the knowledge that he seems to be sharing his body with a grim ultraviolent mercenary named Marc Spector (also Oscar Isaac), with whom he can only converse by gazing into a mirror or other reflective surface.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(Luckily, Steven/Marc’s particular corner of the Marvel Universe is positively \u003cem>festooned \u003c/em>with wildly convenient reflective surfaces. Seriously, everywhere he looks. The whole show might as well take place in a Bed Bath and Beyond.)\u003c/p>\n\u003cp>The series grounds us in Steven’s point-of-view from the start, which is smart—we get to come along for the ride as he slips in and out of control of the body he shares. These sequences are among the show’s cleverest and most entertaining. Creator Jeremy Slater and his team delight in frustrating our expectations by frequently denying us the visceral thrill of onscreen violence and having Steven “awaken” only in its grisly aftermath.\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/LzXkpLQUWQo'\n title='//www.youtube.com/embed/LzXkpLQUWQo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>The reluctant hero setup backfires\u003c/h3>\n\u003cp>Eventually, around halfway through the season’s run (\u003cem>Moon Knight \u003c/em>is a six-episode series, the first four of which were made available to critics), the show dutifully locks into the familiar ‘reluctant hero’ schtick: Marc wants to take over to deal with the bad guys, Steven refuses to let him but then relents, rinse, repeat.\u003c/p>\n\u003cp>The problem, however, is that we the audience aren’t where the show wants us to be, whenever Marc finally gets to unleash himself on the baddies. That all-important impatient/frustrated threshold is still miles away.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Because Marc? Hardcore, badass man of adventure? Is boring.\u003c/p>\n\u003cp>But Steven? Goofy, bumbling museum nerd? Is funny.\u003c/p>\n\u003cp>Isaac is clearly having a great time playing Steven, investing the character with a roster of iffily-accented Cockney vocal tics and other bits of business to flesh him out and make him someone we can care about.\u003c/p>\n\u003cp>But in the underwritten role of Marc, Isaac seems determined to disavow his natural actorly charisma to play a glum, laconic cipher. If he’s going for “lone wolf, wounded by his past,” he’s ended up closer to “surly, jet-lagged office manager.”\u003c/p>\n\u003cp>The net effect is to reverse our rooting interest—instead of impatiently waiting for Steven to let Marc take over and unleash hell, we find ourselves hoping Steven can keep hanging around, so we don’t have to deal with Marc and his one-note, dull-as-dishwater machismo.\u003c/p>\n\u003ch3>\u003cem>Moon Knight\u003c/em> is mostly not about Moon Knight\u003c/h3>\n\u003cp>You might notice I haven’t gotten around to Moon Knight himself, yet. You know: The \u003ca href=\"https://media.giphy.com/media/26hkhQfnuQIiTEgs8/giphy.gif\" target=\"_blank\" rel=\"noopener noreferrer\">titular role\u003c/a>? The guy in the white suit who’s on all the promo materials? Looks like what would happen if you mummified Deadpool? That guy?\u003c/p>\n\u003cp>That’s because the show doesn’t really get around to him a lot, either. Oh, he shows up from time to time, as he’s the avatar of the ancient Egyptian god Khonshu (who also shows up a bunch, mostly to neg on Steven—he’s voiced by F. Murray Abraham). (If you’ve seen \u003cem>Inside Llewyn Davis\u003c/em>, it’s fun to imagine the bird-skull-headed mummy god telling Steven/Marc “I don’t see money here,” in their every scene together.)\u003c/p>\n\u003cp>Both Marc and Steven can become Moon Knight, it turns out—and the show has some fun with their divergent takes on the hero—but \u003cem>Moon Knigh\u003c/em>t is mostly the Steven and Marc show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That might be the writers deliberately frustrating our expectations again, or it might have more to do with Isaac not wanting to be acting through a facemask in his scenes with Ethan Hawke’s Arthur Harrow, a cult leader doing the dirty work of a rival Egyptian god.\u003c/p>\n\u003cp>\u003cem>Moon Knight\u003c/em>, though a Marvel Universe series, maintains a narrow, almost hermetic focus on the Steven/Marc dynamic in its early episodes. Marvel fans looking for the usual dense network of narrative connections to other properties will have to content themselves with tossed-off asides (“that business in Madripoor”), even though the show’s whole ancient-beings-walk-among-us vibe would seem to invite attention from an Eternal or two.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Something happens at the end of the fourth episode that points to a potential shake-up in the show’s narrative mix between Steven and Marc, which seems promising. In the meantime, however, \u003cem>Moon Knight\u003c/em> plays out as an insular psychodrama involving the three characters (Steven/Marc/Moon Knight) played by Isaac, only one of which—Steven, bruv—is clearly defined enough to hold our interest.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Marvel%27s+uneven+%27Moon+Knight%2C%27+Oscar+Isaac+waxes+and+wanes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the most popular actors of his generation has announced his departure from the screen. Bruce Willis’ daughter, Rumer Willis, shared \u003ca href=\"https://www.instagram.com/p/Cbu-CyELWio/\" target=\"_blank\" rel=\"noopener noreferrer\">the following statement on Instagram\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“To Bruce’s amazing supporters, as a family we wanted to share that our beloved Bruce has been experiencing some health issues and has recently been diagnosed with aphasia, which is impacting his cognitive abilities. As a result of this and with much consideration Bruce is stepping away from the career that has meant so much to him. This is a really challenging time for our family and we are so appreciative of your continued love, compassion and support. We are moving through this as a strong family unit, and wanted to bring his fans in because we know how much he means to you, as you do to him. As Bruce always says, “Live it up” and together we plan to do just that. Love, Emma, Demi, Rumer, Scout, Tallulah, Mabel, & Evelyn”\u003c/p>\u003c/blockquote>\n\u003cp>Aphasia is a cognitive condition that affects the ability to speak, write and understand language. It can occur after strokes or head injuries, and can lead in some cases to dementia.\u003c/p>\n\u003cp>[aside postid='arts_13862625']Willis overcame a \u003ca href=\"https://www.npr.org/2019/11/24/782403559/joe-bidens-stutter\" target=\"_blank\" rel=\"noopener noreferrer\">stutter \u003c/a>to become an A-list leading man. His early career in theater led to a starring role in the hit TV series \u003cem>Moonlighting\u003c/em>, which began in 1985. As a sardonic private detective with blue-collar grit, Willis was perfectly positioned for his next major role as the wiseacre cop John McClane in the movie \u003cem>Die Hard\u003c/em>. \u003ca href=\"https://www.npr.org/2021/03/18/978734467/die-hard-welcome-to-the-podcast-pal\" target=\"_blank\" rel=\"noopener noreferrer\">The film\u003c/a> spawned a massive franchise and etched Willis into the mythology of American manhood with catchphrases that cannot be repeated in these pages.\u003c/p>\n\u003cp>Over the years, Willis has appeared in nearly 150 films and TV shows, including \u003cem>Pulp Fiction\u003c/em>, \u003cem>12 Monkeys\u003c/em>, \u003cem>The Fifth Element\u003c/em> and \u003cem>Moonrise Kingdom\u003c/em>. His IMDB credits list eight productions released in 2021 alone, and 11 for 2022. Some of those films and shows are in pre-production; it is unclear whether Willis will ultimately appear in movies such as \u003cem>Fortress 3\u003c/em>, where he’s listed as a co-star with Chad Michael Murray or \u003cem>Paradise City\u003c/em> with John Travolta.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bruce+Willis+stepping+away+from+acting+for+health+reasons%2C+his+family+says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the most popular actors of his generation has announced his departure from the screen. Bruce Willis’ daughter, Rumer Willis, shared \u003ca href=\"https://www.instagram.com/p/Cbu-CyELWio/\" target=\"_blank\" rel=\"noopener noreferrer\">the following statement on Instagram\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“To Bruce’s amazing supporters, as a family we wanted to share that our beloved Bruce has been experiencing some health issues and has recently been diagnosed with aphasia, which is impacting his cognitive abilities. As a result of this and with much consideration Bruce is stepping away from the career that has meant so much to him. This is a really challenging time for our family and we are so appreciative of your continued love, compassion and support. We are moving through this as a strong family unit, and wanted to bring his fans in because we know how much he means to you, as you do to him. As Bruce always says, “Live it up” and together we plan to do just that. Love, Emma, Demi, Rumer, Scout, Tallulah, Mabel, & Evelyn”\u003c/p>\u003c/blockquote>\n\u003cp>Aphasia is a cognitive condition that affects the ability to speak, write and understand language. It can occur after strokes or head injuries, and can lead in some cases to dementia.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Foo Fighters Cancel All Tour Dates After Drummer Taylor Hawkins' Death",
