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"content": "\u003cp>When former President Donald Trump was still in office and holding rallies, he often shouted a question that provoked howls of raucous laughter from the crowd: “Where’s Hunter?”\u003c/p>\n\u003cp>Trump was referring derisively to Hunter Biden, the son of the man who is now President Biden. \u003cem>Beautiful Things: A Memoir \u003c/em>is Hunter’s answer to Trump’s question. He wants to tell us where he is, where he has been, and what it has taken to get him from there to here.\u003c/p>\n\u003cp>It is at times a harrowing journey. Readers who make it all the way through may feel they have completed something of a 12-step rehab program themselves. The details at times make one feel exposed to something like degradation porn.\u003c/p>\n\u003cfigure id=\"attachment_13894966\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894966\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-800x1192.jpg\" alt=\"The cover of 'Beautiful Things: A Memoir,' by Hunter Biden depicts the author as a toddler.\" width=\"800\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-1020x1520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617.jpg 1392w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beautiful Things: A Memoir,’ by Hunter Biden. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As has long been reported, the younger Biden is an alcoholic and a crack addict. Euphemisms about “alcohol and drug problems” do not apply here, as the memoirist himself makes clear from the opening pages.\u003c/p>\n\u003cp>“I’ve been so desperate for a drink that I couldn’t make the one-block walk between a liquor store and my apartment without uncapping the bottle to take a swig,” Biden writes. He also provides a how-to for cooking powder cocaine into crack in the kitchen.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After buying his first rock of crack cocaine in a public square in downtown Washington at the age of 18 and spending much of his education years drinking (“I could always drink five times as much as anyone”) Biden began his tour of rehab facilities while still in his early 30s. He has seen the inside of celebrity treatment centers in Mexico as well as in various parts of the U.S. The rehabs led to brief bouts of sobriety followed by relapses, each of which seemed to take him deeper into dependency. [aside postid='arts_13847716']\u003c/p>\n\u003cp>He acknowledges months spent drunk in a D.C. apartment and more months binging cocaine in hotel bungalows in Hollywood — while his father was either vice president or a candidate for president. Considering the time he spent high behind the wheel, it is amazing the author can still be alive to recount the story.\u003c/p>\n\u003cp>He also addresses other elements of his life that have raised eyebrows or presented potential legal and political problems. He acknowledges DNA evidence that he fathered a child with a woman he does not remember having met. He acknowledges the fallout from his affair with the widow of his late brother, Beau, which took place after his brother’s death and after the widow retrieved him from a rehab center.\u003c/p>\n\u003cp>And he devotes a chapter to his relationship with Burisma, a natural gas company in Ukraine that was among his most lucrative gigs. For service on that company’s board of directors, the younger Biden was paid five figures each month. As he had no special expertise in gas or the political economics of Ukraine, that remuneration was always suspect.\u003c/p>\n\u003cp>Hunter Biden says he vetted Burisma with a reputable U.S. law firm and worked to help them comply with anti-corruption laws and related demands for transparency from the U.S. and the European Union. As for Burisma’s interest in Hunter’s family connection, he writes:\u003c/p>\n\u003cblockquote>\u003cp>“There’s no question my last name was a coveted credential. That has always been the case. Do you think if any of the Trump children ever tried to get a job outside their father’s business that his name wouldn’t figure into the calculation? My response has always been to work harder so that my accomplishments stand on their own.”\u003c/p>\u003c/blockquote>\n\u003cp>Of course, Trump and his personal attorney Rudolph Giuliani spent much of 2019 and 2020 promoting the younger Biden’s relationship with Burisma as a corrupt bargain that involved the elder Biden—and that needed investigating. Those accusations, and Trump’s aggressive effort to induce Ukraine to investigate them, led to his first impeachment.\u003c/p>\n\u003cp>But Trump and Giuliani did not stop there. Efforts to portray Hunter as a liability, even a disqualification for his father’s candidacy, continued right up to the election in November 2020. [aside postid='arts_13891604']\u003c/p>\n\u003cp>The last gasp of Giuliani’s campaign against the Bidens featured a laptop supposedly obtained from sources that would document the younger Biden’s drug use and other offenses. The laptop story was discredited by U.S. intelligence and independent investigations by news organizations.\u003c/p>\n\u003cp>As for the drug use, however, there could scarcely be a more damning account than Hunter Biden’s own in his memoir. Repeated attempts at intervention by his father and family fail to stop him. He is estranged from his wife, who divorces him and has custody of their daughters. With each relapse he descends another rung until he haunts a nocturnal underworld of addicts, dealers, ex-cons and con artists in Los Angeles.\u003c/p>\n\u003cp>And then, in the final pages, it is the spring of 2019 and Hunter meets a South African filmmaker and activist named Melissa, who swiftly brings his life under control in ways Hunter himself never had. He stops drinking and smoking crack. The two, who married not long after meeting, now have a son, a toddler the nation saw onstage at the Biden victory celebration the Saturday after the election in November.\u003c/p>\n\u003cp>That little boy is named Beau, for Hunter’s older brother who died of a brain tumor in 2015. But by this point in the book, one knows the son could have no other name. Beau Biden is as much a character in this memoir as anyone, appearing in memories beginning with the night in 1972 when the boys are injured in a car crash that kills their mother and baby sister. They wake up next to each other in a hospital. Their shared memories of this loss bind them far more than even close brothers are usually bound. It is after Beau’s death that Hunter loses the will to fight the demons he has battled for so long.\u003c/p>\n\u003cp>When he meets Melissa, the first thing he tells us about her is that she has blue eyes like Beau’s. The last section of \u003cem>Beautiful Things \u003c/em>is a letter to Beau, and the title refers to a mantra the two had in the days they spent together near the end of Beau’s life.\u003c/p>\n\u003cp>This memoir is surely a confession, but it seems to seek something other than conventional forgiveness—something other than sympathy.\u003c/p>\n\u003cp>It is not an easy thing to be a senator’s son. It may be cushy at times and many doors may open. But Hunter Biden’s father was not just another senator. And while no one can doubt the love between the two, as amply demonstrated countless times, there is also a chasm between the hungers of the son and the trajectory of the teetotaler father. (Aware of stories about problem drinkers in the family tree, the elder Biden steered clear.) [aside postid='arts_13889820']\u003c/p>\n\u003cp>It was not always easy being Beau Biden’s little brother, either. Popular and smart, Beau was president of his high school class each year while Hunter was changing schools a lot, looking for the right fit. He got into Georgetown University, but did a lot of drinking while a student. He got into Yale on a second try after adding a poem to his application. He tells us later he got a 172 on his LSAT (99th percentile) and clearly has a sense of his ability—both professional and artistic—that has never been fulfilled.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the end, if it is not about forgiveness or sympathy, this memoir may be about making a stand. Making it clear the younger son, the black sheep of the Biden clan, wants to take whatever place on that victory stage he can occupy, as a son and a brother and the father of Beau Biden II, the new generation of hope.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Hunter+Biden%27s+Memoir+%27Beautiful+Things%27+Seeks+To+Tell+Just+Where+He%27s+Been+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When former President Donald Trump was still in office and holding rallies, he often shouted a question that provoked howls of raucous laughter from the crowd: “Where’s Hunter?”\u003c/p>\n\u003cp>Trump was referring derisively to Hunter Biden, the son of the man who is now President Biden. \u003cem>Beautiful Things: A Memoir \u003c/em>is Hunter’s answer to Trump’s question. He wants to tell us where he is, where he has been, and what it has taken to get him from there to here.\u003c/p>\n\u003cp>It is at times a harrowing journey. Readers who make it all the way through may feel they have completed something of a 12-step rehab program themselves. The details at times make one feel exposed to something like degradation porn.\u003c/p>\n\u003cfigure id=\"attachment_13894966\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894966\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-800x1192.jpg\" alt=\"The cover of 'Beautiful Things: A Memoir,' by Hunter Biden depicts the author as a toddler.\" width=\"800\" height=\"1192\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-800x1192.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-1020x1520.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-160x238.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-768x1144.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-1031x1536.jpg 1031w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617-1375x2048.jpg 1375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/biden_custom-f9690086c0cdc64e1168d78a0b1cfa503ec23617.jpg 1392w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Beautiful Things: A Memoir,’ by Hunter Biden. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>As has long been reported, the younger Biden is an alcoholic and a crack addict. Euphemisms about “alcohol and drug problems” do not apply here, as the memoirist himself makes clear from the opening pages.\u003c/p>\n\u003cp>“I’ve been so desperate for a drink that I couldn’t make the one-block walk between a liquor store and my apartment without uncapping the bottle to take a swig,” Biden writes. He also provides a how-to for cooking powder cocaine into crack in the kitchen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After buying his first rock of crack cocaine in a public square in downtown Washington at the age of 18 and spending much of his education years drinking (“I could always drink five times as much as anyone”) Biden began his tour of rehab facilities while still in his early 30s. He has seen the inside of celebrity treatment centers in Mexico as well as in various parts of the U.S. The rehabs led to brief bouts of sobriety followed by relapses, each of which seemed to take him deeper into dependency. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He acknowledges months spent drunk in a D.C. apartment and more months binging cocaine in hotel bungalows in Hollywood — while his father was either vice president or a candidate for president. Considering the time he spent high behind the wheel, it is amazing the author can still be alive to recount the story.\u003c/p>\n\u003cp>He also addresses other elements of his life that have raised eyebrows or presented potential legal and political problems. He acknowledges DNA evidence that he fathered a child with a woman he does not remember having met. He acknowledges the fallout from his affair with the widow of his late brother, Beau, which took place after his brother’s death and after the widow retrieved him from a rehab center.\u003c/p>\n\u003cp>And he devotes a chapter to his relationship with Burisma, a natural gas company in Ukraine that was among his most lucrative gigs. For service on that company’s board of directors, the younger Biden was paid five figures each month. As he had no special expertise in gas or the political economics of Ukraine, that remuneration was always suspect.\u003c/p>\n\u003cp>Hunter Biden says he vetted Burisma with a reputable U.S. law firm and worked to help them comply with anti-corruption laws and related demands for transparency from the U.S. and the European Union. As for Burisma’s interest in Hunter’s family connection, he writes:\u003c/p>\n\u003cblockquote>\u003cp>“There’s no question my last name was a coveted credential. That has always been the case. Do you think if any of the Trump children ever tried to get a job outside their father’s business that his name wouldn’t figure into the calculation? My response has always been to work harder so that my accomplishments stand on their own.”\u003c/p>\u003c/blockquote>\n\u003cp>Of course, Trump and his personal attorney Rudolph Giuliani spent much of 2019 and 2020 promoting the younger Biden’s relationship with Burisma as a corrupt bargain that involved the elder Biden—and that needed investigating. Those accusations, and Trump’s aggressive effort to induce Ukraine to investigate them, led to his first impeachment.\u003c/p>\n\u003cp>But Trump and Giuliani did not stop there. Efforts to portray Hunter as a liability, even a disqualification for his father’s candidacy, continued right up to the election in November 2020. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last gasp of Giuliani’s campaign against the Bidens featured a laptop supposedly obtained from sources that would document the younger Biden’s drug use and other offenses. The laptop story was discredited by U.S. intelligence and independent investigations by news organizations.\u003c/p>\n\u003cp>As for the drug use, however, there could scarcely be a more damning account than Hunter Biden’s own in his memoir. Repeated attempts at intervention by his father and family fail to stop him. He is estranged from his wife, who divorces him and has custody of their daughters. With each relapse he descends another rung until he haunts a nocturnal underworld of addicts, dealers, ex-cons and con artists in Los Angeles.\u003c/p>\n\u003cp>And then, in the final pages, it is the spring of 2019 and Hunter meets a South African filmmaker and activist named Melissa, who swiftly brings his life under control in ways Hunter himself never had. He stops drinking and smoking crack. The two, who married not long after meeting, now have a son, a toddler the nation saw onstage at the Biden victory celebration the Saturday after the election in November.\u003c/p>\n\u003cp>That little boy is named Beau, for Hunter’s older brother who died of a brain tumor in 2015. But by this point in the book, one knows the son could have no other name. Beau Biden is as much a character in this memoir as anyone, appearing in memories beginning with the night in 1972 when the boys are injured in a car crash that kills their mother and baby sister. They wake up next to each other in a hospital. Their shared memories of this loss bind them far more than even close brothers are usually bound. It is after Beau’s death that Hunter loses the will to fight the demons he has battled for so long.\u003c/p>\n\u003cp>When he meets Melissa, the first thing he tells us about her is that she has blue eyes like Beau’s. The last section of \u003cem>Beautiful Things \u003c/em>is a letter to Beau, and the title refers to a mantra the two had in the days they spent together near the end of Beau’s life.\u003c/p>\n\u003cp>This memoir is surely a confession, but it seems to seek something other than conventional forgiveness—something other than sympathy.\u003c/p>\n\u003cp>It is not an easy thing to be a senator’s son. It may be cushy at times and many doors may open. But Hunter Biden’s father was not just another senator. And while no one can doubt the love between the two, as amply demonstrated countless times, there is also a chasm between the hungers of the son and the trajectory of the teetotaler father. (Aware of stories about problem drinkers in the family tree, the elder Biden steered clear.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was not always easy being Beau Biden’s little brother, either. Popular and smart, Beau was president of his high school class each year while Hunter was changing schools a lot, looking for the right fit. He got into Georgetown University, but did a lot of drinking while a student. He got into Yale on a second try after adding a poem to his application. He tells us later he got a 172 on his LSAT (99th percentile) and clearly has a sense of his ability—both professional and artistic—that has never been fulfilled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, if it is not about forgiveness or sympathy, this memoir may be about making a stand. Making it clear the younger son, the black sheep of the Biden clan, wants to take whatever place on that victory stage he can occupy, as a son and a brother and the father of Beau Biden II, the new generation of hope.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Hunter+Biden%27s+Memoir+%27Beautiful+Things%27+Seeks+To+Tell+Just+Where+He%27s+Been+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Camping is an Adventure for All Americans in 'Fatima's Great Outdoors'",
"headTitle": "Camping is an Adventure for All Americans in ‘Fatima’s Great Outdoors’ | KQED",
"content": "\u003cp>Fatima Khazi is having a hard time at school—she’s in a new country, in a new city, her classmates make fun of how she speaks, they wrinkle their noses at the way her food smells, and on top of all that, she isn’t doing well in her classes. But Fatima is thrilled to escape for the weekend and go camping with her family. [aside postid='arts_13891275']\u003c/p>\n\u003cp>Ambreen Tariq’s new children’s book, \u003cem>Fatima’s Great Outdoors \u003c/em>is a story about an Indian immigrant family’s first time exploring the outdoors, and it’s as much a story about curiosity and adventure as it is about trying to assimilate as an immigrant in this country. Tariq says Fatima’s story is her own story. “Every moment in that book is real. Every snippet, every story.”\u003c/p>\n\u003cp>Tariq’s family moved from India to Minnesota during harsh winter months when she was just eight years old, and transitioning to a new life in a new country was challenging. She says she had a desire to fit in and be like everybody else. “I think this is a very universal immigrant feeling … And that really is Fatima’s experience.” While Fatima’s family might have sung Mohammad Rafi’s Hindi songs on the car ride to the campground, and eaten samosas along the way, Fatima makes her father promise that they will eat bacon for breakfast, “just like the other American families.” Tariq recalls begging her own parents to get beef bacon from the Halal butcher for their family camping trips growing up. “And yes, it was just a small thing when it comes to bacon … But for Fatima it’s a very big deal. It’s a moment where she feels like she’s doing it. She is actually camping like everybody else and enjoying it.”\u003c/p>\n\u003cfigure id=\"attachment_13894934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-800x487.png\" alt=\"Tariq says that just like Fatima, she once asked her father for halal beef bacon so they could eat like other families on a camping trip.\" width=\"800\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-800x487.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-1020x620.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-768x467.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-1536x934.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-1920x1168.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM.png 1996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tariq says that just like Fatima, she once asked her father for halal beef bacon so they could eat like other families on a camping trip. \u003ccite>(Kokila)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tariq says that while nature is central to cultures throughout the world, “America has its own unique way of doing it. It’s very categorized.” According to the National Park Service’s most recent 10-year survey, \u003ca href=\"https://abcnews.go.com/Politics/americas-national-parks-face-existential-crisis-race/story?id=71528972\" target=\"_blank\" rel=\"noopener noreferrer\">77 percent\u003c/a> of those who visited the country’s 419 national parks were white. A lack of diversity in outdoor spaces is one of the reasons Tariq was compelled to write this book and start an online community called “\u003ca href=\"https://www.instagram.com/brownpeoplecamping/\" target=\"_blank\" rel=\"noopener noreferrer\">Brown People Camping\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13894932\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/whatsapp-image-2021-03-23-at-11.49.52-am_custom-c816efc87cc7a792c861f075d9aaf0a47af46dfc.jpe\" alt=\"A childhood photo of a young Ambreen inspired the creation of Fatima.\" width=\"200\" height=\"195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/whatsapp-image-2021-03-23-at-11.49.52-am_custom-c816efc87cc7a792c861f075d9aaf0a47af46dfc.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/whatsapp-image-2021-03-23-at-11.49.52-am_custom-c816efc87cc7a792c861f075d9aaf0a47af46dfc-160x156.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">This photo of a young Ambreen inspired the creation of Fatima. \u003ccite>(Courtesy of Ambreen Tariq)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says there are many complex reasons that America’s outdoor spaces are primarily occupied by white people, like financial barriers to acquiring gear and outdoor know-how. “But there’s also a very deep and dark history in this country around feeling confident and safe being in remote places.” She cited the fact that many national parks sit on\u003ca href=\"https://www.npr.org/2019/02/24/697028570/overcoming-a-long-bitter-relationship-grand-canyon-and-tribes-mark-centennial\" target=\"_blank\" rel=\"noopener noreferrer\"> stolen Native American land\u003c/a>, or that Black people have\u003ca href=\"https://www.theguardian.com/environment/2018/jul/13/hiking-african-american-racism-nature\" target=\"_blank\" rel=\"noopener noreferrer\"> historically faced violence\u003c/a> in the woods. And for immigrants, she says, imagery like “Confederate flags and other things that happen in remote places” may signal that people of color aren’t safe or welcome in such places. “All of those reasons aside, this book is about saying, get out there, find your joy, find your safe space, build your community and do it the way you love it, because the outdoors is for everyone.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Tariq says she hopes more children of all backgrounds get the chance to experience the outdoors as she did. “For me and for Fatima what happens in that shining little moment when they enter that campground, it is just about them being curious and having fun.” She says for children like herself who didn’t have a privileged upbringing, that exposure can be especially formative. “When we went camping, we used to rent bikes, we would ride around the campground, we would meet strangers, we would meet other little kids and become sudden friends. We would go swimming in the lake. That’s not what our life was like when we were latchkey kids, came home, let ourselves in, made dinner for ourselves. You know, ‘don’t ever open the door. Don’t talk to a stranger.'”\u003c/p>\n\u003cp>While having parents with multiple jobs meant growing up quickly, in many ways, camping was just the opposite for Tariq. She hopes \u003cem>Fatima’s Great Outdoors \u003c/em>encourages more families to engage with nature in a meaningful way. “Other immigrant kids, other kids in general, especially city kids, could benefit from [nature] so much because it opens up another part of your mind and heart. It allows you to be curious. And a type of confidence that’s not really allowed on a daily basis. And that changes someone.”\u003c/p>\n\u003cfigure id=\"attachment_13894929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-800x971.jpg\" alt=\"The cover of 'Fatima's Great Outdoors,' by Ambreen Tariq and Stevie Lewis shows a family around a campfire.\" width=\"800\" height=\"971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-800x971.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-1020x1238.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-768x932.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-1265x1536.jpg 1265w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-1687x2048.jpg 1687w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-1920x2331.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fatima’s Great Outdoors,’ by Ambreen Tariq and Stevie Lewis. \u003ccite>(Kokila)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Patrick Jarenwattananon and adapted for the Web by Jonaki Mehta and Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Camping+Is+An+Adventure+For+All+Americans+In+%27Fatima%27s+Great+Outdoors%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fatima Khazi is having a hard time at school—she’s in a new country, in a new city, her classmates make fun of how she speaks, they wrinkle their noses at the way her food smells, and on top of all that, she isn’t doing well in her classes. But Fatima is thrilled to escape for the weekend and go camping with her family. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ambreen Tariq’s new children’s book, \u003cem>Fatima’s Great Outdoors \u003c/em>is a story about an Indian immigrant family’s first time exploring the outdoors, and it’s as much a story about curiosity and adventure as it is about trying to assimilate as an immigrant in this country. Tariq says Fatima’s story is her own story. “Every moment in that book is real. Every snippet, every story.”\u003c/p>\n\u003cp>Tariq’s family moved from India to Minnesota during harsh winter months when she was just eight years old, and transitioning to a new life in a new country was challenging. She says she had a desire to fit in and be like everybody else. “I think this is a very universal immigrant feeling … And that really is Fatima’s experience.” While Fatima’s family might have sung Mohammad Rafi’s Hindi songs on the car ride to the campground, and eaten samosas along the way, Fatima makes her father promise that they will eat bacon for breakfast, “just like the other American families.” Tariq recalls begging her own parents to get beef bacon from the Halal butcher for their family camping trips growing up. “And yes, it was just a small thing when it comes to bacon … But for Fatima it’s a very big deal. It’s a moment where she feels like she’s doing it. She is actually camping like everybody else and enjoying it.”\u003c/p>\n\u003cfigure id=\"attachment_13894934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894934\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-800x487.png\" alt=\"Tariq says that just like Fatima, she once asked her father for halal beef bacon so they could eat like other families on a camping trip.\" width=\"800\" height=\"487\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-800x487.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-1020x620.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-160x97.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-768x467.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-1536x934.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM-1920x1168.png 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/Screen-Shot-2021-03-31-at-12.54.22-PM.png 1996w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tariq says that just like Fatima, she once asked her father for halal beef bacon so they could eat like other families on a camping trip. \u003ccite>(Kokila)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Tariq says that while nature is central to cultures throughout the world, “America has its own unique way of doing it. It’s very categorized.” According to the National Park Service’s most recent 10-year survey, \u003ca href=\"https://abcnews.go.com/Politics/americas-national-parks-face-existential-crisis-race/story?id=71528972\" target=\"_blank\" rel=\"noopener noreferrer\">77 percent\u003c/a> of those who visited the country’s 419 national parks were white. A lack of diversity in outdoor spaces is one of the reasons Tariq was compelled to write this book and start an online community called “\u003ca href=\"https://www.instagram.com/brownpeoplecamping/\" target=\"_blank\" rel=\"noopener noreferrer\">Brown People Camping\u003c/a>.”\u003c/p>\n\u003cfigure id=\"attachment_13894932\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13894932\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/whatsapp-image-2021-03-23-at-11.49.52-am_custom-c816efc87cc7a792c861f075d9aaf0a47af46dfc.jpe\" alt=\"A childhood photo of a young Ambreen inspired the creation of Fatima.\" width=\"200\" height=\"195\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/whatsapp-image-2021-03-23-at-11.49.52-am_custom-c816efc87cc7a792c861f075d9aaf0a47af46dfc.jpe 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/whatsapp-image-2021-03-23-at-11.49.52-am_custom-c816efc87cc7a792c861f075d9aaf0a47af46dfc-160x156.jpe 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">This photo of a young Ambreen inspired the creation of Fatima. \u003ccite>(Courtesy of Ambreen Tariq)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She says there are many complex reasons that America’s outdoor spaces are primarily occupied by white people, like financial barriers to acquiring gear and outdoor know-how. “But there’s also a very deep and dark history in this country around feeling confident and safe being in remote places.” She cited the fact that many national parks sit on\u003ca href=\"https://www.npr.org/2019/02/24/697028570/overcoming-a-long-bitter-relationship-grand-canyon-and-tribes-mark-centennial\" target=\"_blank\" rel=\"noopener noreferrer\"> stolen Native American land\u003c/a>, or that Black people have\u003ca href=\"https://www.theguardian.com/environment/2018/jul/13/hiking-african-american-racism-nature\" target=\"_blank\" rel=\"noopener noreferrer\"> historically faced violence\u003c/a> in the woods. And for immigrants, she says, imagery like “Confederate flags and other things that happen in remote places” may signal that people of color aren’t safe or welcome in such places. “All of those reasons aside, this book is about saying, get out there, find your joy, find your safe space, build your community and do it the way you love it, because the outdoors is for everyone.