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"content": "\u003cp>The multi-platinum rock band \u003ca href=\"https://www.npr.org/artists/17000138/foo-fighters\" target=\"_blank\" rel=\"noopener noreferrer\">Foo Fighters\u003c/a> has canceled all of its upcoming tour dates \u003ca href=\"https://www.npr.org/2022/03/26/1088990158/foo-fighters-taylor-hawkins-dead\" target=\"_blank\" rel=\"noopener noreferrer\">after the death of its drummer\u003c/a>, Taylor Hawkins.\u003c/p>\n\u003cp>“It is with great sadness that Foo Fighters confirm the cancellation of all upcoming tour dates in light of the staggering loss of our brother Taylor Hawkins,” the band said in a \u003ca href=\"https://www.instagram.com/p/CbssjSUv5Ny/\" target=\"_blank\" rel=\"noopener noreferrer\">brief statement\u003c/a> sent to NPR on Tuesday.\u003c/p>\n\u003cp>[aside postid='arts_13905745']“We’re sorry for and share in the disappointment that we won’t be seeing one another as planned. Instead, let’s take this time to grieve, to heal, to pull our loved ones close, and to appreciate all the music and memories we’ve made together. With Love, Foo Fighters.”\u003c/p>\n\u003cp>The band is scheduled to perform at the Grammy Awards in Las Vegas this Sunday, where it has been nominated for three awards. NPR has asked Foo Fighters’ representatives if the band will still appear on the telecast, but did not receive an immediate reply.\u003c/p>\n\u003cp>Hawkins died at age 50 in Bogota, Colombia, on Friday, where the group had been scheduled to perform. An official cause of death hasn’t yet been released.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/consequence/status/1507895101799944203\u003c/p>\n\u003cp>On Saturday evening, Colombia’s attorney general’s office \u003ca href=\"https://twitter.com/FiscaliaCol/status/1507841327224213504?s=20&t=wemzT4bUqYQptcyEcdxTlw\" target=\"_blank\" rel=\"noopener noreferrer\">released\u003c/a> a preliminary toxicology report, saying that medical examiners found evidence of 10 types of substances in Hawkins’ body, including opioids, benzodiazepines, marijuana and antidepressants. It said that its forensics report on Hawkins continues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hawkins had been in Foo Fighters since 1997, three years after the band began. Before that, he had been the touring drummer for Alanis Morissette. During Hawkins’ time with Foo Fighters, the band won 12 Grammy Awards and scored four No. 1 hits on the Billboard charts.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Foo+Fighters+cancel+all+tour+dates+after+drummer+Taylor+Hawkins%27+death&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The multi-platinum rock band \u003ca href=\"https://www.npr.org/artists/17000138/foo-fighters\" target=\"_blank\" rel=\"noopener noreferrer\">Foo Fighters\u003c/a> has canceled all of its upcoming tour dates \u003ca href=\"https://www.npr.org/2022/03/26/1088990158/foo-fighters-taylor-hawkins-dead\" target=\"_blank\" rel=\"noopener noreferrer\">after the death of its drummer\u003c/a>, Taylor Hawkins.\u003c/p>\n\u003cp>“It is with great sadness that Foo Fighters confirm the cancellation of all upcoming tour dates in light of the staggering loss of our brother Taylor Hawkins,” the band said in a \u003ca href=\"https://www.instagram.com/p/CbssjSUv5Ny/\" target=\"_blank\" rel=\"noopener noreferrer\">brief statement\u003c/a> sent to NPR on Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We’re sorry for and share in the disappointment that we won’t be seeing one another as planned. Instead, let’s take this time to grieve, to heal, to pull our loved ones close, and to appreciate all the music and memories we’ve made together. With Love, Foo Fighters.”\u003c/p>\n\u003cp>The band is scheduled to perform at the Grammy Awards in Las Vegas this Sunday, where it has been nominated for three awards. NPR has asked Foo Fighters’ representatives if the band will still appear on the telecast, but did not receive an immediate reply.\u003c/p>\n\u003cp>Hawkins died at age 50 in Bogota, Colombia, on Friday, where the group had been scheduled to perform. An official cause of death hasn’t yet been released.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>On Saturday evening, Colombia’s attorney general’s office \u003ca href=\"https://twitter.com/FiscaliaCol/status/1507841327224213504?s=20&t=wemzT4bUqYQptcyEcdxTlw\" target=\"_blank\" rel=\"noopener noreferrer\">released\u003c/a> a preliminary toxicology report, saying that medical examiners found evidence of 10 types of substances in Hawkins’ body, including opioids, benzodiazepines, marijuana and antidepressants. It said that its forensics report on Hawkins continues.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hawkins had been in Foo Fighters since 1997, three years after the band began. Before that, he had been the touring drummer for Alanis Morissette. During Hawkins’ time with Foo Fighters, the band won 12 Grammy Awards and scored four No. 1 hits on the Billboard charts.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Foo+Fighters+cancel+all+tour+dates+after+drummer+Taylor+Hawkins%27+death&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>This year’s face slap of Chris Rock by Will Smith was just the latest bizarre moment in the history of the Academy Awards.\u003c/p>\n\u003cp>[aside postid='pop_105648']From Roberto Benigni climbing across the theater’s chairs between him and his statuette to \u003ca href=\"https://pagesix.com/article/bjork-swan-dress-oscars-2001/\" target=\"_blank\" rel=\"noopener noreferrer\">Björk laying eggs on the red carpet\u003c/a>, Oscar ceremonies often go off script, sometimes spectacularly so.\u003c/p>\n\u003cp>We look back to five cases of the best-laid plans going awry, in ways serious, slapstick and slapdash.\u003c/p>\n\u003ch3>\u003cstrong>An early night\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=2riKdGOdU3E\u003c/p>\n\u003cp>That the Oscars ran too short might seem improbable as we now regularly approach a three-and-a-half-hour run time, but that is exactly what happened during the 31st Academy Awards in 1959. In an ultimately overzealous effort to make sure the show ran on time, the show’s producer Jerry Wald began cutting numbers from the show, leading the ceremony to end 20 minutes short of its intended two-hour run. Host Jerry Lewis and several other celebrities were left to improvise before NBC cut to a rerun of a sports broadcast.\u003c/p>\n\u003ch3>\u003cstrong>An Oscar he did refuse\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=2QUacU0I4yU\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While politically charged speeches may be par for the course nowadays, that was not the case in 1973, when Sacheen Littlefeather endured taunts and jeers as she took the stage to reject an Oscar on behalf of best actor winner Marlon Brando. Littlefeather, an Apache actress, said Brando “very regretfully cannot accept this very generous award. And the reasons for this being are the treatment of American Indians today by the film industry … and also with recent happenings at Wounded Knee. I beg at this time that I have not intruded upon this evening and that we will in the future, our hearts and our understandings will meet with love and generosity.”\u003c/p>\n\u003cp>[aside postid='arts_13869074']To make the event even more surreal, Western star John Wayne—who spent a large portion of his career pretending to slaughter Native Americans on-screen—\u003ca href=\"https://www.theglobeandmail.com/arts/awards-and-festivals/film-awards/sacheen-littlefeather-marlon-brandos-one-time-oscars-accomplice-on-how-hollywood-has-changed/article28901215/\" target=\"_blank\" rel=\"noopener noreferrer\">was backstage wanting to remove Littlefeather before she spoke, according to an interview she gave in later years.\u003c/a>\u003c/p>\n\u003cp>After the ceremony, Littlefeather read to journalists \u003ca href=\"https://archive.nytimes.com/www.nytimes.com/packages/html/movies/bestpictures/godfather-ar3.html\" target=\"_blank\" rel=\"noopener noreferrer\">the full 15-page speech Brando had prepared\u003c/a>. The speech is credited with bringing more attention to the Wounded Knee standoff between the Oglala and the United States government.\u003c/p>\n\u003ch3>\u003cstrong>“Nothing to Hide”\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=EWBc-ir6IFM\u003c/p>\n\u003cp>Gay rights activist Robert Opel didn’t worry too much about what he was going to wear to the 1974 Academy Awards, opting instead to streak the stage wearing nothing more than his mustache—just before the award ceremony announced the winner for best picture. Opel, no stranger to public nudity, would later bare it all at a Los Angeles City Council meeting—interrupting a debate on outlawing nudity on public beaches—and even run for president as a nudist under the slogan “Nothing to Hide.”\u003c/p>\n\u003cp>After Opel’s brief performance, host David Niven offered the devastating quip, “Isn’t it fascinating to think that probably the only laugh that man will ever get in life is by stripping off and showing his shortcomings?”\u003c/p>\n\u003ch3>\u003cstrong>Sometimes the risk doesn’t pay off\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=9mronRVvdmw\u003c/p>\n\u003cp>The most alarming part of this incident might be that it was planned. The 61st Academy Awards opened with an 11-minute song and dance number starring Rob Lowe and Eileen Bowman as Snow White and featured lavish costumes, plenty of sparkles, and little to no relevance to the rest of the show.\u003c/p>\n\u003ch3>\u003cstrong>And the winner is…?\u003c/strong>\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=GCQn_FkFElI\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In 2012 a photograph of the still very alive film producer Jan Chapman was featured during the In Memoriam segment, and Faye Dunaway and Warren Beatty announced that \u003cem>La La Land\u003c/em> had won best picture. The cast and crew of the film, which had already won 12 other awards, were ecstatic as they crowded the stage. But after thanking his family and the Academy, producer Jordan Horowitz quickly returned to the microphone and announced that there had been a mistake: \u003ca href=\"https://www.npr.org/2017/02/27/517563215/la-la-land-producer-reacts-to-best-picture-blunder\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Moonlight\u003c/em> had won best picture\u003c/a>. Amid the chaos that ensued Beatty explained that he and Dunaway had been given the card from the previous award: Emma Stone, in \u003cem>La La Land\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+most+unexpected+moments+in+Oscars%27+history&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>From Roberto Benigni climbing across the theater’s chairs between him and his statuette to \u003ca href=\"https://pagesix.com/article/bjork-swan-dress-oscars-2001/\" target=\"_blank\" rel=\"noopener noreferrer\">Björk laying eggs on the red carpet\u003c/a>, Oscar ceremonies often go off script, sometimes spectacularly so.\u003c/p>\n\u003cp>We look back to five cases of the best-laid plans going awry, in ways serious, slapstick and slapdash.