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Tariq says she hopes more children of all backgrounds get the chance to experience the outdoors as she did. “For me and for Fatima what happens in that shining little moment when they enter that campground, it is just about them being curious and having fun.” She says for children like herself who didn’t have a privileged upbringing, that exposure can be especially formative. “When we went camping, we used to rent bikes, we would ride around the campground, we would meet strangers, we would meet other little kids and become sudden friends. We would go swimming in the lake. That’s not what our life was like when we were latchkey kids, came home, let ourselves in, made dinner for ourselves. You know, ‘don’t ever open the door. Don’t talk to a stranger.'”\u003c/p>\n\u003cp>While having parents with multiple jobs meant growing up quickly, in many ways, camping was just the opposite for Tariq. She hopes \u003cem>Fatima’s Great Outdoors \u003c/em>encourages more families to engage with nature in a meaningful way. “Other immigrant kids, other kids in general, especially city kids, could benefit from [nature] so much because it opens up another part of your mind and heart. It allows you to be curious. And a type of confidence that’s not really allowed on a daily basis. And that changes someone.”\u003c/p>\n\u003cfigure id=\"attachment_13894929\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894929\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-800x971.jpg\" alt=\"The cover of 'Fatima's Great Outdoors,' by Ambreen Tariq and Stevie Lewis shows a family around a campfire.\" width=\"800\" height=\"971\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-800x971.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-1020x1238.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-160x194.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-768x932.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-1265x1536.jpg 1265w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-1687x2048.jpg 1687w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/03/9171pqz6-tl_custom-04b60b3730224b50ea36a48bb53f83f5daa7e3ca-1920x2331.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Fatima’s Great Outdoors,’ by Ambreen Tariq and Stevie Lewis. \u003ccite>(Kokila)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Patrick Jarenwattananon and adapted for the Web by Jonaki Mehta and Petra Mayer.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Camping+Is+An+Adventure+For+All+Americans+In+%27Fatima%27s+Great+Outdoors%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Filmmakers Call Out PBS for a Lack of Diversity, Over-Reliance on Ken Burns",
"headTitle": "Filmmakers Call Out PBS for a Lack of Diversity, Over-Reliance on Ken Burns | KQED",
"content": "\u003cp>Nearly 140 documentary filmmakers have signed onto a letter given to PBS executives, suggesting the service may provide an unfair level of support to white creators, facing a “systemic failure to fulfill (its) mandate for a diversity of voices.”\u003c/p>\n\u003cp>Titled “A Letter to PBS From Viewers Like Us,” the missive references Ken Burns, arguably one of PBS’ biggest non-fiction stars and creator of popular projects like \u003cem>Baseball, Jazz, The Civil War\u003c/em> and an upcoming six-hour program called \u003cem>\u003ca href=\"https://www.kqed.org/arts/13894863/ken-burns-hemingway-docuseries-dives-into-the-writers-complicated-life\" target=\"_blank\" rel=\"noopener noreferrer\">Hemingway\u003c/a>.\u003c/em> Citing data from the filmmaker’s website, it says Burns has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022. [aside postid='arts_13894863']\u003c/p>\n\u003cp>Such an arrangement leaves less room for filmmakers of color, who may struggle to gain similar funding or promotional support. And while PBS has created an initiative to elevate newly emerging filmmakers of color, such initiatives can also create a false narrative that non-white artists are predominantly lacking in experience, the text adds.\u003c/p>\n\u003cp>“How many other ‘independent’ filmmakers have a decades-long exclusive relationship with a publicly-funded entity?” the text asks. “Public television supporting this level of uninvestigated privilege is troubling not just for us as filmmakers but as tax-paying Americans.”\u003c/p>\n\u003cp>The letter, sent to PBS President Paula Kerger and former ombudsman Michael Getler on Tuesday, was co-signed by several high-profile filmmakers—some of whom produce programs for PBS—including Oscar-nominated director Garrett Bradley (\u003cem>Time\u003c/em>), Oscar-winning director Laura Poitras (\u003cem>Citizenfour\u003c/em>) and Emmy winning editor and director Sam Pollard (\u003cem>MLK/FBI\u003c/em>). (Note: Getler died in 2018, and PBS now has a public editor, Ricardo Sandoval-Palos.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Beyond Inclusion, a collective of non-fiction creators, executives and industry figures led by individuals who are Black Indigenous and People of Color (BIPOC), drafted the letter and collected the signatures. A version of it is available \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">on the group’s website\u003c/a>.\u003c/p>\n\u003cp>PBS has released a statement with data pushing back on the letter’s assertions, saying 35 percent of the 200 hours of non-fiction programming planned for primetime this year was produced by diverse filmmakers. According to a spokesman, over the past five years, PBS has aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, Kerger agrees that PBS should examine where its funding and resources are going to ensure that BIPOC filmmakers are being treated equitably. [aside postid='arts_13866441']\u003c/p>\n\u003cp>“This is an important moment for all of us to really take a hard look at what we’re doing and make sure that we are pursuing all opportunities,” says PBS’ president, adding that she hopes to meet with the group and discuss their concerns. “What is it going to take … particularly for those mid-career filmmakers, so there is a solid place (for them) in public broadcasting?”\u003c/p>\n\u003cp>Complicating matters is the fragmented nature of PBS, where some shows are developed by affiliate stations, like the science program \u003cem>Nova\u003c/em>, which is produced by WGBH in Boston.\u003c/p>\n\u003cp>The letter asks for data from PBS, including its staff diversity and figures over the past ten years for how many hours of non-fiction programming have been directed or produced by BIPOC filmmakers and how much funding has gone to them.\u003c/p>\n\u003cp>Filmmaker Grace Lee, a member of Beyond Inclusion who signed the letter, wrote about these issues in an attention-getting essay for the Ford Foundation that was \u003ca href=\"https://current.org/2020/10/to-truly-reflect-diversity-pbs-must-end-its-overreliance-on-ken-burns-as-americas-storyteller/\" target=\"_blank\" rel=\"noopener noreferrer\">reprinted in \u003cem>Current \u003c/em>magazine\u003c/a>, noting, “PBS must end its overreliance on Ken Burns as ‘America’s storyteller.'”\u003c/p>\n\u003cp>When Kerger was asked about the essay \u003ca href=\"https://apnews.com/article/ken-burns-pbs-diversity-d687d59a9c46584f0ed6f3364ac0ed0f\" target=\"_blank\" rel=\"noopener noreferrer\">at a press conference in February\u003c/a>, she struck a slightly different tone, saying she had to “respectfully disagree” with Lee’s piece. Earlier, she had cited PBS’ work with Black filmmakers like Gates and Emmy winning director Stanley Nelson (\u003cem>Freedom Riders, Miles Davis: Birth of the Cool\u003c/em>); the reaction prompted members of the group to put together the letter.\u003c/p>\n\u003cp>But Lee, a producer for the PBS series \u003cem>Asian Americans\u003c/em>, says the issue reaches beyond any individual filmmaker.\u003c/p>\n\u003cp>“It’s not about Ken Burns, it’s about this public television system living up to its mandate,” she adds. “On \u003cem>Asian Americans\u003c/em>, we got five hours to tell 150 years of American history. Ernest Hemingway, one man, gets six hours of documentary in prime time … This kind of disparity is something that I wanted to call attention to.”\u003c/p>\n\u003cp>Even though his work appears regularly on PBS, Stanley Nelson signed the letter, hoping to help start a conversation that could help BIPOC documentarians. [aside postid='arts_13888079']\u003c/p>\n\u003cp>“I think PBS might be surprised themselves, if they start looking at what they’ve put into certain films and certain filmmakers,” says Nelson, who says he still has to occasionally remind white filmmakers he collaborates with to hire experienced Black technicians. “We have to be aware that race is a part of everything in America.”\u003c/p>\n\u003cp>PBS is already touting several diversity-focused initiatives, including a program to support the next generation of “emerging” BIPOC filmmakers and a collaboration with Nelson to create a two-hour film for \u003cem>Nova\u003c/em> in 2022 on the impact of racism on the health of Black Americans.\u003c/p>\n\u003cp>And how does Kerger feel, seeing filmmakers who often work with PBS co-sign a letter suggesting the service may shortchange filmmakers of color?\u003c/p>\n\u003cp>“If people come together and feel this is a way to get attention around an issue, it’s OK,” she says. “The important thing, is we should sit down and really talk about what it’s going to take to move even more voices forward.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Petra Mayer and adapted for the web by Petra Mayer and Eric Deggans.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Filmmakers+Call+Out+PBS+For+A+Lack+Of+Diversity%2C+Over-Reliance+On+Ken+Burns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nearly 140 documentary filmmakers have signed onto a letter given to PBS executives, suggesting the service may provide an unfair level of support to white creators, facing a “systemic failure to fulfill (its) mandate for a diversity of voices.”\u003c/p>\n\u003cp>Titled “A Letter to PBS From Viewers Like Us,” the missive references Ken Burns, arguably one of PBS’ biggest non-fiction stars and creator of popular projects like \u003cem>Baseball, Jazz, The Civil War\u003c/em> and an upcoming six-hour program called \u003cem>\u003ca href=\"https://www.kqed.org/arts/13894863/ken-burns-hemingway-docuseries-dives-into-the-writers-complicated-life\" target=\"_blank\" rel=\"noopener noreferrer\">Hemingway\u003c/a>.\u003c/em> Citing data from the filmmaker’s website, it says Burns has created about 211 hours of programming for PBS over 40 years, through an exclusive relationship with the service that will last until at least 2022. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Such an arrangement leaves less room for filmmakers of color, who may struggle to gain similar funding or promotional support. And while PBS has created an initiative to elevate newly emerging filmmakers of color, such initiatives can also create a false narrative that non-white artists are predominantly lacking in experience, the text adds.\u003c/p>\n\u003cp>“How many other ‘independent’ filmmakers have a decades-long exclusive relationship with a publicly-funded entity?” the text asks. “Public television supporting this level of uninvestigated privilege is troubling not just for us as filmmakers but as tax-paying Americans.”\u003c/p>\n\u003cp>The letter, sent to PBS President Paula Kerger and former ombudsman Michael Getler on Tuesday, was co-signed by several high-profile filmmakers—some of whom produce programs for PBS—including Oscar-nominated director Garrett Bradley (\u003cem>Time\u003c/em>), Oscar-winning director Laura Poitras (\u003cem>Citizenfour\u003c/em>) and Emmy winning editor and director Sam Pollard (\u003cem>MLK/FBI\u003c/em>). (Note: Getler died in 2018, and PBS now has a public editor, Ricardo Sandoval-Palos.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Beyond Inclusion, a collective of non-fiction creators, executives and industry figures led by individuals who are Black Indigenous and People of Color (BIPOC), drafted the letter and collected the signatures. A version of it is available \u003ca href=\"https://www.bipocmakers.com/\" target=\"_blank\" rel=\"noopener noreferrer\">on the group’s website\u003c/a>.\u003c/p>\n\u003cp>PBS has released a statement with data pushing back on the letter’s assertions, saying 35 percent of the 200 hours of non-fiction programming planned for primetime this year was produced by diverse filmmakers. According to a spokesman, over the past five years, PBS has aired 58 hours of programming from Burns and 74 hours of projects by Henry Louis Gates, Jr., an African American scholar, director, executive producer and host of programs like \u003cem>The Black Church\u003c/em> and \u003cem>Finding Your Roots\u003c/em>.\u003c/p>\n\u003cp>Still, Kerger agrees that PBS should examine where its funding and resources are going to ensure that BIPOC filmmakers are being treated equitably. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“This is an important moment for all of us to really take a hard look at what we’re doing and make sure that we are pursuing all opportunities,” says PBS’ president, adding that she hopes to meet with the group and discuss their concerns. “What is it going to take … particularly for those mid-career filmmakers, so there is a solid place (for them) in public broadcasting?”\u003c/p>\n\u003cp>Complicating matters is the fragmented nature of PBS, where some shows are developed by affiliate stations, like the science program \u003cem>Nova\u003c/em>, which is produced by WGBH in Boston.\u003c/p>\n\u003cp>The letter asks for data from PBS, including its staff diversity and figures over the past ten years for how many hours of non-fiction programming have been directed or produced by BIPOC filmmakers and how much funding has gone to them.\u003c/p>\n\u003cp>Filmmaker Grace Lee, a member of Beyond Inclusion who signed the letter, wrote about these issues in an attention-getting essay for the Ford Foundation that was \u003ca href=\"https://current.org/2020/10/to-truly-reflect-diversity-pbs-must-end-its-overreliance-on-ken-burns-as-americas-storyteller/\" target=\"_blank\" rel=\"noopener noreferrer\">reprinted in \u003cem>Current \u003c/em>magazine\u003c/a>, noting, “PBS must end its overreliance on Ken Burns as ‘America’s storyteller.'”\u003c/p>\n\u003cp>When Kerger was asked about the essay \u003ca href=\"https://apnews.com/article/ken-burns-pbs-diversity-d687d59a9c46584f0ed6f3364ac0ed0f\" target=\"_blank\" rel=\"noopener noreferrer\">at a press conference in February\u003c/a>, she struck a slightly different tone, saying she had to “respectfully disagree” with Lee’s piece. Earlier, she had cited PBS’ work with Black filmmakers like Gates and Emmy winning director Stanley Nelson (\u003cem>Freedom Riders, Miles Davis: Birth of the Cool\u003c/em>); the reaction prompted members of the group to put together the letter.\u003c/p>\n\u003cp>But Lee, a producer for the PBS series \u003cem>Asian Americans\u003c/em>, says the issue reaches beyond any individual filmmaker.\u003c/p>\n\u003cp>“It’s not about Ken Burns, it’s about this public television system living up to its mandate,” she adds. “On \u003cem>Asian Americans\u003c/em>, we got five hours to tell 150 years of American history. Ernest Hemingway, one man, gets six hours of documentary in prime time … This kind of disparity is something that I wanted to call attention to.”\u003c/p>\n\u003cp>Even though his work appears regularly on PBS, Stanley Nelson signed the letter, hoping to help start a conversation that could help BIPOC documentarians. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I think PBS might be surprised themselves, if they start looking at what they’ve put into certain films and certain filmmakers,” says Nelson, who says he still has to occasionally remind white filmmakers he collaborates with to hire experienced Black technicians. “We have to be aware that race is a part of everything in America.”\u003c/p>\n\u003cp>PBS is already touting several diversity-focused initiatives, including a program to support the next generation of “emerging” BIPOC filmmakers and a collaboration with Nelson to create a two-hour film for \u003cem>Nova\u003c/em> in 2022 on the impact of racism on the health of Black Americans.\u003c/p>\n\u003cp>And how does Kerger feel, seeing filmmakers who often work with PBS co-sign a letter suggesting the service may shortchange filmmakers of color?\u003c/p>\n\u003cp>“If people come together and feel this is a way to get attention around an issue, it’s OK,” she says. “The important thing, is we should sit down and really talk about what it’s going to take to move even more voices forward.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Petra Mayer and adapted for the web by Petra Mayer and Eric Deggans.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Filmmakers+Call+Out+PBS+For+A+Lack+Of+Diversity%2C+Over-Reliance+On+Ken+Burns&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Ken Burns' 'Hemingway' Docuseries Dives Into the Writer's Complicated Life",
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"content": "\u003cp>\u003cem>Hemingway\u003c/em>, the latest PBS documentary series from Ken Burns and company, has several names attached who have become a sort of repertory group. Lynn Novick, Burns’ frequent co-director, is back. So is writer Geoffrey C. Ward, who helped make Burns a PBS phenomenon with the landmark non-fiction mini-series \u003cem>The Civil War\u003c/em>. And the narrator, who has lent his voice to so many past productions, is Peter Coyote.\u003c/p>\n\u003cp>As always, Coyote calmly and clearly sets the table for everything to come—and why you might be interested. “The world saw him as a man’s man,” Coyote says, to quote one early example. “But all his life, he would privately be intrigued by the blurred lines between male and female, men and women. There were so many sides to him, the first of his four wives remembered, that he defied geometry.”\u003c/p>\n\u003cp>In this new \u003cem>Hemingway\u003c/em> documentary, the women around the author are as illuminating as the author himself. Each of his four wives has something revelatory to say—and these spouses are given voice by a quartet of wonderful actresses, who bring the women’s private letters and other writings to vivid life.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2016/08/10/489464731/meryl-streep-embodies-the-pull-of-music-in-florence-foster-jenkins\" target=\"_blank\" rel=\"noopener noreferrer\">Meryl Streep\u003c/a> has the meatiest part as war correspondent Martha Gellhorn, Hemingway’s third wife. Her dispatches during the Normandy invasion rivaled, and arguably exceeded, his own. But the other wives are given voice by Keri Russell, \u003ca href=\"https://www.npr.org/2019/11/16/779719536/i-m-a-purist-mary-louise-parker-returns-to-broadway-for-a-new-challenge\">Mary-Louise Parker\u003c/a> and Patricia Clarkson. And Jeff Daniels supplies the voice of Ernest Hemingway, reading from his private letters as well as his published short stories and other writings.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sp7Lhdc4-vw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s so much to deal with regarding Hemingway. Professionally, there’s the way he wrote, what he wrote, and the impact his writing had on modern literature. Personally, there’s the relationships with women, the misogyny, the alcoholism, the depression—all of which found their way into his stories as well. [aside postid='arts_13866441']\u003c/p>\n\u003cp>This new PBS biography doesn’t shy away from any of it. It doesn’t avoid or excuse Hemingway’s excesses and betrayals and failures. Instead it enhances our understanding of the man by probing deeply into both his life and his writings. And whenever Daniels reads from Hemingway, as Hemingway, he does so in an understated tone as unadorned as the writer’s own prose style.\u003c/p>\n\u003cp>Burns and Novick not only bring literary moments to life, using just the right sounds and images and voices, but also dive into Hemingway’s complicated personal life: The suicide of his father. The upbringing by his mother, who dressed him in girl’s clothes and encouraged his imagination. His experiences in several wars, and finding glory in such macho activities as hunting, deep-sea fishing and attending bullfights. From Paris to Spain, from Key West to Cuba, Ernest Hemingway lived in exotic locales during turbulent times—and wrote about all of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever you already know, or don’t know, about Ernest Hemingway and his work—and his life—the new PBS documentary \u003cem>Hemingway\u003c/em> is certain to add more to that body of knowledge. And, very likely, it will make you reassess much of it. As a Ken Burns and company literary biography, \u003cem>Hemingway\u003c/em> is even better than their previous documentary on Mark Twain. And my levels of praise don’t get much higher than that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ken+Burns%27+%27Hemingway%27+Docuseries+Dives+Into+The+Writer%27s+Complicated+Life+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This new PBS biography doesn’t shy away from any of it. It doesn’t avoid or excuse Hemingway’s excesses and betrayals and failures. Instead it enhances our understanding of the man by probing deeply into both his life and his writings. And whenever Daniels reads from Hemingway, as Hemingway, he does so in an understated tone as unadorned as the writer’s own prose style.\u003c/p>\n\u003cp>Burns and Novick not only bring literary moments to life, using just the right sounds and images and voices, but also dive into Hemingway’s complicated personal life: The suicide of his father. The upbringing by his mother, who dressed him in girl’s clothes and encouraged his imagination. His experiences in several wars, and finding glory in such macho activities as hunting, deep-sea fishing and attending bullfights. From Paris to Spain, from Key West to Cuba, Ernest Hemingway lived in exotic locales during turbulent times—and wrote about all of it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever you already know, or don’t know, about Ernest Hemingway and his work—and his life—the new PBS documentary \u003cem>Hemingway\u003c/em> is certain to add more to that body of knowledge. And, very likely, it will make you reassess much of it. As a Ken Burns and company literary biography, \u003cem>Hemingway\u003c/em> is even better than their previous documentary on Mark Twain. And my levels of praise don’t get much higher than that.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Ken+Burns%27+%27Hemingway%27+Docuseries+Dives+Into+The+Writer%27s+Complicated+Life+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Lovecraft Country' Creator Aims to Reclaim the Horror Genre for People of Color",
"headTitle": "‘Lovecraft Country’ Creator Aims to Reclaim the Horror Genre for People of Color | KQED",
"content": "\u003cp>The HBO series \u003cem>Lovecraft Country\u003c/em> takes the real horrors of the Black experience in the 1950s and adds to it the supernatural terrors of the horror genre.\u003c/p>\n\u003cp>Series creator Misha Green says she sees the show—and the novel by Matt Ruff upon which it is based—as a chance to reclaim “the genre space for people of color and for people who had usually been left out of it.” [aside postid='arts_13884889']\u003c/p>\n\u003cp>“Horror, which is my favorite genre, works best for me when there’s a metaphor,” Green says. “One of my themes I keep coming back to is: What are people willing to do for metaphorical and physical survival? And that’s always the stuff that scares me.”\u003c/p>\n\u003cp>One episode explores the theme of white privilege through the lens of Ruby, a Black woman who becomes white after taking a potion. After some discussion of what Ruby would do as a white woman, the writers decided that she would enjoy a mundane day at the park.\u003c/p>\n\u003cp>“That is really what part of the privilege of being white is: You get to live your life uninterrupted,” Green says. “A person of color in America has so many moments daily where they’re interrupted because of their skin color.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>We don’t know yet if there will be a second season of \u003cem>Lovecraft Country\u003c/em>, but if there is, Green knows what she’d call it: “This would be the title of it—\u003cem>Lovecraft Country: Supremacy\u003c/em>.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eEvK1Zwi9XY\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why she loves horror \u003c/strong>\u003c/p>\n\u003cp>I just like to be scared. I think it’s also one of the reasons I feel like we go to drama in the first place, to live vicariously through something. So you get to live your fears on screen and then you go, “OK, I can tackle that, maybe.” You get a little braver in life. … When I was a kid, like watching \u003cem>It,\u003c/em> watching \u003cem>Alien\u003c/em>, watching those kinds of movies, I was like, “OK, I’m terrified. But now I feel a little braver.” Afterwards, I feel like I can go and tackle the real horrors a little bit more.\u003c/p>\n\u003cp>\u003cstrong>On Black representation in genre fiction \u003c/strong>\u003c/p>\n\u003cp>I feel like one of my absolute favorites is the original \u003cem>Night of the Living Dead\u003c/em> and then \u003cem>The People Under the Stairs \u003c/em>[and]\u003cem> Candyman\u003c/em>. So there [were] spaces for Black horror, they just weren’t rampant. I feel like that’s all of Black art right now. People are like, “We’re in this huge renaissance!” and I’m like, “I remember in the ’90s I could go on TV and see more all-Black casts than I can see now.” So I feel like it’s always been there, but you have to seek it out. And the mainstream—definitely when it comes to horror, sci-fi and all of these genre fantasy spaces—are all white in a way. And so that was exciting to me, to have this kind of show that could jump to all the places and be like, “Yeah, we can be here and we don’t have to die first, guys.”\u003c/p>\n\u003cp>\u003cstrong>On developing the sound for \u003c/strong>\u003cem>\u003cstrong>Lovecraft Country,\u003c/strong>\u003c/em>\u003cstrong> which sources audio from different moments in culture, like a Nike Ad or the poem “Whitey on the Moon”\u003c/strong>\u003c/p>\n\u003cp>I wanted to do something different than I had done on \u003cem>Underground\u003c/em> with sound. We used contemporary music on [the WGN America show] \u003cem>Underground\u003c/em> [which Green co-created] and it was very successful in kind of bringing the past into the present and I wanted to build on that. I want to come in with an audio viewpoint on the show. [aside postid='arts_13853443']\u003c/p>\n\u003cp>One of the things that we were talking a lot about with the show was this idea of it being out of time, that they’re going and doing things, they’re going to space, they’re going back in the past, so how do we break that up? And then that idea of “scource” as we called it, which is source and score, came to me of using these pieces. I had been soaking in things like Beyoncé’s \u003ca href=\"https://www.npr.org/sections/therecord/2016/04/26/475629479/close-to-home-a-conversation-about-beyonc-s-lemonade\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Lemonade\u003c/em> \u003c/a>and \u003cem>I Am Not Your Negro\u003c/em>. And it was hearing those voices in those poems and [James] Baldwin’s voice. And I was going, “Oh, can we do that in \u003cem>Lovecraft Country\u003c/em>?” So that was kind of our big audio swing, was this idea of taking found footage audio and placing it wholesale over scenes and using it as [a] score.\u003c/p>\n\u003cp>\u003cstrong>On her priorities for developing her own writer’s room \u003c/strong>\u003c/p>\n\u003cp>Diversity and younger writers, I think that it was important to me. It’s one of the things that I said to HBO is that I don’t want upper-level writers. They were really pushing upper-level writers, which was understandable, because it’s a very big, ambitious show, an intricate show. But for me, I was like, I want new voices. Hollywood is the biggest storytelling machine there is and we all live our lives through stories, so it is giving us a story on how to live our lives, and right now it’s a monolith of white men. And I think it’s very important to change that. So when I had my own room, I knew that it was not going to look like the rooms I had been in before and that it was going to be a struggle, too, because I think in a lot of rooms, the minority voices are not there to actually be heard. So figuring out how to encourage everybody to be like, “You have a platform here, speak up! Speak up! Let’s talk. Let’s figure it out.” [That] was also an interesting new turn for me.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Meghan Sullivan adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Lovecraft+Country%27+Creator+Aims+To+Reclaim+The+Horror+Genre+For+People+Of+Color+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "\"Horror, which is my favorite genre, works best for me when there's a metaphor,\" Misha Green says. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The HBO series \u003cem>Lovecraft Country\u003c/em> takes the real horrors of the Black experience in the 1950s and adds to it the supernatural terrors of the horror genre.\u003c/p>\n\u003cp>Series creator Misha Green says she sees the show—and the novel by Matt Ruff upon which it is based—as a chance to reclaim “the genre space for people of color and for people who had usually been left out of it.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Horror, which is my favorite genre, works best for me when there’s a metaphor,” Green says. “One of my themes I keep coming back to is: What are people willing to do for metaphorical and physical survival? And that’s always the stuff that scares me.”\u003c/p>\n\u003cp>One episode explores the theme of white privilege through the lens of Ruby, a Black woman who becomes white after taking a potion. After some discussion of what Ruby would do as a white woman, the writers decided that she would enjoy a mundane day at the park.\u003c/p>\n\u003cp>“That is really what part of the privilege of being white is: You get to live your life uninterrupted,” Green says. “A person of color in America has so many moments daily where they’re interrupted because of their skin color.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>We don’t know yet if there will be a second season of \u003cem>Lovecraft Country\u003c/em>, but if there is, Green knows what she’d call it: “This would be the title of it—\u003cem>Lovecraft Country: Supremacy\u003c/em>.”\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/eEvK1Zwi9XY'\n title='//www.youtube.com/embed/eEvK1Zwi9XY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why she loves horror \u003c/strong>\u003c/p>\n\u003cp>I just like to be scared. I think it’s also one of the reasons I feel like we go to drama in the first place, to live vicariously through something. So you get to live your fears on screen and then you go, “OK, I can tackle that, maybe.” You get a little braver in life. … When I was a kid, like watching \u003cem>It,\u003c/em> watching \u003cem>Alien\u003c/em>, watching those kinds of movies, I was like, “OK, I’m terrified. But now I feel a little braver.” Afterwards, I feel like I can go and tackle the real horrors a little bit more.\u003c/p>\n\u003cp>\u003cstrong>On Black representation in genre fiction \u003c/strong>\u003c/p>\n\u003cp>I feel like one of my absolute favorites is the original \u003cem>Night of the Living Dead\u003c/em> and then \u003cem>The People Under the Stairs \u003c/em>[and]\u003cem> Candyman\u003c/em>. So there [were] spaces for Black horror, they just weren’t rampant. I feel like that’s all of Black art right now. People are like, “We’re in this huge renaissance!” and I’m like, “I remember in the ’90s I could go on TV and see more all-Black casts than I can see now.” So I feel like it’s always been there, but you have to seek it out. And the mainstream—definitely when it comes to horror, sci-fi and all of these genre fantasy spaces—are all white in a way. And so that was exciting to me, to have this kind of show that could jump to all the places and be like, “Yeah, we can be here and we don’t have to die first, guys.”\u003c/p>\n\u003cp>\u003cstrong>On developing the sound for \u003c/strong>\u003cem>\u003cstrong>Lovecraft Country,\u003c/strong>\u003c/em>\u003cstrong> which sources audio from different moments in culture, like a Nike Ad or the poem “Whitey on the Moon”\u003c/strong>\u003c/p>\n\u003cp>I wanted to do something different than I had done on \u003cem>Underground\u003c/em> with sound. We used contemporary music on [the WGN America show] \u003cem>Underground\u003c/em> [which Green co-created] and it was very successful in kind of bringing the past into the present and I wanted to build on that. I want to come in with an audio viewpoint on the show. \u003c/p>\u003c/div>",