\u003c/p>\n\u003ch3>\u003cstrong>An early night\u003c/strong>\u003c/h3>\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/2riKdGOdU3E'\n title='//www.youtube.com/embed/2riKdGOdU3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That the Oscars ran too short might seem improbable as we now regularly approach a three-and-a-half-hour run time, but that is exactly what happened during the 31st Academy Awards in 1959. In an ultimately overzealous effort to make sure the show ran on time, the show’s producer Jerry Wald began cutting numbers from the show, leading the ceremony to end 20 minutes short of its intended two-hour run. Host Jerry Lewis and several other celebrities were left to improvise before NBC cut to a rerun of a sports broadcast.\u003c/p>\n\u003ch3>\u003cstrong>An Oscar he did refuse\u003c/strong>\u003c/h3>\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/2QUacU0I4yU'\n title='//www.youtube.com/embed/2QUacU0I4yU'\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>To make the event even more surreal, Western star John Wayne—who spent a large portion of his career pretending to slaughter Native Americans on-screen—\u003ca href=\"https://www.theglobeandmail.com/arts/awards-and-festivals/film-awards/sacheen-littlefeather-marlon-brandos-one-time-oscars-accomplice-on-how-hollywood-has-changed/article28901215/\" target=\"_blank\" rel=\"noopener noreferrer\">was backstage wanting to remove Littlefeather before she spoke, according to an interview she gave in later years.\u003c/a>\u003c/p>\n\u003cp>After the ceremony, Littlefeather read to journalists \u003ca href=\"https://archive.nytimes.com/www.nytimes.com/packages/html/movies/bestpictures/godfather-ar3.html\" target=\"_blank\" rel=\"noopener noreferrer\">the full 15-page speech Brando had prepared\u003c/a>. The speech is credited with bringing more attention to the Wounded Knee standoff between the Oglala and the United States government.\u003c/p>\n\u003ch3>\u003cstrong>“Nothing to Hide”\u003c/strong>\u003c/h3>\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/EWBc-ir6IFM'\n title='//www.youtube.com/embed/EWBc-ir6IFM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gay rights activist Robert Opel didn’t worry too much about what he was going to wear to the 1974 Academy Awards, opting instead to streak the stage wearing nothing more than his mustache—just before the award ceremony announced the winner for best picture. 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The 61st Academy Awards opened with an 11-minute song and dance number starring Rob Lowe and Eileen Bowman as Snow White and featured lavish costumes, plenty of sparkles, and little to no relevance to the rest of the show.\u003c/p>\n\u003ch3>\u003cstrong>And the winner is…?\u003c/strong>\u003c/h3>\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/GCQn_FkFElI'\n title='//www.youtube.com/embed/GCQn_FkFElI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>In 2012 a photograph of the still very alive film producer Jan Chapman was featured during the In Memoriam segment, and Faye Dunaway and Warren Beatty announced that \u003cem>La La Land\u003c/em> had won best picture. 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To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+most+unexpected+moments+in+Oscars%27+history&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>There are so many Sandra Bullocks, and there are so many Channing Tatums.\u003c/p>\n\u003cp>Putting these two in a movie together could give you the gritty and dramatic, the glamorous, or the swooning and romantic version of both. But happily, \u003cem>The Lost City \u003c/em>gives you their silly romantic-comedy version. I must admit: In both cases, I think it’s my favorite.\u003c/p>\n\u003cp>[aside postid='arts_13911018']Bullock plays Loretta, who started out as an anthropologist and, after the death of her husband and collaborator, used that knowledge to write a hugely popular series of adventure romance novels featuring a hero named Dash. Tatum plays Alan, the cover model who represents Dash, whose Fabio-ish flowing locks have made him even more popular with Loretta’s fans than she is. Loretta is ambivalent as she debuts her latest novel; she’s in a rut with these characters, and to the dismay of her editor, Beth (Da’Vine Joy Randolph), she’s thinking about just closing down the whole franchise. Among other things, she’s sick of being forced to promote her books alongside Alan, whom she considers vain and dopey.\u003c/p>\n\u003cp>Loretta is in the middle of blowing up her book tour when she is grabbed by a couple of dudes who work for a rich jerk named Abigail Fairfax (Daniel Radcliffe), whose reason for kidnapping Loretta relates to her academic work rather than her novels. When Alan—who does like Loretta, even though she doesn’t like him at all—realizes she’s in trouble, he decides to try to rescue her. So it turns into an adventure-romcom, and of course they learn to like each other, and comedy ensues.\u003c/p>\n\u003cp>The obvious reference here is \u003cem>Romancing the Stone\u003c/em>, the 1984 film in which Kathleen Turner plays a romance novelist who gets swept up in an adventure with Michael Douglas’ on-the-nose rugged adventure hero. But this is really an inversion of that idea, given that Alan is very much not Dash, and in a very funny sequence I really don’t want to spoil, you get a chance to see him alongside a guy who \u003cem>is \u003c/em>more like Dash, and the two could not be more different.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nfKO9rYDmE8\u003c/p>\n\u003cp>There’s not much to this movie from a plot perspective, and few of the story beats are going to surprise anybody or \u003cem>say \u003c/em>anything. (Although I do like the way that what threatens early on to become a distasteful caricature of romance writing gets some reconsideration as the film goes along.) The draw in \u003cem>The Lost City \u003c/em>is simply the fabulous time everybody seems to be having, particularly Bullock and Tatum, who are delightful together, and both of whom capitalize very well on their skills in physical comedy.\u003c/p>\n\u003cp>[aside postid='arts_13910958']Channing Tatum is one of the best of his generation at understanding his physical self and using it in interesting ways, from the dancing in \u003cem>Step Up \u003c/em>and \u003cem>Magic Mike, \u003c/em>to the unexpected action scenes in \u003cem>Haywire, \u003c/em>to the stillness of the athlete he played in \u003cem>Foxcatcher, \u003c/em>to his talent in comedy. He has not only a dancer’s understanding of dance itself, but a dancer’s understanding of his body and how it plays in different settings. Here, he takes a character who is introduced as a perfect specimen and finds the guy’s inner doofus. And it’s not just through pratfalls—it’s through small, smart choices (how he runs, how he crouches, how he stands, what he looks like when he’s scared) that strip away cover-model swagger and emphasize that an action hero is not just a guy who goes to the gym.\u003c/p>\n\u003cp>This kind of being funny is also one of Sandra Bullock’s strengths. She’s always been good in comedies \u003cem>and \u003c/em>in action movies with comedy elements, like \u003cem>Speed\u003c/em>, in part because she understands not only how to deliver jokes, but how to \u003cem>look\u003c/em> funny. Most of \u003cem>Miss Congeniality \u003c/em>is about this; she is why it works. And there’s a moment in \u003cem>While You Were Sleeping\u003c/em> in which the great Jason Bernard, playing Bullock’s boss, gives her a blunt assessment of her standing as the fake fiancée of a man in a coma, and she makes what might be the most inspired \u003ca href=\"https://twitter.com/lindaholmes/status/1055498511746252800?s=20&t=PwJJYWXB9MmUvOlr4JcVSw\" target=\"_blank\" rel=\"noopener noreferrer\">“yikes” face\u003c/a> of the ’90s. When people think of physical comedy, maybe it’s more traditional to mean broad and big sequences, but these are both actors whose talent in comedy is closely connected with how well they understand what looks funny.\u003c/p>\n\u003cp>They’re also both very good at turning on a dime; there’s a scene in which they do get to dance together (if you’re going to be in a romantic comedy with Channing Tatum, you should certainly get to dance with him), and as silly as the rest of the movie is, that scene is pretty sexy. And refreshingly, even though there’s more than 15 years between Bullock and Tatum, nobody talks about it—just like they rarely talk about it when men in romantic films are significantly older than the women they play opposite.\u003c/p>\n\u003cp>[aside postid='arts_13910723']\u003cem>The Lost City\u003c/em> isn’t up there with the brilliantly silly Paul Feig action comedies that it seems to be inspired by, like \u003cem>Spy \u003c/em>and \u003cem>The Heat\u003c/em>. It doesn’t have the joke density they do, nor the multiplicity of inspired supporting performances. (It’s possible the writing got a little scattershot—the screenplay is credited to the directors Adam and Aaron Nee, plus Dana Fox and Oren Uziel, from a story by Seth Gordon. The shaggy script may have had too many cooks.) And despite the fact that Loretta talks (and the movie talks) about how “artifact near a volcano” stories about white “adventurers” are adjacent to colonization, the fact remains that the movie still is calling on a lot of those tropes, even as it tries to critique them a bit.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Still, as a broadly goofy comedy featuring two enormously charismatic leads who are perfectly suited to each other, it scratches a particular itch very, very effectively.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Lost+City%27+is+silly%2C+sexy%2C+movie-star+fun&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are so many Sandra Bullocks, and there are so many Channing Tatums.\u003c/p>\n\u003cp>Putting these two in a movie together could give you the gritty and dramatic, the glamorous, or the swooning and romantic version of both. But happily, \u003cem>The Lost City \u003c/em>gives you their silly romantic-comedy version. I must admit: In both cases, I think it’s my favorite.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bullock plays Loretta, who started out as an anthropologist and, after the death of her husband and collaborator, used that knowledge to write a hugely popular series of adventure romance novels featuring a hero named Dash. Tatum plays Alan, the cover model who represents Dash, whose Fabio-ish flowing locks have made him even more popular with Loretta’s fans than she is. Loretta is ambivalent as she debuts her latest novel; she’s in a rut with these characters, and to the dismay of her editor, Beth (Da’Vine Joy Randolph), she’s thinking about just closing down the whole franchise. Among other things, she’s sick of being forced to promote her books alongside Alan, whom she considers vain and dopey.