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"content": "\u003cp>George R.R. Martin has entered into a five year deal with HBO to develop content for both HBO and HBO Max, the network said in a statement on Monday.\u003c/p>\n\u003cp>The best-selling fantasy author and four-time Emmy award winner, best known for his book series \u003cem>A Song of Ice and Fire \u003c/em>and its television adaptation \u003cem>Game of Thrones\u003c/em>, is attached to multiple projects in the pipeline for the media company and streaming service. [aside postid='arts_13654506']\u003c/p>\n\u003cp>The \u003cem>Game of Thrones \u003c/em>television series followed powerful families aiming for the iron throne in the continent of Westeros. It ran for eight years on HBO, with the final season wrapping in 2019.\u003c/p>\n\u003cp>Martin has a new drama series in the works, \u003cem>House of the Dragon\u003c/em>, which is based on his \u003cem>Fire & Blood \u003c/em>book. The \u003cem>Game of Thrones\u003c/em> prequel follows House Targaryen and is set 300 years before the events of \u003cem>Game of Thrones\u003c/em>.\u003c/p>\n\u003cp>The show has been given a ten episode order. Paddy Considine, Olivia Cooke, Matt Smith, and Emma D’Arcy have joined the series, with additional cast members to be announced.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show is co-created by Martin and Ryan Condal, whose prior work includes \u003cem>Colony, Rampage, \u003c/em>and \u003cem>Hercules.\u003c/em> Condal and Miguel Sapochnik (\u003cem>Game of Thrones, Altered Carbon\u003c/em>) serve as showrunners and producers with Martin and Vince Gerardis (\u003cem>Game of Thrones\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Martin is also set to executive produce HBO’s \u003cem>Who Fears Death, \u003c/em>a fantasy post-apocalyptic series with Tessa Thompson attached to star, and adapted from the novel by Nnedi Okorafor; and \u003cem>Roadmarks, \u003c/em>an adaptation of the sci-fi novel from Roger Zelazny.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=George+R.R.+Martin+Signs+New+Five+Year+Deal+With+HBO+And+HBO+Max&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show is co-created by Martin and Ryan Condal, whose prior work includes \u003cem>Colony, Rampage, \u003c/em>and \u003cem>Hercules.\u003c/em> Condal and Miguel Sapochnik (\u003cem>Game of Thrones, Altered Carbon\u003c/em>) serve as showrunners and producers with Martin and Vince Gerardis (\u003cem>Game of Thrones\u003c/em>).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Martin is also set to executive produce HBO’s \u003cem>Who Fears Death, \u003c/em>a fantasy post-apocalyptic series with Tessa Thompson attached to star, and adapted from the novel by Nnedi Okorafor; and \u003cem>Roadmarks, \u003c/em>an adaptation of the sci-fi novel from Roger Zelazny.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=George+R.R.+Martin+Signs+New+Five+Year+Deal+With+HBO+And+HBO+Max&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The pandemic has had most of Hollywood cowering for the last year or so, but nothing intimidates a Titan.\u003c/p>\n\u003cp>Crashing in where even Marvel’s \u003cem>Black Widow\u003c/em> fears to tread, \u003cem>Godzilla vs. Kong\u003c/em> is opening on any screen that’ll make room for it—home or cinematic. And with theaters coming back to life in Los Angeles and New York City, there’s a lot of fresh real estate for them to trample.\u003c/p>\n\u003cp>Credit where it’s due: Kong knows how to make an entrance. He announces himself by pulling a tree up by its roots and hurling it in the air hard enough to punch a hole in the sky.\u003c/p>\n\u003cp>I don’t mean that metaphorically—I mean an actual hole. He’s shattered a containment dome over his island that’s been cleverly camouflaged by his keepers.\u003c/p>\n\u003cp>Rebecca Hall, gamely trying to spit out exposition in a manner that suggests conversation, promptly explains that Kong’s been sequestered to protect him from Godzilla. “There can’t be two alpha Titans,” she says, “The whole theory of an ancient rivalry stems from….”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nah, I’ll spare you the whole theory. Suffice it to say that letting him out would be nuts—so that’s what they do.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=odM92ap8_c0\u003c/p>\n\u003cp>Before long, while the good guys (and some less-good guys) are talking energy sources and a “hollow Earth” that owes a little something to Jules Verne, Kong is using an aircraft carrier as a surfboard.\u003c/p>\n\u003cp>That’s what you came for, right? Off to the side, there’s a fearless podcaster (Brian Tyree Henry) taking on a fearsome corporation, but that’s mostly to get everybody to Hong Kong where there are buildings that can splinter prettily as our leading Titans finally get their playdate. (I may have imagined this, but at one point I think Kong uses a skyscraper’s revolving restaurant as a frisbee.)\u003c/p>\n\u003cp>Can’t talk plot without spoilers so let’s talk technique. Scale is everything with Kaiju—a sliding scale, of course, so that a critter that can plow through skyscrapers won’t seem implausibly enormous should the plot require, say, a really big defibrillator. [aside postid='pop_97638']\u003c/p>\n\u003cp>Let it be said that the special effects are decently special—and frequently in broad daylight this time, as opposed to in the Monsterverse’s last installment, \u003cem>Godzilla: King of the Monsters\u003c/em>, in which nearly everything took place either at night or under water. In \u003cem>Godzilla vs. Kong,\u003c/em> you can always see what’s going on, whether its in daylight or neon-drenched night—even if it’s a little disengaged from anything we’d normally regard as reality.\u003c/p>\n\u003cp>Also disengaged from people. Back in college, I had a geology professor who, whenever he drew a volcano on the blackboard, also drew a village at its base—his way of giving us a rooting interest when the lava started flowing.\u003c/p>\n\u003cp>Director Adam Wingard and his army of digitizers don’t bother with engagement niceties. \u003cem>Godzilla vs. Kong\u003c/em> rarely has bystanders to speak of—not even just screamers and runners. I kept waiting for someone to say “Oh my god, there are 7 million people in Hong Kong.”\u003c/p>\n\u003cp>But for all the terror they inspire in Asia’s commercial crossroads, the Eighth Wonder of the World and the King of the Monsters might as well be throwing punches in the wilderness (Kong has a mean right hook, by the way).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not sure I needed almost two hours of throwing punches, even accompanied by collapsing skyscrapers. But after a year spent battling a tiny virus you can’t see, audiences may well appreciate a title bout featuring antagonists of a certain size.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=In+A+Long-Awaited+Match+Up%2C+Godzilla+And+Kong+Stomp+Where+Marvel+Fears+To+Tread&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nah, I’ll spare you the whole theory. Suffice it to say that letting him out would be nuts—so that’s what they do.\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/odM92ap8_c0'\n title='//www.youtube.com/embed/odM92ap8_c0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before long, while the good guys (and some less-good guys) are talking energy sources and a “hollow Earth” that owes a little something to Jules Verne, Kong is using an aircraft carrier as a surfboard.\u003c/p>\n\u003cp>That’s what you came for, right? Off to the side, there’s a fearless podcaster (Brian Tyree Henry) taking on a fearsome corporation, but that’s mostly to get everybody to Hong Kong where there are buildings that can splinter prettily as our leading Titans finally get their playdate. (I may have imagined this, but at one point I think Kong uses a skyscraper’s revolving restaurant as a frisbee.)\u003c/p>\n\u003cp>Can’t talk plot without spoilers so let’s talk technique. Scale is everything with Kaiju—a sliding scale, of course, so that a critter that can plow through skyscrapers won’t seem implausibly enormous should the plot require, say, a really big defibrillator. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Let it be said that the special effects are decently special—and frequently in broad daylight this time, as opposed to in the Monsterverse’s last installment, \u003cem>Godzilla: King of the Monsters\u003c/em>, in which nearly everything took place either at night or under water. In \u003cem>Godzilla vs. Kong,\u003c/em> you can always see what’s going on, whether its in daylight or neon-drenched night—even if it’s a little disengaged from anything we’d normally regard as reality.\u003c/p>\n\u003cp>Also disengaged from people. Back in college, I had a geology professor who, whenever he drew a volcano on the blackboard, also drew a village at its base—his way of giving us a rooting interest when the lava started flowing.\u003c/p>\n\u003cp>Director Adam Wingard and his army of digitizers don’t bother with engagement niceties. \u003cem>Godzilla vs. Kong\u003c/em> rarely has bystanders to speak of—not even just screamers and runners. I kept waiting for someone to say “Oh my god, there are 7 million people in Hong Kong.”\u003c/p>\n\u003cp>But for all the terror they inspire in Asia’s commercial crossroads, the Eighth Wonder of the World and the King of the Monsters might as well be throwing punches in the wilderness (Kong has a mean right hook, by the way).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Not sure I needed almost two hours of throwing punches, even accompanied by collapsing skyscrapers. But after a year spent battling a tiny virus you can’t see, audiences may well appreciate a title bout featuring antagonists of a certain size.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=In+A+Long-Awaited+Match+Up%2C+Godzilla+And+Kong+Stomp+Where+Marvel+Fears+To+Tread&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Calls' is a Suspenseful Audio Drama With an Effective Visual Boost",
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"content": "\u003cp>One way to think about the new Apple TV+ drama series \u003cem>Calls\u003c/em> is as a podcast. Specifically, a podcast that’s a descendant of the suspenseful radio drama, only it’s played through your TV. A mix of science fiction, thriller and mystery, \u003cem>Calls\u003c/em> is made up of a series of phone calls you listen to, accompanied by minimal graphics on screen: dots and names to represent people, sound waveforms to represent their voices, running captions of everything they say. The general visual feel will be familiar to anyone who watched swirling, bending curves in bright colors dance and bounce on a dark background in the age of the screensaver. There’s not a lot to it.\u003c/p>\n\u003cp>The mystery begins at the end—a common tactic—with a baffling and frightening occurrence, and then it doubles back to explore what exactly has happened to get us there. There are nine episodes total, each in the 15-20 minute range, and the cast is big and impressive: Aaron Taylor-Johnson, Rosario Dawson, Mark Duplass, Aubrey Plaza, Nick Jonas, and Pedro Pascal are just a few of the folks who show up. The episodes are standalone short stories that gradually reveal a larger tale. A guy on the phone with his girlfriend, a doctor on the phone with her sister, a man on the phone with a neighbor—all experiencing a baffling anomaly that disrupts their lives in different ways.\u003c/p>\n\u003cp>\u003cem>Calls \u003c/em>comes by its unconventional format honestly—this was always an audio project. It began with a ten-minute short film with the barest visuals by writer and director Timothée Hochet, who posted it to YouTube and then wrote and directed a French television series based on it. This version is, in turn, based on the French show, and was written and directed by Fede Álvarez, who made \u003cem>Don’t Breathe \u003c/em>as well and \u003cem>The Girl in the Spider’s Web\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=RfpzdSJlv6o\u003c/p>\n\u003cp>What makes this an interesting effort arises out of the fact that it’s very different to write for audio drama than for television or film. There are a bunch of reasons that’s true, but one is that audiences need more and different signposting—voices that are different enough, characters calling each other by name, other cues that audio writers develop the ability to add seamlessly—to keep track of what’s going on. If you’ve ever listened to just the sound of a scene from a show or a film you’re not familiar with, you’ve probably noticed that you can lose your way very quickly, and if people are talking over each other or raising or lowering their voices, the complications can increase. (This is also why, for instance, if a news report on television plays the audio of a taped phone call, they’ll caption and label who’s talking and what they’re saying.) Audio writing is not just TV writing without the screen, and it requires tackling a different set of challenges.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>This represents one way to approach some of those challenges. Even though the visuals in \u003cem>Calls \u003c/em>are minimal, they’re meaningful and thoughtfully chosen. They help orient the listener so that one voice can drop in and another can drop out with a different kind of fluidity. When a person is represented by a name and a dot, connected to another name and another dot by a waveform, sometimes they’ll both stay in place on the screen. But sometimes they move, gliding closer to each other, sliding farther apart, or being joined by someone who can barely be heard in the background, whose name and dot may be fuzzy or distorted. A name might appear next to a dot only once the person on the other end of the call learns who they’re talking to.\u003c/p>\n\u003cp>It helps—it helps give information, certainly, but it also gives a fullness to the show that this audio alone wouldn’t quite carry. In the same way music enriches a scene on film, these visuals enrich a scene done with audio. You certainly don’t always need them to follow the action, but they complement the storytelling quite well, and they may be a helpful assist for people who don’t have a lot of practice listening to audio drama and would prefer to try it with training wheels.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple itself seems to be treating this as if it were a podcast—they didn’t offer any photos as part of their press materials, as they normally would with a TV show. That’s a shame, because while the audio is the focus of the production, what’s intriguing about this otherwise good-but-not-great story is that it has some of the charm and simplicity of audio-only storytelling, with some of the advantages of visual cues. There’s nothing new under the sun, and certainly some podcast dramas continue to wrestle with things radio dramas have been playing with for decades. But where there’s a proliferation of TV projects that look increasingly similar to each other sprawled across streaming services of which you could say the same, it’s appealing to see anything that’s different. And in different ways, \u003cem>Calls \u003c/em>is the most familiar, and the most unusual, piece of TV I’ve seen in a while.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27Calls%27+Is+A+Suspenseful+Audio+Drama+With+An+Effective+Visual+Boost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One way to think about the new Apple TV+ drama series \u003cem>Calls\u003c/em> is as a podcast. Specifically, a podcast that’s a descendant of the suspenseful radio drama, only it’s played through your TV. A mix of science fiction, thriller and mystery, \u003cem>Calls\u003c/em> is made up of a series of phone calls you listen to, accompanied by minimal graphics on screen: dots and names to represent people, sound waveforms to represent their voices, running captions of everything they say. The general visual feel will be familiar to anyone who watched swirling, bending curves in bright colors dance and bounce on a dark background in the age of the screensaver. There’s not a lot to it.\u003c/p>\n\u003cp>The mystery begins at the end—a common tactic—with a baffling and frightening occurrence, and then it doubles back to explore what exactly has happened to get us there. There are nine episodes total, each in the 15-20 minute range, and the cast is big and impressive: Aaron Taylor-Johnson, Rosario Dawson, Mark Duplass, Aubrey Plaza, Nick Jonas, and Pedro Pascal are just a few of the folks who show up. The episodes are standalone short stories that gradually reveal a larger tale. A guy on the phone with his girlfriend, a doctor on the phone with her sister, a man on the phone with a neighbor—all experiencing a baffling anomaly that disrupts their lives in different ways.\u003c/p>\n\u003cp>\u003cem>Calls \u003c/em>comes by its unconventional format honestly—this was always an audio project. It began with a ten-minute short film with the barest visuals by writer and director Timothée Hochet, who posted it to YouTube and then wrote and directed a French television series based on it. This version is, in turn, based on the French show, and was written and directed by Fede Álvarez, who made \u003cem>Don’t Breathe \u003c/em>as well and \u003cem>The Girl in the Spider’s Web\u003c/em>.\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/RfpzdSJlv6o'\n title='//www.youtube.com/embed/RfpzdSJlv6o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>What makes this an interesting effort arises out of the fact that it’s very different to write for audio drama than for television or film. There are a bunch of reasons that’s true, but one is that audiences need more and different signposting—voices that are different enough, characters calling each other by name, other cues that audio writers develop the ability to add seamlessly—to keep track of what’s going on. If you’ve ever listened to just the sound of a scene from a show or a film you’re not familiar with, you’ve probably noticed that you can lose your way very quickly, and if people are talking over each other or raising or lowering their voices, the complications can increase. (This is also why, for instance, if a news report on television plays the audio of a taped phone call, they’ll caption and label who’s talking and what they’re saying.) Audio writing is not just TV writing without the screen, and it requires tackling a different set of challenges.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>This represents one way to approach some of those challenges. Even though the visuals in \u003cem>Calls \u003c/em>are minimal, they’re meaningful and thoughtfully chosen. They help orient the listener so that one voice can drop in and another can drop out with a different kind of fluidity. When a person is represented by a name and a dot, connected to another name and another dot by a waveform, sometimes they’ll both stay in place on the screen. But sometimes they move, gliding closer to each other, sliding farther apart, or being joined by someone who can barely be heard in the background, whose name and dot may be fuzzy or distorted. A name might appear next to a dot only once the person on the other end of the call learns who they’re talking to.\u003c/p>\n\u003cp>It helps—it helps give information, certainly, but it also gives a fullness to the show that this audio alone wouldn’t quite carry. In the same way music enriches a scene on film, these visuals enrich a scene done with audio. You certainly don’t always need them to follow the action, but they complement the storytelling quite well, and they may be a helpful assist for people who don’t have a lot of practice listening to audio drama and would prefer to try it with training wheels.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Apple itself seems to be treating this as if it were a podcast—they didn’t offer any photos as part of their press materials, as they normally would with a TV show. That’s a shame, because while the audio is the focus of the production, what’s intriguing about this otherwise good-but-not-great story is that it has some of the charm and simplicity of audio-only storytelling, with some of the advantages of visual cues. There’s nothing new under the sun, and certainly some podcast dramas continue to wrestle with things radio dramas have been playing with for decades. But where there’s a proliferation of TV projects that look increasingly similar to each other sprawled across streaming services of which you could say the same, it’s appealing to see anything that’s different. And in different ways, \u003cem>Calls \u003c/em>is the most familiar, and the most unusual, piece of TV I’ve seen in a while.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=%27Calls%27+Is+A+Suspenseful+Audio+Drama+With+An+Effective+Visual+Boost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Works By Thomas Edison, Kermit the Frog Inducted Into Library of Congress",
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"content": "\u003cp>What do Janet Jackson, Ira Glass, Kermit the Frog, Nas and Louis Armstrong have in common?\u003c/p>\n\u003cp>These musicians, interviewers, and frogs are behind songs and other recordings to be \u003ca href=\"https://www.loc.gov/item/prn-21-015/national-recording-registry-adds-rhythm-nation-among-25-new-selections/2021-03-24/\" target=\"_blank\" rel=\"noopener noreferrer\">inducted\u003c/a> into the Library of Congress’s National Recording Registry on Wednesday.\u003c/p>\n\u003cp>The Library of Congress announced the 25 titles picked this year are considered “audio treasures worthy of preservation” based on their cultural, historical, or aesthetic importance to the nation’s heritage.\u003c/p>\n\u003cp>Janet Jackson’s album “Rhythm Nation 1814;” Louis Armstrong’s performance of “When the Saints Go Marching In;” Labelle’s song “Lady Marmalade;” Nas’ record “Illmatic,” Kool & the Gang’s “Celebration;” and Kermit the Frog’s “The Rainbow Connection” are now part of the collection of more than 550 other titles.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wyLjbMBpGDA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The National Recording Registry will preserve our history through these vibrant recordings of music and voices that have reflected our humanity and shaped our culture from the past 143 years,” Librarian of Congress Carla Hayden said in a statement Wednesday.\u003c/p>\n\u003cp>The recordings, stretching from 1878 to 2008, were chosen out of 900 nominations from the public, Hayden said.\u003c/p>\n\u003cp>“This American Life” is the first podcast to join the registry. The 2008 episode co-produced with NPR News telling the story of the subprime mortgage crisis will be added to the collection.\u003c/p>\n\u003cp>“When we put this out as a podcast, turning a radio show into a podcast, we did literally nothing to accommodate it,” host Ira Glass said in a statement shared by the Library of Congress. “And my theory is that podcasting is most powerful for the same reason that radio is the most powerful. That is, when you have a medium where you’re not seeing people, there’s just an intimacy to hearing somebody’s voice.”\u003c/p>\n\u003cp>The inclusion of Kermit the Frog’s “The Rainbow Connection” deeply touched the Muppet.\u003c/p>\n\u003cp>“Well, gee, it’s an amazing feeling to officially become part of our nation’s history,” Kermit said in a statement. “It’s a great honor. And I am thrilled—I am thrilled!—to be the first frog on the list!”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=jS5fTzMP_mg\u003c/p>\n\u003cp>The song was included in the 1979 \u003cem>The Muppet Movie\u003c/em> performed by Jim Henson as Kermit the Frog, and written by Paul Williams and Kenneth Ascher.\u003c/p>\n\u003cp>Williams said the song is about the “immense power of faith.”\u003c/p>\n\u003cp>“We don’t know how it works, but we believe that it does,” Williams said. “Sometimes the questions are more beautiful than the answers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Under the terms of the National Recording Preservation Act of 2000, the Librarian of Congress selects 25 titles each year that are at least 10 years old.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Works+By+Thomas+Edison%2C+Kermit+The+Frog+Inducted+Into+Library+Of+Congress&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The National Recording Registry will preserve our history through these vibrant recordings of music and voices that have reflected our humanity and shaped our culture from the past 143 years,” Librarian of Congress Carla Hayden said in a statement Wednesday.\u003c/p>\n\u003cp>The recordings, stretching from 1878 to 2008, were chosen out of 900 nominations from the public, Hayden said.\u003c/p>\n\u003cp>“This American Life” is the first podcast to join the registry. The 2008 episode co-produced with NPR News telling the story of the subprime mortgage crisis will be added to the collection.\u003c/p>\n\u003cp>“When we put this out as a podcast, turning a radio show into a podcast, we did literally nothing to accommodate it,” host Ira Glass said in a statement shared by the Library of Congress. “And my theory is that podcasting is most powerful for the same reason that radio is the most powerful. That is, when you have a medium where you’re not seeing people, there’s just an intimacy to hearing somebody’s voice.”\u003c/p>\n\u003cp>The inclusion of Kermit the Frog’s “The Rainbow Connection” deeply touched the Muppet.\u003c/p>\n\u003cp>“Well, gee, it’s an amazing feeling to officially become part of our nation’s history,” Kermit said in a statement. “It’s a great honor. And I am thrilled—I am thrilled!—to be the first frog on the list!”\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/jS5fTzMP_mg'\n title='//www.youtube.com/embed/jS5fTzMP_mg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The song was included in the 1979 \u003cem>The Muppet Movie\u003c/em> performed by Jim Henson as Kermit the Frog, and written by Paul Williams and Kenneth Ascher.\u003c/p>\n\u003cp>Williams said the song is about the “immense power of faith.”\u003c/p>\n\u003cp>“We don’t know how it works, but we believe that it does,” Williams said. “Sometimes the questions are more beautiful than the answers.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Under the terms of the National Recording Preservation Act of 2000, the Librarian of Congress selects 25 titles each year that are at least 10 years old.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Works+By+Thomas+Edison%2C+Kermit+The+Frog+Inducted+Into+Library+Of+Congress&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Another Round'? This Tipsy Danish Film Asks, Why Not?",
"headTitle": "‘Another Round’? This Tipsy Danish Film Asks, Why Not? | KQED",
"content": "\u003cp>In one of his many hymns to drinking, Charles Bukowski, that great bard of the barstool, explained the eternal promise of drunkenness. “It [takes] away the obvious,” he wrote, “and maybe if you could get away from the obvious often enough, you wouldn’t become obvious yourself.”\u003c/p>\n\u003cp>This claim gets a test drive in \u003cem>Another Round\u003c/em>, a crowd-pleasing Danish movie that’s the frontrunner for this year’s Oscar for Best International Feature Film. Directed by Thomas Vinterberg—himself a surprise nominee for Best Director—\u003cem>Another Round \u003c/em>has an amusingly louche premise: Four middle-aged high school teachers decide to see whether their lives will be better if they always have alcohol in their system.\u003c/p>\n\u003cp>Mads Mikkelsen stars as Martin, a one-time live-wire who’s become a bored and boring teacher, and a detached father and husband. One night he joins his pals Peter and Tommy for their friend Nikolaj’s 40th birthday dinner. Over many bottles, Nikolaj tells them about a Norwegian psychiatrist who argues that human bodies are designed to run best with .05 percent alcohol in their bloodstream. (In the U.S., a person is considered legally impaired when their blood alcohol content is .08 percent or higher.) [aside postid='arts_13874634']\u003c/p>\n\u003cp>Telling themselves they’re doing research—why, they’ll write a paper!—the four agree to try the idea out. The next day they knock back some booze before entering the classroom. And at first, Bukowski and the Norwegian shrink appear to be right. Walking around with a nice buzz, they feel liberated from the obvious, in the world and in themselves. As for Martin, he not only turns back into a funny, inspiring teacher but also an attentive and romantic family man.\u003c/p>\n\u003cp>In fact, the experiment is going so well that Martin suggests things might go even better with even more alcohol in their system. How could anything go wrong?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Before getting to what exactly goes wrong, though, I want to emphasize that \u003cem>Another Round \u003c/em>is a very entertaining film. It’s energetic, attentively shot and exceedingly well acted—which is impressive because it’s so easy to overdo playing drunk. While all four friends are terrific, the film rightly orbits around Mikkelsen, a genuine movie star whose ambiguous, slightly sinister good looks make even the early, boring Martin charismatic. Whether tippling, moping or dancing—at which he’s great, by the way—he’s as good here as any of this year’s Best Actor nominees.