\u003c/p>\n\u003cp>Loretta is in the middle of blowing up her book tour when she is grabbed by a couple of dudes who work for a rich jerk named Abigail Fairfax (Daniel Radcliffe), whose reason for kidnapping Loretta relates to her academic work rather than her novels. When Alan—who does like Loretta, even though she doesn’t like him at all—realizes she’s in trouble, he decides to try to rescue her. So it turns into an adventure-romcom, and of course they learn to like each other, and comedy ensues.\u003c/p>\n\u003cp>The obvious reference here is \u003cem>Romancing the Stone\u003c/em>, the 1984 film in which Kathleen Turner plays a romance novelist who gets swept up in an adventure with Michael Douglas’ on-the-nose rugged adventure hero. But this is really an inversion of that idea, given that Alan is very much not Dash, and in a very funny sequence I really don’t want to spoil, you get a chance to see him alongside a guy who \u003cem>is \u003c/em>more like Dash, and the two could not be more different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/nfKO9rYDmE8'\n title='//www.youtube.com/embed/nfKO9rYDmE8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s not much to this movie from a plot perspective, and few of the story beats are going to surprise anybody or \u003cem>say \u003c/em>anything. (Although I do like the way that what threatens early on to become a distasteful caricature of romance writing gets some reconsideration as the film goes along.) The draw in \u003cem>The Lost City \u003c/em>is simply the fabulous time everybody seems to be having, particularly Bullock and Tatum, who are delightful together, and both of whom capitalize very well on their skills in physical comedy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Channing Tatum is one of the best of his generation at understanding his physical self and using it in interesting ways, from the dancing in \u003cem>Step Up \u003c/em>and \u003cem>Magic Mike, \u003c/em>to the unexpected action scenes in \u003cem>Haywire, \u003c/em>to the stillness of the athlete he played in \u003cem>Foxcatcher, \u003c/em>to his talent in comedy. He has not only a dancer’s understanding of dance itself, but a dancer’s understanding of his body and how it plays in different settings. Here, he takes a character who is introduced as a perfect specimen and finds the guy’s inner doofus. And it’s not just through pratfalls—it’s through small, smart choices (how he runs, how he crouches, how he stands, what he looks like when he’s scared) that strip away cover-model swagger and emphasize that an action hero is not just a guy who goes to the gym.\u003c/p>\n\u003cp>This kind of being funny is also one of Sandra Bullock’s strengths. She’s always been good in comedies \u003cem>and \u003c/em>in action movies with comedy elements, like \u003cem>Speed\u003c/em>, in part because she understands not only how to deliver jokes, but how to \u003cem>look\u003c/em> funny. Most of \u003cem>Miss Congeniality \u003c/em>is about this; she is why it works. And there’s a moment in \u003cem>While You Were Sleeping\u003c/em> in which the great Jason Bernard, playing Bullock’s boss, gives her a blunt assessment of her standing as the fake fiancée of a man in a coma, and she makes what might be the most inspired \u003ca href=\"https://twitter.com/lindaholmes/status/1055498511746252800?s=20&t=PwJJYWXB9MmUvOlr4JcVSw\" target=\"_blank\" rel=\"noopener noreferrer\">“yikes” face\u003c/a> of the ’90s. When people think of physical comedy, maybe it’s more traditional to mean broad and big sequences, but these are both actors whose talent in comedy is closely connected with how well they understand what looks funny.\u003c/p>\n\u003cp>They’re also both very good at turning on a dime; there’s a scene in which they do get to dance together (if you’re going to be in a romantic comedy with Channing Tatum, you should certainly get to dance with him), and as silly as the rest of the movie is, that scene is pretty sexy. And refreshingly, even though there’s more than 15 years between Bullock and Tatum, nobody talks about it—just like they rarely talk about it when men in romantic films are significantly older than the women they play opposite.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>The Lost City\u003c/em> isn’t up there with the brilliantly silly Paul Feig action comedies that it seems to be inspired by, like \u003cem>Spy \u003c/em>and \u003cem>The Heat\u003c/em>. It doesn’t have the joke density they do, nor the multiplicity of inspired supporting performances. (It’s possible the writing got a little scattershot—the screenplay is credited to the directors Adam and Aaron Nee, plus Dana Fox and Oren Uziel, from a story by Seth Gordon. The shaggy script may have had too many cooks.) And despite the fact that Loretta talks (and the movie talks) about how “artifact near a volcano” stories about white “adventurers” are adjacent to colonization, the fact remains that the movie still is calling on a lot of those tropes, even as it tries to critique them a bit.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, as a broadly goofy comedy featuring two enormously charismatic leads who are perfectly suited to each other, it scratches a particular itch very, very effectively.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27The+Lost+City%27+is+silly%2C+sexy%2C+movie-star+fun&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Top Movies Ever to Win the Best Picture Oscar, by NPR Listeners",
"headTitle": "The Top Movies Ever to Win the Best Picture Oscar, by NPR Listeners | KQED",
"content": "\u003cp>We argue every year about what should win best picture, and what will win best picture—but what about the \u003cem>best \u003c/em>best picture? We turned to our listeners with a poll to set all the best picture winners against each other to reach a final, \u003cem>Thunderdome\u003c/em>-style result. Recency bias! Nostalgia! Familiarity and unfamiliarity! All kinds of forces collided as our listeners chose their 15 favorite best picture winners (each person got to vote for five), and we’re here to count them all down.\u003c/p>\n\u003ch3>15. Amadeus (1984)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=r7kWQj9FCGY\u003c/p>\n\u003cp>\u003cem>Amadeus \u003c/em>may be the prototypical sprig of Oscars catnip: a heavily fictionalized historical drama fueled by thundering lead performances from F. Murray Abraham (as Antonio Salieri) and Tom Hulce (as his brilliant-but-doomed tormentor, Wolfgang Amadeus Mozart). But damned if it isn’t grandly appointed, richly thought-provoking catnip. Nearly 40 years after its release, \u003cem>Amadeus \u003c/em>still informs countless conversations about genius, envy and the horrors of being second-best. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>14. West Side Story (1961)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=NF1L3NorO3E\u003c/p>\n\u003cp>Since the announcement of Steven Spielberg’s remake a few years ago, I’ve noticed a lot more pointed critiques and flat out dismissals of the 1961 original film, and its Broadway inspiration. Sure, Natalie Wood is woefully miscast, Rita Moreno wore brownface for her Oscar-winning role as Anita, and the characters as written are as thin as the blades that fell Bernardo and Riff at the rumble … and yet, its cultural imprint seems unlikely to be erased anytime soon. The show has lived on as long as it has in countless school productions and several revivals largely (mostly?) \u003cem>because \u003c/em>of this movie and the hold it maintains on American imaginations, for better and for worse.\u003cem> — Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>13. Forrest Gump (1994)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=bLvqoHBptjg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wait, I thought collectively we’d all agreed this movie is Bad, Actually—saccharine, slight, a frustratingly watered down and apolitical take on history … No? Hm, well, I guess nostalgia remains a helluva drug; the movie itself is already stuffed with corn-fed heaps of it, and nearly 30 years since its release, it’s become a nostalgic artifact of its own. It’s still not hard to stumble across it on cable TV, and aside from Woody the cowboy, this simple guy may turn out to be Tom Hanks’ most enduring character. —\u003cem> Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>12. No Country for Old Men (2007)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=38A__WT3-o0\u003c/p>\n\u003cp>Has there ever been a Best Picture winner more brutal and nihilistic than \u003cem>No Country for Old Men\u003c/em>? I suppose a case could be made for \u003cem>The\u003c/em> \u003cem>Silence of the Lambs\u003c/em>, but with this film, the Coen Brothers took themes they’d explored in movies like \u003cem>Fargo \u003c/em>and \u003cem>Blood Simple—\u003c/em>the implacable nature of violence, human helplessness in the face of fate—and distilled them into the unforgettable figure of Javier Bardem’s laconic, relentless hitman Anton Chigurh.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>11. All About Eve (1950)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=LSntQerk8cQ\u003c/p>\n\u003cp>If you haven’t seen this film in a while, you might have forgotten how bracingly fresh and fierce it remains, how every line of dialogue uttered by George Sanders as theater critic Addison DeWitt drips pure green poison. Broadway star Margo Channing is the role of Bette Davis’ life, and Anne Baxter serves you wide-eyed innocence and scheming vindictiveness, in turn—and sometimes, miraculously, both at once. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>10. The Godfather Part II (1974)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=9O1Iy9od7-A\u003c/p>\n\u003cp>Duh, right? The ascendance of Al Pacino’s Michael Corleone as the heir to his father’s throne is the stuff that masterful epics are made of. Meld that with a hop back in time, via the striking performance of Robert De Niro as the young Don Vito Corleone, and you’ve got one of the greatest movies ever made, period. The generational contrasts, the historical context, the astounding tragedy of it all (“I know it was you, Fredo”). Really, what more can be said that hasn’t already been said? —\u003cem> Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>9. Titanic (1997)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=jUm88F3MEbQ\u003c/p>\n\u003cp>\u003cem>Titanic \u003c/em>might have fared better in the popular imagination if it had \u003cem>not \u003c/em>won best picture. Its huge popularity, its catch-phrase-able script, \u003cem>and \u003c/em>best picture? It’s the kind of omnipresence that can transform a film from beloved to “ugh” in a hurry. But \u003cem>Titanic \u003c/em>is still a swoonily romantic, technically intricate spectacle with two star-making performances from Leonardo DiCaprio and Kate Winslet. Plus, it created the “was there room for Jack on that door?” debate that lives on to this day. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>8. The Lord of the Rings: Return of the King (2003)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=r5X-hFf6Bwo\u003c/p>\n\u003cp>Look: The logistics alone should send this film to #1. Think about it: From a brass tacks, film production perspective alone, this movie—the capstone to Peter Jackson’s trilogy adapting J.R.R. Tolkien’s sweeping saga of high fantasy and hairy feet—is a towering achievement. Think of the sheer work required to channel the technical and artistic skills of so many thousands of people into a single endeavor. Think of the huge amount of international, interdisciplinary communication, coordination and integration involved. Think of how just the line-item in the budget for elf-ears alone would choke a Mumakil. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>7. The Sound of Music (1965)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=UY6uw3WpPzY\u003c/p>\n\u003cp>The songs! The children! The escape from war! The Baroness, who really cannot be blamed for wishing she had brought her harmonica! \u003cem>The Sound of Music \u003c/em>is the movie musical that defines the genre for a lot of people (some of whom love it and some of whom … do not). And for all its schmaltzy sweetness, it packs a surprisingly sexy punch in the burgeoning relationship between Maria and Captain von Trapp. It even has hero nuns! It’s no surprise to find it’s one of our listeners’ … favorite things. (I’m sorry.) — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>6. The Godfather (1972)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=UaVTIH8mujA\u003c/p>\n\u003cp>Not every movie that’s so deeply embedded in pop culture has been able to withstand the test of time. (Ahem, \u003cem>Gone With the Wind.\u003c/em>) But \u003cem>The Godfather \u003c/em>remains fresh, with credit due to its timeless themes, stacked cast, and sheer cinematic quotability. Even if you’ve never seen this film before, you’ve seen it before, because it’s touched nearly every facet of life (including politics) of the last 50 years. Proof that sometimes, the Oscars \u003cem>do\u003c/em> get it right.\u003cem> — Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>5. The Silence of the Lambs (1991)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=W6Mm8Sbe__o\u003c/p>\n\u003cp>The phrase “cannibalistic serial killer” doesn’t turn up in the synopses of most best picture winners, but \u003cem>The Silence of the Lambs\u003c/em> isn’t just any horror movie. It’s a psychological thriller headlined by Oscar-winning performances from Jodie Foster and Anthony Hopkins, who makes a meal (sorry) of some of the film’s juiciest bits of dialogue. The portrayal of serial killer Buffalo Bill hasn’t aged well, but the deeply uneasy relationship at the film’s center haunts audiences to this day. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>4. Schindler’s List (1993)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=gG22XNhtnoY\u003c/p>\n\u003cp>The cultural significance of \u003cem>Schindler’s List \u003c/em>extends well beyond its Oscars pedigree: Steven Spielberg’s film, which tells the story of German industrialist Oskar Schindler, also helped spark a worldwide reckoning around the Holocaust while many of its survivors were still alive to tell their stories. It’s also a sublimely made film, thanks in part to stunning cinematography (by Janusz Kamiński), an unforgettable score (by John Williams) and riveting performances from Liam Neeson, Ben Kingsley and Ralph Fiennes, among others. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>3. Moonlight (2016)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=9NJj12tJzqc\u003c/p>\n\u003cp>Yes, best pictures can be about spectacle, bombast, “dreams made of shadow and light,” etc. But in the right hands, they can also explore something as deeply personal and shockingly intimate as identity, as in this searchingly empathetic film written and directed by Barry Jenkins, which follows a queer Black boy through his adolescence and manhood. Every frame is shot through with the ache of melancholy, a desperate yearning for connection, and the main character’s exhausting self-vigilance to keep anyone from seeing him for who he is. Not for nothing, it also supplied us with the most memorable Oscar-night moment in recent memory. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>2. Casablanca (1943)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=BkL9l7qovsE\u003c/p>\n\u003cp>Humphrey Bogart, Ingrid Bergman and Paul Henreid form a haunted love triangle in a Moroccan World War II purgatory full of faint promise, deadly peril and a song that can’t stop conjuring old, hard memories. Virtually every line of \u003cem>Casablanca\u003c/em> has long been etched in the cultural firmament, serving as the source material for many generations’ worth of callbacks and references. Yet the film hasn’t lost its relevance or emotional pull, as its story of refugees, uncertainty and war continues to reverberate. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>1. Parasite (2019)\u003c/h3>\n\u003cp>https://www.youtube.com/watch?v=isOGD_7hNIY\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Not only is Bong Joon-ho’s \u003cem>Parasite \u003c/em>a brilliant satire and a twisty story that’s practically two movies in one; it was one of the most satisfying best picture victories ever. If you wanted the Oscars to move past the dutiful, boring wins that some years had brought, the idea of \u003cem>Parasite \u003c/em>actually taking the trophy was just about the best thing you could hope for. Together with \u003cem>Moonlight \u003c/em>winning a couple of years earlier, it really started to seem like the wonderful films you \u003cem>wished \u003c/em>could win best picture actually could. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=You+voted+%E2%80%94+here%27s+a+ranking+of+the+top+movies+ever+to+win+an+Oscar+for+best+picture+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We argue every year about what should win best picture, and what will win best picture—but what about the \u003cem>best \u003c/em>best picture? We turned to our listeners with a poll to set all the best picture winners against each other to reach a final, \u003cem>Thunderdome\u003c/em>-style result. Recency bias! Nostalgia! Familiarity and unfamiliarity! All kinds of forces collided as our listeners chose their 15 favorite best picture winners (each person got to vote for five), and we’re here to count them all down.\u003c/p>\n\u003ch3>15. Amadeus (1984)\u003c/h3>\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/r7kWQj9FCGY'\n title='//www.youtube.com/embed/r7kWQj9FCGY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Amadeus \u003c/em>may be the prototypical sprig of Oscars catnip: a heavily fictionalized historical drama fueled by thundering lead performances from F. Murray Abraham (as Antonio Salieri) and Tom Hulce (as his brilliant-but-doomed tormentor, Wolfgang Amadeus Mozart). But damned if it isn’t grandly appointed, richly thought-provoking catnip. Nearly 40 years after its release, \u003cem>Amadeus \u003c/em>still informs countless conversations about genius, envy and the horrors of being second-best. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>14. West Side Story (1961)\u003c/h3>\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/NF1L3NorO3E'\n title='//www.youtube.com/embed/NF1L3NorO3E'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Since the announcement of Steven Spielberg’s remake a few years ago, I’ve noticed a lot more pointed critiques and flat out dismissals of the 1961 original film, and its Broadway inspiration. Sure, Natalie Wood is woefully miscast, Rita Moreno wore brownface for her Oscar-winning role as Anita, and the characters as written are as thin as the blades that fell Bernardo and Riff at the rumble … and yet, its cultural imprint seems unlikely to be erased anytime soon. The show has lived on as long as it has in countless school productions and several revivals largely (mostly?) \u003cem>because \u003c/em>of this movie and the hold it maintains on American imaginations, for better and for worse.\u003cem> — Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>13. Forrest Gump (1994)\u003c/h3>\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/bLvqoHBptjg'\n title='//www.youtube.com/embed/bLvqoHBptjg'\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>Wait, I thought collectively we’d all agreed this movie is Bad, Actually—saccharine, slight, a frustratingly watered down and apolitical take on history … No? Hm, well, I guess nostalgia remains a helluva drug; the movie itself is already stuffed with corn-fed heaps of it, and nearly 30 years since its release, it’s become a nostalgic artifact of its own. It’s still not hard to stumble across it on cable TV, and aside from Woody the cowboy, this simple guy may turn out to be Tom Hanks’ most enduring character. —\u003cem> Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>12. No Country for Old Men (2007)\u003c/h3>\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/38A__WT3-o0'\n title='//www.youtube.com/embed/38A__WT3-o0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Has there ever been a Best Picture winner more brutal and nihilistic than \u003cem>No Country for Old Men\u003c/em>? I suppose a case could be made for \u003cem>The\u003c/em> \u003cem>Silence of the Lambs\u003c/em>, but with this film, the Coen Brothers took themes they’d explored in movies like \u003cem>Fargo \u003c/em>and \u003cem>Blood Simple—\u003c/em>the implacable nature of violence, human helplessness in the face of fate—and distilled them into the unforgettable figure of Javier Bardem’s laconic, relentless hitman Anton Chigurh.