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bj8Jmz_srDg\u003c/p>\n\u003cp>This is Mikkelsen’s second collaboration with Vinterberg, who made his name as co-creator of the movement known as Dogme 95. It sought to do for film what punk had done for music—strip away its pricey, overproduced commercial slickness and get back to something purer, more real and more aggressive. Vinterberg’s breakthrough 1998 film \u003cem>The Celebration\u003c/em>, was a sensationally good example—and like so many Dogme films, it was also gleefully naughty.\u003c/p>\n\u003cp>Two decades on, Vinterberg has kept some of that movement’s trademarks, from the jittery hand-held camera that captures flickering emotions to its promise of the transgressive. The film’s Danish title is \u003cem>Druk\u003c/em>, which means “Binge Drinking”—a far less inviting title than \u003cem>Another Round\u003c/em>. Curiously enough, the English title is truer to the film. You see, despite its surface realism and apparently bold theme, \u003cem>Another Round \u003c/em>is the kind of safe film Dogme rejected.\u003c/p>\n\u003cp>Now, Vinterberg is no square, and his film is clearly rebelling against our modern puritanism about intoxication. He wants to celebrate the boozing and camaraderie that sustains a drinking culture like Denmark. And that’s fair enough. Still, this doesn’t free him from his obligations to the reality lurking in his premise. [aside postid='arts_13892406']\u003c/p>\n\u003cp>When I suggested earlier that things go wrong, I meant with the film \u003cem>not \u003c/em>the characters. Because \u003cem>Another Round \u003c/em>sets up a provocative situation with four men drinking far too much, we expect it to provoke a deeper understanding of alcohol, men and their midlife crises. That’s what John Cassavetes sought to do with his bold, if unlikable 1970 film \u003cem>Husbands\u003c/em>. Here, despite a few painful moments, Vinterberg steers us in the opposite direction, building toward a conventionally upbeat finale that isn’t merely sentimental but exuberantly so.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That said, it doesn’t really bother me that so many viewers love \u003cem>Another Round \u003c/em>and revel in its Hollywood ending. After all, the whole world feels like it’s been mired in a midlife crisis for the last year, so it cheers people up to see a movie in which drinking too much actually makes things better.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Another+Round%27%3F+This+Tipsy+Danish+Film+Asks%2C+Why+Not%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In one of his many hymns to drinking, Charles Bukowski, that great bard of the barstool, explained the eternal promise of drunkenness. “It [takes] away the obvious,” he wrote, “and maybe if you could get away from the obvious often enough, you wouldn’t become obvious yourself.”\u003c/p>\n\u003cp>This claim gets a test drive in \u003cem>Another Round\u003c/em>, a crowd-pleasing Danish movie that’s the frontrunner for this year’s Oscar for Best International Feature Film. Directed by Thomas Vinterberg—himself a surprise nominee for Best Director—\u003cem>Another Round \u003c/em>has an amusingly louche premise: Four middle-aged high school teachers decide to see whether their lives will be better if they always have alcohol in their system.\u003c/p>\n\u003cp>Mads Mikkelsen stars as Martin, a one-time live-wire who’s become a bored and boring teacher, and a detached father and husband. One night he joins his pals Peter and Tommy for their friend Nikolaj’s 40th birthday dinner. Over many bottles, Nikolaj tells them about a Norwegian psychiatrist who argues that human bodies are designed to run best with .05 percent alcohol in their bloodstream. (In the U.S., a person is considered legally impaired when their blood alcohol content is .08 percent or higher.) \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Telling themselves they’re doing research—why, they’ll write a paper!—the four agree to try the idea out. The next day they knock back some booze before entering the classroom. And at first, Bukowski and the Norwegian shrink appear to be right. Walking around with a nice buzz, they feel liberated from the obvious, in the world and in themselves. As for Martin, he not only turns back into a funny, inspiring teacher but also an attentive and romantic family man.\u003c/p>\n\u003cp>In fact, the experiment is going so well that Martin suggests things might go even better with even more alcohol in their system. How could anything go wrong?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Before getting to what exactly goes wrong, though, I want to emphasize that \u003cem>Another Round \u003c/em>is a very entertaining film. It’s energetic, attentively shot and exceedingly well acted—which is impressive because it’s so easy to overdo playing drunk. While all four friends are terrific, the film rightly orbits around Mikkelsen, a genuine movie star whose ambiguous, slightly sinister good looks make even the early, boring Martin charismatic. Whether tippling, moping or dancing—at which he’s great, by the way—he’s as good here as any of this year’s Best Actor nominees.\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/bj8Jmz_srDg'\n title='//www.youtube.com/embed/bj8Jmz_srDg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>This is Mikkelsen’s second collaboration with Vinterberg, who made his name as co-creator of the movement known as Dogme 95. It sought to do for film what punk had done for music—strip away its pricey, overproduced commercial slickness and get back to something purer, more real and more aggressive. Vinterberg’s breakthrough 1998 film \u003cem>The Celebration\u003c/em>, was a sensationally good example—and like so many Dogme films, it was also gleefully naughty.\u003c/p>\n\u003cp>Two decades on, Vinterberg has kept some of that movement’s trademarks, from the jittery hand-held camera that captures flickering emotions to its promise of the transgressive. The film’s Danish title is \u003cem>Druk\u003c/em>, which means “Binge Drinking”—a far less inviting title than \u003cem>Another Round\u003c/em>. Curiously enough, the English title is truer to the film. You see, despite its surface realism and apparently bold theme, \u003cem>Another Round \u003c/em>is the kind of safe film Dogme rejected.\u003c/p>\n\u003cp>Now, Vinterberg is no square, and his film is clearly rebelling against our modern puritanism about intoxication. He wants to celebrate the boozing and camaraderie that sustains a drinking culture like Denmark. And that’s fair enough. Still, this doesn’t free him from his obligations to the reality lurking in his premise. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When I suggested earlier that things go wrong, I meant with the film \u003cem>not \u003c/em>the characters. Because \u003cem>Another Round \u003c/em>sets up a provocative situation with four men drinking far too much, we expect it to provoke a deeper understanding of alcohol, men and their midlife crises. That’s what John Cassavetes sought to do with his bold, if unlikable 1970 film \u003cem>Husbands\u003c/em>. Here, despite a few painful moments, Vinterberg steers us in the opposite direction, building toward a conventionally upbeat finale that isn’t merely sentimental but exuberantly so.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That said, it doesn’t really bother me that so many viewers love \u003cem>Another Round \u003c/em>and revel in its Hollywood ending. After all, the whole world feels like it’s been mired in a midlife crisis for the last year, so it cheers people up to see a movie in which drinking too much actually makes things better.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Another+Round%27%3F+This+Tipsy+Danish+Film+Asks%2C+Why+Not%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Oscar-nominated movie \u003cem>Soul \u003c/em>tackles passion, purpose and the meaning of life—topics that aren’t usually addressed in animated films.\u003c/p>\n\u003cp>The movie centers on Joe, a middle school band teacher who feels unfulfilled because his ambition is to be a full-time jazz musician. On the day he lands the biggest gig of his career, Joe nearly dies—but then gets the chance to return to his body if he can figure out the purpose of his life.\u003c/p>\n\u003cp>Pete Docter, who co-wrote and co-directed the film with Kemp Powers, says the film was inspired by the emotional turbulence he experienced after writing and directing \u003ca href=\"https://www.npr.org/2015/06/18/414701069/from-the-inside-out-a-lively-look-inside-a-young-mind\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Inside Out\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“Having … so much success in [that] film, I found myself wondering: Why don’t I feel like my life is all wrapped up and solved in a nice bow? Why didn’t it fix everything?” Docter says.\u003c/p>\n\u003cp>\u003cem>Soul \u003c/em>has generated success of its own. The film won the Golden Globe award for best animated picture, and is nominated for three Academy Awards. But Powers, who’s also up for an Oscar for his adapted screenplay for \u003ca href=\"https://www.npr.org/2021/01/14/956750160/one-night-in-miami-humanizes-four-icons\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>One Night in Miami\u003c/em>\u003c/a>\u003cem>,\u003c/em> says \u003cem>Soul \u003c/em>is actually meant to challenge conventional notions of success and failure.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We were trying to help not just Joe, but the entire audience, understand that it’s not about winners or losers and that everyone’s life has value,” Powers says. “That was really a powerful driving force from the very beginning.”\u003c/p>\n\u003cp>Docter says the film’s message is that life has meaning that goes beyond personal ambition.\u003c/p>\n\u003cp>“The movie’s aim is really to say that we’re already enough,” he says. “We all can walk out of the door and enjoy life without needing to accomplish or prove anything. And that’s really freeing.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xOsLIiBStEs\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On Pixar approaching Powers to work on the film\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers: \u003c/strong>It is pretty funny, because obviously when I got the call from my agent that Pixar was interested, they were looking for a writer to help them with a project … the first thing my brain said was, “Hmm, I’m guessing the story must have Black people in it.” I know that that can sound cynical, but look, that’s just the reality of this business, this industry. … It wasn’t very long ago—and when I say not very long ago, I’m talking just, like, three or four years ago—where it was very possible, if you happened to be white, to create and tell a story about anything you wanted to. And no one would so much as push you to even consult with people from that community, let alone invite them in and be partners.\u003c/p>\n\u003cp>So while it’s easy to kind of take the cynical road, I saw it more as a really interesting opportunity, because when I flew up to Pixar and I sat down and I saw the nuggets of what would become \u003cem>Soul\u003c/em>, I really fell in love with the story that Pete was trying to tell. And it was a story that felt like it was about me, and it was a story that really wasn’t about race. That was one of the things that really, really excited me about this. … I tell people, yes, \u003cem>Soul \u003c/em>is a film [where] the majority of the characters are Black, but it’s not a “Black” film. We’re trying to tell this universal story through the specific prism of a Black man. And I think that was a really bold choice that I was relishing an opportunity to try to execute.\u003c/p>\n\u003cp>\u003cstrong>On Powers’ feedback to an early reel of \u003c/strong>\u003cstrong>\u003cem>Soul \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers: \u003c/strong>In the early reels, [Joe] seemed like the least interesting person in the film. … Part of it was, I think, because there had been such extreme caution and such a fear of doing things that might offend someone or upset someone, that instead there really hadn’t been much done [on the character]. I didn’t know anything about the guy. I didn’t really know anything about his family. It seemed like Joe was just a very, very lonely man who didn’t know anyone and had no friends. And so that just meant that his life had to be filled in. And, of course, it’s just the nature of being at Pixar, it doesn’t matter whether you’re a director or a designer or an artist, you use your life as fuel. So it was very easy for me [to] say, “Oh, he’s supposed to be a 45-year-old Black man from New York. What a coincidence! That’s what I am!” [And then] to start filling in a lot of those gaps with my own personal experiences.\u003c/p>\n\u003cp>\u003cstrong>On researching depictions and beliefs about the soul for the film \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Docter:\u003c/strong> I talked to priests and rabbis and experts in Islam, Hinduism, as many of the main religions as we could find, to just see how these different traditions look at the soul and the afterlife and the world beyond our bodily forms. What we found was that most of them have a lot to say about what happens after we die—but very few talk about what happened before. So that meant we were kind of free to make stuff up, which is my favorite place to be. …\u003c/p>\n\u003cp>If you ask, “What is the soul?” most of them talk about the soul being ethereal, vaporous, non-physical, invisible. We wanted to hint at all that in our design—not only of the souls themselves, but the world they inhabit. And actually, interestingly, the first draft of the film … was a version entirely set in the “Great Before” [a fantastical place where new souls exist before they go to Earth]. There is no Earth-based stuff. It was all about observing life just through these memories and these visualizations of the world, trying to talk this other soul into going [to Earth]. But the more we developed it, the more we realized, if we’re going to talk about what makes life worth living, we’ve got to go interact with it. We got to get our hands dirty—smell, taste, touch, all those things that a soul can’t do.\u003c/p>\n\u003cfigure id=\"attachment_13894435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/32d0442fa55f23b529689343251e8fe4_4096x1715_be16ee6c-c9f8220bc2594b69a341328a976810116e3d5213-800x599.jpe\" alt=\"Joe's soul (right) is paired with 22, a lost soul voiced by Tina Fey.\" width=\"800\" height=\"599\">\u003cfigcaption class=\"wp-caption-text\">Joe’s soul (right) is paired with 22, a lost soul voiced by Tina Fey. \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On depicting “lost souls” in the film \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers:\u003c/strong> Something that we discussed when making this film was that at different points in our lives and careers, we’ve all been … “lost souls,” based on our definition of it. Because when you find something you enjoy and you’re passionate about and you actually are pretty good at it, it is so easy to take the extra step of hiding behind that thing and using it to not deal with so many other elements of life. That’s why it was so important that when we introduced the idea of the lost soul—that someone could be lost—but then they could be found. … I’ve definitely found myself, based on our own definition of it, [as] a bit of a lost soul, someone who—to avoid facing all different elements of life—just [loses] myself in my work.