\u003cem> — Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>11. All About Eve (1950)\u003c/h3>\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/LSntQerk8cQ'\n title='//www.youtube.com/embed/LSntQerk8cQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you haven’t seen this film in a while, you might have forgotten how bracingly fresh and fierce it remains, how every line of dialogue uttered by George Sanders as theater critic Addison DeWitt drips pure green poison. Broadway star Margo Channing is the role of Bette Davis’ life, and Anne Baxter serves you wide-eyed innocence and scheming vindictiveness, in turn—and sometimes, miraculously, both at once. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>10. The Godfather Part II (1974)\u003c/h3>\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/9O1Iy9od7-A'\n title='//www.youtube.com/embed/9O1Iy9od7-A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Duh, right? The ascendance of Al Pacino’s Michael Corleone as the heir to his father’s throne is the stuff that masterful epics are made of. Meld that with a hop back in time, via the striking performance of Robert De Niro as the young Don Vito Corleone, and you’ve got one of the greatest movies ever made, period. The generational contrasts, the historical context, the astounding tragedy of it all (“I know it was you, Fredo”). Really, what more can be said that hasn’t already been said? —\u003cem> Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>9. Titanic (1997)\u003c/h3>\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/jUm88F3MEbQ'\n title='//www.youtube.com/embed/jUm88F3MEbQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Titanic \u003c/em>might have fared better in the popular imagination if it had \u003cem>not \u003c/em>won best picture. Its huge popularity, its catch-phrase-able script, \u003cem>and \u003c/em>best picture? It’s the kind of omnipresence that can transform a film from beloved to “ugh” in a hurry. But \u003cem>Titanic \u003c/em>is still a swoonily romantic, technically intricate spectacle with two star-making performances from Leonardo DiCaprio and Kate Winslet. Plus, it created the “was there room for Jack on that door?” debate that lives on to this day. —\u003cem> Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>8. The Lord of the Rings: Return of the King (2003)\u003c/h3>\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/r5X-hFf6Bwo'\n title='//www.youtube.com/embed/r5X-hFf6Bwo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Look: The logistics alone should send this film to #1. Think about it: From a brass tacks, film production perspective alone, this movie—the capstone to Peter Jackson’s trilogy adapting J.R.R. Tolkien’s sweeping saga of high fantasy and hairy feet—is a towering achievement. Think of the sheer work required to channel the technical and artistic skills of so many thousands of people into a single endeavor. Think of the huge amount of international, interdisciplinary communication, coordination and integration involved. Think of how just the line-item in the budget for elf-ears alone would choke a Mumakil. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>7. The Sound of Music (1965)\u003c/h3>\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/UY6uw3WpPzY'\n title='//www.youtube.com/embed/UY6uw3WpPzY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The songs! The children! The escape from war! The Baroness, who really cannot be blamed for wishing she had brought her harmonica! \u003cem>The Sound of Music \u003c/em>is the movie musical that defines the genre for a lot of people (some of whom love it and some of whom … do not). And for all its schmaltzy sweetness, it packs a surprisingly sexy punch in the burgeoning relationship between Maria and Captain von Trapp. It even has hero nuns! It’s no surprise to find it’s one of our listeners’ … favorite things. (I’m sorry.) — \u003cem>Linda Holmes\u003c/em>\u003c/p>\n\u003ch3>6. The Godfather (1972)\u003c/h3>\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/UaVTIH8mujA'\n title='//www.youtube.com/embed/UaVTIH8mujA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not every movie that’s so deeply embedded in pop culture has been able to withstand the test of time. (Ahem, \u003cem>Gone With the Wind.\u003c/em>) But \u003cem>The Godfather \u003c/em>remains fresh, with credit due to its timeless themes, stacked cast, and sheer cinematic quotability. Even if you’ve never seen this film before, you’ve seen it before, because it’s touched nearly every facet of life (including politics) of the last 50 years. Proof that sometimes, the Oscars \u003cem>do\u003c/em> get it right.\u003cem> — Aisha Harris\u003c/em>\u003c/p>\n\u003ch3>5. The Silence of the Lambs (1991)\u003c/h3>\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/W6Mm8Sbe__o'\n title='//www.youtube.com/embed/W6Mm8Sbe__o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The phrase “cannibalistic serial killer” doesn’t turn up in the synopses of most best picture winners, but \u003cem>The Silence of the Lambs\u003c/em> isn’t just any horror movie. It’s a psychological thriller headlined by Oscar-winning performances from Jodie Foster and Anthony Hopkins, who makes a meal (sorry) of some of the film’s juiciest bits of dialogue. The portrayal of serial killer Buffalo Bill hasn’t aged well, but the deeply uneasy relationship at the film’s center haunts audiences to this day. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>4. Schindler’s List (1993)\u003c/h3>\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/gG22XNhtnoY'\n title='//www.youtube.com/embed/gG22XNhtnoY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The cultural significance of \u003cem>Schindler’s List \u003c/em>extends well beyond its Oscars pedigree: Steven Spielberg’s film, which tells the story of German industrialist Oskar Schindler, also helped spark a worldwide reckoning around the Holocaust while many of its survivors were still alive to tell their stories. It’s also a sublimely made film, thanks in part to stunning cinematography (by Janusz Kamiński), an unforgettable score (by John Williams) and riveting performances from Liam Neeson, Ben Kingsley and Ralph Fiennes, among others. —\u003cem> Stephen Thompson\u003c/em>\u003c/p>\n\u003ch3>3. Moonlight (2016)\u003c/h3>\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/9NJj12tJzqc'\n title='//www.youtube.com/embed/9NJj12tJzqc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Yes, best pictures can be about spectacle, bombast, “dreams made of shadow and light,” etc. But in the right hands, they can also explore something as deeply personal and shockingly intimate as identity, as in this searchingly empathetic film written and directed by Barry Jenkins, which follows a queer Black boy through his adolescence and manhood. Every frame is shot through with the ache of melancholy, a desperate yearning for connection, and the main character’s exhausting self-vigilance to keep anyone from seeing him for who he is. Not for nothing, it also supplied us with the most memorable Oscar-night moment in recent memory. —\u003cem> Glen Weldon\u003c/em>\u003c/p>\n\u003ch3>2. 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"content": "\u003cp>After its premiere 25 years ago, \u003cem>Selena \u003c/em>is returning to theaters nationwide in celebration of the Queen of Tejano music, Selena Quintanilla-Perez.\u003c/p>\n\u003cp>The biopic honoring the late 23-year-old singer is being re-released in movie theaters across the U.S. on April 7. Selena’s family made the official announcement Monday on \u003ca href=\"https://www.facebook.com/selenalaleyenda/posts/512851233542420\" target=\"_blank\" rel=\"noopener noreferrer\">Facebook\u003c/a>.\u003c/p>\n\u003cblockquote>\u003cp>“Rediscover a family’s story of dedication, perseverance and hope in breaking a male-dominated music genre and taking the world by storm,” her family wrote in the announcement of the film’s re-release.\u003c/p>\u003c/blockquote>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910961 aligncenter\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/Screen-Shot-2022-03-22-at-3.10.09-PM-800x1153.png\" alt=\"\" width=\"800\" height=\"1153\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-22-at-3.10.09-PM-800x1153.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-22-at-3.10.09-PM-160x231.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-22-at-3.10.09-PM-768x1106.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/Screen-Shot-2022-03-22-at-3.10.09-PM.png 994w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>The biopic, starring \u003ca href=\"https://www.npr.org/2017/03/21/520986979/20-years-ago-biopic-helped-give-pop-star-selena-life-beyond-her-tragic-death\" target=\"_blank\" rel=\"noopener noreferrer\">Jennifer Lopez\u003c/a> as the late singer, tells the story of the Mexican-American Tejano music star who was on the verge of crossing over into the English-language market just before her murder by her fan club president, Yolanda Saldivar, in 1995.\u003c/p>\n\u003cp>Saldivar was accused by Selena’s father, Abraham Quintanilla, of embezzling funds from Selena’s fan club and her Selena Etc. boutiques.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='pop_15764']The film’s success in the 1990s ultimately made Jennifer Lopez a household name, becoming the first Latin actress to earn more than $1 million for a film, according to \u003ca href=\"https://time.com/collection/most-influential-people-2018/5217628/jennifer-lopez/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Time\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The 52-year-old actress posted to social media Monday to share her excitement about the movie’s return to theaters.\u003c/p>\n\u003cp>“This movie means so much to me … Selena and her family mean so much to me, and I was so lucky to be chosen to play her,” Lopez wrote on \u003ca href=\"https://www.instagram.com/p/CbYvw9PJ9rQ/?utm_source=ig_web_copy_link\">Instagram\u003c/a>. “I’ll never forget this time in my life and it’s an honor as an artist to have been part of the magic that is this movie.”\u003c/p>\n\u003cp>https://www.instagram.com/p/CbYvw9PJ9rQ/\u003c/p>\n\u003cp>A native of Corpus Christi, Texas, Selena was a Grammy Award-winning superstar who won a Grammy for Best Mexican-American Album for \u003cem>Live!