\u003c/p>\n\u003cp>\u003cstrong>On screening \u003c/strong>\u003cstrong>\u003cem>Soul\u003c/em>\u003c/strong>\u003cstrong> for kids\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Docter:\u003c/strong> On \u003cem>Soul\u003c/em>, we got started to get worried, like, is this too much? Are kids going to be able to track this? So we brought in an audience full of kids. It was probably the second scariest screening, because they’re quiet. Kids are quiet. They don’t laugh a lot. So you’re like, “Oh, we’re dying! We’re dying!” But we found over the years, like especially the first time they watch something, they’re typically just sucking it all up and taking it in. … But afterwards we ask them questions like, “Did you understand this?” And what seems to happen again [and] again is the parents will say, “This film was too complicated for kids. This is not appropriate for kids.” And then the kid sitting right next to them will sit and explain the entire movie better than I could. They get everything. They’re very smart.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey\u003c/em> \u003cem>adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Soul%27+Creators+On+Passion%2C+Purpose+And+Realizing+You%27re+%27Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We were trying to help not just Joe, but the entire audience, understand that it’s not about winners or losers and that everyone’s life has value,” Powers says. “That was really a powerful driving force from the very beginning.”\u003c/p>\n\u003cp>Docter says the film’s message is that life has meaning that goes beyond personal ambition.\u003c/p>\n\u003cp>“The movie’s aim is really to say that we’re already enough,” he says. “We all can walk out of the door and enjoy life without needing to accomplish or prove anything. And that’s really freeing.”\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/xOsLIiBStEs'\n title='//www.youtube.com/embed/xOsLIiBStEs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On Pixar approaching Powers to work on the film\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers: \u003c/strong>It is pretty funny, because obviously when I got the call from my agent that Pixar was interested, they were looking for a writer to help them with a project … the first thing my brain said was, “Hmm, I’m guessing the story must have Black people in it.” I know that that can sound cynical, but look, that’s just the reality of this business, this industry. … It wasn’t very long ago—and when I say not very long ago, I’m talking just, like, three or four years ago—where it was very possible, if you happened to be white, to create and tell a story about anything you wanted to. And no one would so much as push you to even consult with people from that community, let alone invite them in and be partners.\u003c/p>\n\u003cp>So while it’s easy to kind of take the cynical road, I saw it more as a really interesting opportunity, because when I flew up to Pixar and I sat down and I saw the nuggets of what would become \u003cem>Soul\u003c/em>, I really fell in love with the story that Pete was trying to tell. And it was a story that felt like it was about me, and it was a story that really wasn’t about race. That was one of the things that really, really excited me about this. … I tell people, yes, \u003cem>Soul \u003c/em>is a film [where] the majority of the characters are Black, but it’s not a “Black” film. We’re trying to tell this universal story through the specific prism of a Black man. And I think that was a really bold choice that I was relishing an opportunity to try to execute.\u003c/p>\n\u003cp>\u003cstrong>On Powers’ feedback to an early reel of \u003c/strong>\u003cstrong>\u003cem>Soul \u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers: \u003c/strong>In the early reels, [Joe] seemed like the least interesting person in the film. … Part of it was, I think, because there had been such extreme caution and such a fear of doing things that might offend someone or upset someone, that instead there really hadn’t been much done [on the character]. I didn’t know anything about the guy. I didn’t really know anything about his family. It seemed like Joe was just a very, very lonely man who didn’t know anyone and had no friends. And so that just meant that his life had to be filled in. And, of course, it’s just the nature of being at Pixar, it doesn’t matter whether you’re a director or a designer or an artist, you use your life as fuel. So it was very easy for me [to] say, “Oh, he’s supposed to be a 45-year-old Black man from New York. What a coincidence! That’s what I am!” [And then] to start filling in a lot of those gaps with my own personal experiences.\u003c/p>\n\u003cp>\u003cstrong>On researching depictions and beliefs about the soul for the film \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Docter:\u003c/strong> I talked to priests and rabbis and experts in Islam, Hinduism, as many of the main religions as we could find, to just see how these different traditions look at the soul and the afterlife and the world beyond our bodily forms. What we found was that most of them have a lot to say about what happens after we die—but very few talk about what happened before. So that meant we were kind of free to make stuff up, which is my favorite place to be. …\u003c/p>\n\u003cp>If you ask, “What is the soul?” most of them talk about the soul being ethereal, vaporous, non-physical, invisible. We wanted to hint at all that in our design—not only of the souls themselves, but the world they inhabit. And actually, interestingly, the first draft of the film … was a version entirely set in the “Great Before” [a fantastical place where new souls exist before they go to Earth]. There is no Earth-based stuff. It was all about observing life just through these memories and these visualizations of the world, trying to talk this other soul into going [to Earth]. But the more we developed it, the more we realized, if we’re going to talk about what makes life worth living, we’ve got to go interact with it. We got to get our hands dirty—smell, taste, touch, all those things that a soul can’t do.\u003c/p>\n\u003cfigure id=\"attachment_13894435\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13894435\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/03/32d0442fa55f23b529689343251e8fe4_4096x1715_be16ee6c-c9f8220bc2594b69a341328a976810116e3d5213-800x599.jpe\" alt=\"Joe's soul (right) is paired with 22, a lost soul voiced by Tina Fey.\" width=\"800\" height=\"599\">\u003cfigcaption class=\"wp-caption-text\">Joe’s soul (right) is paired with 22, a lost soul voiced by Tina Fey. \u003ccite>(Disney)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On depicting “lost souls” in the film \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Powers:\u003c/strong> Something that we discussed when making this film was that at different points in our lives and careers, we’ve all been … “lost souls,” based on our definition of it. Because when you find something you enjoy and you’re passionate about and you actually are pretty good at it, it is so easy to take the extra step of hiding behind that thing and using it to not deal with so many other elements of life. That’s why it was so important that when we introduced the idea of the lost soul—that someone could be lost—but then they could be found. … I’ve definitely found myself, based on our own definition of it, [as] a bit of a lost soul, someone who—to avoid facing all different elements of life—just [loses] myself in my work.\u003c/p>\n\u003cp>\u003cstrong>On screening \u003c/strong>\u003cstrong>\u003cem>Soul\u003c/em>\u003c/strong>\u003cstrong> for kids\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Docter:\u003c/strong> On \u003cem>Soul\u003c/em>, we got started to get worried, like, is this too much? Are kids going to be able to track this? So we brought in an audience full of kids. It was probably the second scariest screening, because they’re quiet. Kids are quiet. They don’t laugh a lot. So you’re like, “Oh, we’re dying! We’re dying!” But we found over the years, like especially the first time they watch something, they’re typically just sucking it all up and taking it in. … But afterwards we ask them questions like, “Did you understand this?” And what seems to happen again [and] again is the parents will say, “This film was too complicated for kids. This is not appropriate for kids.” And then the kid sitting right next to them will sit and explain the entire movie better than I could. They get everything. They’re very smart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey\u003c/em> \u003cem>adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\" target=\"_blank\" rel=\"noopener noreferrer\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Soul%27+Creators+On+Passion%2C+Purpose+And+Realizing+You%27re+%27Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Soul legend \u003ca href=\"https://www.npr.org/artists/15662553/aretha-franklin\" target=\"_blank\" rel=\"noopener noreferrer\">Aretha Franklin\u003c/a> received the television-miniseries treatment with \u003cem>Genius: Aretha\u003c/em>, a project that works best when it lets her music do the talking.\u003c/p>\n\u003cp>Cynthia Erivo plays Aretha who, moments into the start of \u003cem>Genius\u003c/em>, makes it clear that they found the right woman for this job. Recreating the tumultuous life of Aretha Franklin requires more, however, than just singing her classic hits with power and excitement. It requires revisiting a life filled with trauma and challenges, as foreshadowed by journalists questioning Franklin on who “calls the shots,” her father or her husband, at a press conference (to which she responds, “I think you’ve all been reading a few too many gossip columns”).\u003c/p>\n\u003cp>She learns to free herself from the men in her life determined to dominate her, beginning with her father, renowned Baptist preacher and civil rights activist the Rev. C.L. Franklin. Courtney B. Vance is magnetic as the elder Franklin, a preacher who, one character says, “loved Sunday morning \u003cem>and\u003c/em> Saturday night.” In one scene, he’s urging a tween-age Aretha to sing at a house party before \u003ca href=\"https://www.npr.org/artists/15196957/art-tatum\" target=\"_blank\" rel=\"noopener noreferrer\">Art Tatum\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15404991/dinah-washington\" target=\"_blank\" rel=\"noopener noreferrer\">Dinah Washington\u003c/a>. But the Rev. Franklin is also shown as a compulsive womanizer, confronted by his girlfriend—who Aretha had grown to love, hoping she would become her stepmom.\u003c/p>\n\u003cp>A fight over infidelity followed by violence is a cycle we see repeated with Aretha and her husband Ted, after he ruins a recording session by fighting in the studio. “You were supposed to be good as gold,” Aretha says.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qjw3-JMm5Sc\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite crackling performances from Erivo, Vance and the actress who plays young Aretha, Shaian Jordan, \u003cem>Genius: Aretha\u003c/em> too often unfolds like a predictable biopic burdened by ham-handed storytelling.\u003c/p>\n\u003cp>It’s the third installment of National Geographic’s \u003cem>Genius\u003c/em> anthology series, but the first about a woman or a non-white person, following seasons on Albert Einstein and Pablo Picasso. So, some may be disappointed in how it presents a succession of Black men who take advantage of Franklin, from her philandering father, to her philandering husband, to a man who left her pregnant at age 12.\u003c/p>\n\u003cp>The best moments involve showing how Franklin transitioned from gospel star to soul diva. That includes a scene where producer, songwriter and performer Curtis Mayfield urges her to channel her tribulations into her vocals in the studio: “You move people; you take the heaviness of life and you make it beautiful. We need \u003cem>that\u003c/em>.”\u003c/p>\n\u003cp>Aretha sings again, but this time pouring herself out over a swaying track called “Something He Can Feel.” If more moments in \u003cem>Genius: Aretha\u003c/em> matched this one, it would truly be the triumph Erivo and the Queen of Soul deserve.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Genius: Aretha\u003cem> debuts this Sunday, March 21, on the National Geographic channel.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Aretha+Franklin+Shines+In%2C+And+Despite%2C+The+New+Miniseries%2C+%27Genius%3A+Aretha%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite crackling performances from Erivo, Vance and the actress who plays young Aretha, Shaian Jordan, \u003cem>Genius: Aretha\u003c/em> too often unfolds like a predictable biopic burdened by ham-handed storytelling.\u003c/p>\n\u003cp>It’s the third installment of National Geographic’s \u003cem>Genius\u003c/em> anthology series, but the first about a woman or a non-white person, following seasons on Albert Einstein and Pablo Picasso. So, some may be disappointed in how it presents a succession of Black men who take advantage of Franklin, from her philandering father, to her philandering husband, to a man who left her pregnant at age 12.\u003c/p>\n\u003cp>The best moments involve showing how Franklin transitioned from gospel star to soul diva. That includes a scene where producer, songwriter and performer Curtis Mayfield urges her to channel her tribulations into her vocals in the studio: “You move people; you take the heaviness of life and you make it beautiful. We need \u003cem>that\u003c/em>.”\u003c/p>\n\u003cp>Aretha sings again, but this time pouring herself out over a swaying track called “Something He Can Feel.” If more moments in \u003cem>Genius: Aretha\u003c/em> matched this one, it would truly be the triumph Erivo and the Queen of Soul deserve.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Genius: Aretha\u003cem> debuts this Sunday, March 21, on the National Geographic channel.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 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=Aretha+Franklin+Shines+In%2C+And+Despite%2C+The+New+Miniseries%2C+%27Genius%3A+Aretha%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/news/series/baycurious",
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"source": "kqed",
"order": 3
},
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"npr": "https://www.npr.org/podcasts/500557090/bay-curious",
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}
},
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"id": "bbc-world-service",
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.bbc.co.uk/sounds/play/live:bbc_world_service",
"meta": {
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"apple": "https://itunes.apple.com/us/podcast/global-news-podcast/id135067274?mt=2",
"tuneIn": "https://tunein.com/radio/BBC-World-Service-p455581/",
"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
}
},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
"meta": {
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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"amazon": "https://music.amazon.com/podcasts/26099305-72af-4542-9dde-ac1807fe36d5/kqed-s-the-california-report",
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}
},
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"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"officialWebsiteLink": "/podcasts/closealltabs",
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"source": "kqed",
"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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},
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
"spotify": "https://open.spotify.com/show/0MxSpNYZKNprFLCl7eEtyx"
}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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