\u003c/em>\u003c/p>\n\u003cp>The late Tejano singer sold around 18 million records worldwide, becoming one of the bestselling female artists in Latin music, \u003ca href=\"https://www.billboard.com/charts/greatest-of-all-time-latin-artists\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Billboard \u003c/em>\u003c/a>reported.\u003c/p>\n\u003cp>Selena was killed weeks before her 24th birthday, which would have been April 16, 1995.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EVMSuZXEz4s\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Selena%27+biopic+will+return+to+theaters+in+April+to+celebrate+its+25th+anniversary&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>Los Angeles is a city dotted with donut shops, many of them mom-and-pop operations run by immigrants from Cambodia and tucked away in strip malls across Southern California.\u003c/p>\n\u003cp>Right now, artist \u003ca href=\"http://www.phunghuynh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phung Huynh\u003c/a> is standing in Donut Star, in the Los Angeles neighborhood of Highland Park. It’s is an unpretentious oasis of cheap coffee, lottery tickets and a staggering array of freshly baked donuts.\u003c/p>\n\u003cp>Huynh has stopped here for a sugery pick-me-up—and some artistic inspiration. \u003ca href=\"https://www.selfhelpgraphics.com/calendar/2022/3/12/phung-huynh-donut-whole-opening-reception\" target=\"_blank\" rel=\"noopener noreferrer\">Her solo show, entitled \u003cem>Donut (W)hole\u003c/em>\u003c/a>\u003cem>,\u003c/em> recently opened at \u003ca href=\"https://www.selfhelpgraphics.com/\">Self Help Graphics and Art\u003c/a>. It’s a homage to the Cambodian immigrants known as “Khmericans” who survived the aftermath of warfare and genocide.\u003c/p>\n\u003cp>“The exhibition is also a celebration of the Cambodian stories told through the lens of 1st and 2nd generation Khmericans who grew up in their family’s donut shop,” the artist writes in the exhibition notes.\u003c/p>\n\u003cfigure id=\"attachment_13910930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910930\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/andrew_hean_donut_box-955b515f3982a4d0c987446f429c9cc123b404a8-800x600.jpg\" alt=\"A yellow silkscreen of a boy on a pink donut box\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/andrew_hean_donut_box-955b515f3982a4d0c987446f429c9cc123b404a8-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/andrew_hean_donut_box-955b515f3982a4d0c987446f429c9cc123b404a8-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/andrew_hean_donut_box-955b515f3982a4d0c987446f429c9cc123b404a8-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/andrew_hean_donut_box-955b515f3982a4d0c987446f429c9cc123b404a8-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/andrew_hean_donut_box-955b515f3982a4d0c987446f429c9cc123b404a8-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/andrew_hean_donut_box-955b515f3982a4d0c987446f429c9cc123b404a8-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/andrew_hean_donut_box-955b515f3982a4d0c987446f429c9cc123b404a8.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Andrew Hean, whose family owned a donut shop in California, is pictured in a silkscreen print on a donut box by artist Phung Huynh. \u003ccite>(Self Help Graphics & Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Huynh, a bubbly 44-year-old with black bangs sweeping across her face, created these portraits first by drawing her subjects in a style reminiscent of Pop Art, then silkscreening them, along with vintage family photographs, onto the pink cardboard donut boxes that have become emblematic of donut shops run by Cambodian-Americans. “These donut shops represent a cultural space where refugees and immigrants reshape their lives in the process of negotiating, assimilating and becoming American,” Huynh writes.\u003c/p>\n\u003cfigure id=\"attachment_13910932\" class=\"wp-caption aligncenter\" style=\"max-width: 642px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/phung_with_parents-c38073147126ab0f0f24e34b5db92085f4093af9.jpg\" alt=\"A Cambodian family, arm in arm\" width=\"642\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/phung_with_parents-c38073147126ab0f0f24e34b5db92085f4093af9.jpg 642w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/phung_with_parents-c38073147126ab0f0f24e34b5db92085f4093af9-160x120.jpg 160w\" sizes=\"(max-width: 642px) 100vw, 642px\">\u003cfigcaption class=\"wp-caption-text\">Artist Phung Huynh with her parents on a family trip to Cambodia. \u003ccite>(Phung Huynh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Huynh was trained as an illustrator, and most of her work emphasizes her skill in painting and drawing, the donut box series reflects an evolution in her use of photographs, which draws on family history and traditions that range from deeply spiritual to traumatic.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I have a very complicated relationship to photographs and portraits because when we left, we couldn’t bring any photos with us,” she explains, showing framed copies of the resettlement photos taken of her father, mother, grandparents and siblings in a Vietnamese refugee camp. “And we use photographs to worship our ancestors.”\u003c/p>\n\u003cfigure id=\"attachment_13910933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/phung_huynh_by_noe_montes-cc3f4d033020b731c742051d2d31eb0b616c19e1-800x599.jpg\" alt=\"A headshot of a woman with black hair and large earrings\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/phung_huynh_by_noe_montes-cc3f4d033020b731c742051d2d31eb0b616c19e1-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/phung_huynh_by_noe_montes-cc3f4d033020b731c742051d2d31eb0b616c19e1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/phung_huynh_by_noe_montes-cc3f4d033020b731c742051d2d31eb0b616c19e1-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/phung_huynh_by_noe_montes-cc3f4d033020b731c742051d2d31eb0b616c19e1.jpg 933w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Phung Huynh. \u003ccite>(Noe Montes/Phung Huynh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Huynh’s family did not run donut shops when she was growing up, although her brother currently owns one in Houston. Her parents worked in a garment factory when they first arrived in Los Angeles in 1981.\u003c/p>\n\u003cp>[aside postID='news_11871915']“And they couldn’t speak English,” Huynh recalls. But, she says, they became close to a women on the factory floor she now thinks of as a grandmother. “My \u003cem>abuelita\u003c/em>, Nellie Pavone, was a production manager, and she stood up for my parents and helped them. My mom would call her ‘mama.’ She’s our Mexican grandmother, and she would call us her Chinese, you know, grandchildren.”\u003c/p>\n\u003cp>Pavone noticed Huynh’s artistic talent as a child, and encouraged her parents to allow her to attend art school, Huynh says. Now, Huynh is an associate professor of art at Los Angeles Valley College and an artist-in-residence at the\u003ca href=\"https://oia.lacounty.gov/office-of-immigrant-affairs-welcomes-artist-phung-huynh-as-creative-strategist/\" target=\"_blank\" rel=\"noopener noreferrer\"> Los Angeles County’s Office of Immigrant Affairs\u003c/a>. She’s particularly proud of the way her work has been displayed in numerous civic sites all over the city, from the Los Angeles Zoo to Los Angeles County’s USC Medical Center.\u003c/p>\n\u003cfigure id=\"attachment_13910934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ratana_kim_donut_box-3d41840a838a7b6fddec387eb76427aa709691af-800x600.jpg\" alt=\"Silkscreened image of a woman in a bakery, on a pick donut box\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ratana_kim_donut_box-3d41840a838a7b6fddec387eb76427aa709691af-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ratana_kim_donut_box-3d41840a838a7b6fddec387eb76427aa709691af-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ratana_kim_donut_box-3d41840a838a7b6fddec387eb76427aa709691af-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ratana_kim_donut_box-3d41840a838a7b6fddec387eb76427aa709691af-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ratana_kim_donut_box-3d41840a838a7b6fddec387eb76427aa709691af-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ratana_kim_donut_box-3d41840a838a7b6fddec387eb76427aa709691af-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ratana_kim_donut_box-3d41840a838a7b6fddec387eb76427aa709691af.jpg 1979w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ratana Kim in a silkscreened portrait on a pink donut box by artist Phung Huynh. \u003ccite>(Self Help Graphics & Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phung Huynh’s parents eventually built their own business with the support of their community, and the artist wants to celebrate their resilience, bravery and entrepreneurship. Still, she’s uninterested in perpetuating a glossy, mythologized version of the American Dream.\u003c/p>\n\u003cp>“There’s a lot of struggle and pain,” she says of the Khmerican immigrants who built their small businesses. “I feel that for a lot of survivors, specifically of the Khmer Rouge genocide, there’s a lot of guilt. There’s a lot of guilt for being able to come to United States and leaving family behind. There are a lot of family back home who weren’t able to come.”\u003c/p>\n\u003cp>Meanwhile, the kids who grew up in these donut shops—because there wasn’t the money for afterschool care—were taunted, and harassed by their peers, Huynh says. Recently, one donut shop family she knows were threatened in their own store by white supremacists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When generational trauma is not even a generation away from experiencing what our brothers and sisters in Ukraine and Afghanistan are undergoing right now,” she says, “That’s what I’m interested in exploring. But donuts matter. Even a fleeting pleasure—that’s good. That’s what trauma teaches you. Like, pleasure and joy are fundamental.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pink+donut+boxes+are+canvas+for+artist+portraying+kids+of+Cambodian-American+refugees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Los Angeles is a city dotted with donut shops, many of them mom-and-pop operations run by immigrants from Cambodia and tucked away in strip malls across Southern California.\u003c/p>\n\u003cp>Right now, artist \u003ca href=\"http://www.phunghuynh.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Phung Huynh\u003c/a> is standing in Donut Star, in the Los Angeles neighborhood of Highland Park. It’s is an unpretentious oasis of cheap coffee, lottery tickets and a staggering array of freshly baked donuts.\u003c/p>\n\u003cp>Huynh has stopped here for a sugery pick-me-up—and some artistic inspiration. \u003ca href=\"https://www.selfhelpgraphics.com/calendar/2022/3/12/phung-huynh-donut-whole-opening-reception\" target=\"_blank\" rel=\"noopener noreferrer\">Her solo show, entitled \u003cem>Donut (W)hole\u003c/em>\u003c/a>\u003cem>,\u003c/em> recently opened at \u003ca href=\"https://www.selfhelpgraphics.com/\">Self Help Graphics and Art\u003c/a>. It’s a homage to the Cambodian immigrants known as “Khmericans” who survived the aftermath of warfare and genocide.\u003c/p>\n\u003cp>“The exhibition is also a celebration of the Cambodian stories told through the lens of 1st and 2nd generation Khmericans who grew up in their family’s donut shop,” the artist writes in the exhibition notes.\u003c/p>\n\u003cfigure id=\"attachment_13910930\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910930\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/andrew_hean_donut_box-955b515f3982a4d0c987446f429c9cc123b404a8-800x600.jpg\" alt=\"A yellow silkscreen of a boy on a pink donut box\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/andrew_hean_donut_box-955b515f3982a4d0c987446f429c9cc123b404a8-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/andrew_hean_donut_box-955b515f3982a4d0c987446f429c9cc123b404a8-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/andrew_hean_donut_box-955b515f3982a4d0c987446f429c9cc123b404a8-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/andrew_hean_donut_box-955b515f3982a4d0c987446f429c9cc123b404a8-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/andrew_hean_donut_box-955b515f3982a4d0c987446f429c9cc123b404a8-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/andrew_hean_donut_box-955b515f3982a4d0c987446f429c9cc123b404a8-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/andrew_hean_donut_box-955b515f3982a4d0c987446f429c9cc123b404a8.jpg 2000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rapper Andrew Hean, whose family owned a donut shop in California, is pictured in a silkscreen print on a donut box by artist Phung Huynh. \u003ccite>(Self Help Graphics & Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Huynh, a bubbly 44-year-old with black bangs sweeping across her face, created these portraits first by drawing her subjects in a style reminiscent of Pop Art, then silkscreening them, along with vintage family photographs, onto the pink cardboard donut boxes that have become emblematic of donut shops run by Cambodian-Americans. “These donut shops represent a cultural space where refugees and immigrants reshape their lives in the process of negotiating, assimilating and becoming American,” Huynh writes.\u003c/p>\n\u003cfigure id=\"attachment_13910932\" class=\"wp-caption aligncenter\" style=\"max-width: 642px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13910932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/phung_with_parents-c38073147126ab0f0f24e34b5db92085f4093af9.jpg\" alt=\"A Cambodian family, arm in arm\" width=\"642\" height=\"481\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/phung_with_parents-c38073147126ab0f0f24e34b5db92085f4093af9.jpg 642w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/phung_with_parents-c38073147126ab0f0f24e34b5db92085f4093af9-160x120.jpg 160w\" sizes=\"(max-width: 642px) 100vw, 642px\">\u003cfigcaption class=\"wp-caption-text\">Artist Phung Huynh with her parents on a family trip to Cambodia. \u003ccite>(Phung Huynh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Although Huynh was trained as an illustrator, and most of her work emphasizes her skill in painting and drawing, the donut box series reflects an evolution in her use of photographs, which draws on family history and traditions that range from deeply spiritual to traumatic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I have a very complicated relationship to photographs and portraits because when we left, we couldn’t bring any photos with us,” she explains, showing framed copies of the resettlement photos taken of her father, mother, grandparents and siblings in a Vietnamese refugee camp. “And we use photographs to worship our ancestors.”\u003c/p>\n\u003cfigure id=\"attachment_13910933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910933\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/phung_huynh_by_noe_montes-cc3f4d033020b731c742051d2d31eb0b616c19e1-800x599.jpg\" alt=\"A headshot of a woman with black hair and large earrings\" width=\"800\" height=\"599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/phung_huynh_by_noe_montes-cc3f4d033020b731c742051d2d31eb0b616c19e1-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/phung_huynh_by_noe_montes-cc3f4d033020b731c742051d2d31eb0b616c19e1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/phung_huynh_by_noe_montes-cc3f4d033020b731c742051d2d31eb0b616c19e1-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/phung_huynh_by_noe_montes-cc3f4d033020b731c742051d2d31eb0b616c19e1.jpg 933w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Artist Phung Huynh. \u003ccite>(Noe Montes/Phung Huynh)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Huynh’s family did not run donut shops when she was growing up, although her brother currently owns one in Houston. Her parents worked in a garment factory when they first arrived in Los Angeles in 1981.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“And they couldn’t speak English,” Huynh recalls. But, she says, they became close to a women on the factory floor she now thinks of as a grandmother. “My \u003cem>abuelita\u003c/em>, Nellie Pavone, was a production manager, and she stood up for my parents and helped them. My mom would call her ‘mama.’ She’s our Mexican grandmother, and she would call us her Chinese, you know, grandchildren.”\u003c/p>\n\u003cp>Pavone noticed Huynh’s artistic talent as a child, and encouraged her parents to allow her to attend art school, Huynh says. Now, Huynh is an associate professor of art at Los Angeles Valley College and an artist-in-residence at the\u003ca href=\"https://oia.lacounty.gov/office-of-immigrant-affairs-welcomes-artist-phung-huynh-as-creative-strategist/\" target=\"_blank\" rel=\"noopener noreferrer\"> Los Angeles County’s Office of Immigrant Affairs\u003c/a>. She’s particularly proud of the way her work has been displayed in numerous civic sites all over the city, from the Los Angeles Zoo to Los Angeles County’s USC Medical Center.\u003c/p>\n\u003cfigure id=\"attachment_13910934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13910934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2022/03/ratana_kim_donut_box-3d41840a838a7b6fddec387eb76427aa709691af-800x600.jpg\" alt=\"Silkscreened image of a woman in a bakery, on a pick donut box\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ratana_kim_donut_box-3d41840a838a7b6fddec387eb76427aa709691af-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ratana_kim_donut_box-3d41840a838a7b6fddec387eb76427aa709691af-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ratana_kim_donut_box-3d41840a838a7b6fddec387eb76427aa709691af-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ratana_kim_donut_box-3d41840a838a7b6fddec387eb76427aa709691af-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ratana_kim_donut_box-3d41840a838a7b6fddec387eb76427aa709691af-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ratana_kim_donut_box-3d41840a838a7b6fddec387eb76427aa709691af-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2022/03/ratana_kim_donut_box-3d41840a838a7b6fddec387eb76427aa709691af.jpg 1979w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ratana Kim in a silkscreened portrait on a pink donut box by artist Phung Huynh. \u003ccite>(Self Help Graphics & Art)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Phung Huynh’s parents eventually built their own business with the support of their community, and the artist wants to celebrate their resilience, bravery and entrepreneurship. Still, she’s uninterested in perpetuating a glossy, mythologized version of the American Dream.\u003c/p>\n\u003cp>“There’s a lot of struggle and pain,” she says of the Khmerican immigrants who built their small businesses. “I feel that for a lot of survivors, specifically of the Khmer Rouge genocide, there’s a lot of guilt. There’s a lot of guilt for being able to come to United States and leaving family behind. There are a lot of family back home who weren’t able to come.”\u003c/p>\n\u003cp>Meanwhile, the kids who grew up in these donut shops—because there wasn’t the money for afterschool care—were taunted, and harassed by their peers, Huynh says. Recently, one donut shop family she knows were threatened in their own store by white supremacists.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“When generational trauma is not even a generation away from experiencing what our brothers and sisters in Ukraine and Afghanistan are undergoing right now,” she says, “That’s what I’m interested in exploring. But donuts matter. Even a fleeting pleasure—that’s good. That’s what trauma teaches you. Like, pleasure and joy are fundamental.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2022 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pink+donut+boxes+are+canvas+for+artist+portraying+kids+of+Cambodian-American+refugees&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"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. ",
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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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"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": "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.",
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"possible": {
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"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.",
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"radiolab": {
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},
"rightnowish": {
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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