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"content": "\u003cp>In May of 1970, at a San Francisco concert venue best known for reverberating with the sounds of the \u003ca href=\"https://www.npr.org/artists/15440218/grateful-dead\" target=\"_blank\" rel=\"noopener noreferrer\">Grateful Dead\u003c/a> and Jefferson Airplane, three masters of Indian classical music took the stage for a celebration of Indian ragas. The concert was recorded by another legend of the time: Owsley Stanley, the man who designed the Dead’s innovative sound system, as well as making what was reputed to be the best LSD of its day. That recording is now available as a live album, titled \u003cem>Bear’s Sonic Journals: That Which Colors the Mind\u003c/em>.\u003c/p>\n\u003cp>On that night, Indian sarod master Ali Akbar Khan was joined on stage by sitar player Indranil Bhattacharya and a 19-year-old percussionist named \u003ca href=\"https://www.npr.org/artists/113441328/zakir-hussain\" target=\"_blank\" rel=\"noopener noreferrer\">Zakir Hussain\u003c/a>. Hussain had just arrived in America a few months before, occupied with finding his way around the country and understanding the slang: “Words like ‘far-out’ and ‘groovy’ and all weren’t quite registering,” he says.\u003c/p>\n\u003cp>The language of the hippie generation may not have clicked for Hussain, but sitar maestro Ravi Shankar had already electrified the Woodstock and Monterey Pop festivals. The audience in San Francisco that night was primed to listen.\u003c/p>\n\u003cp>“In India, I was used to playing with the audience chiming in,” Hussain recalls. “Everybody saying ‘Wow’ and … ‘Do that again,’ and all that stuff. But here the audience was quiet, eyes closed, meditative. The room was dark so you couldn’t really make eye contact with the audience, and so you were left to rely on your interaction with your fellow musicians.”\u003c/p>\n\u003cp>Since his first American concert, Zakir Hussain has become perhaps the most famous tabla player in the world. He now lives in California, and he says it was this performance 50 years ago that showed him that Indian classical music could be played in the West in its purest form. “It really set the tone of how I would present myself to my fellow musicians—whoever I was accompanying—for the rest of my life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Capturing the performance in the highest fidelity possible was the goal of Owsley Stanley, the man known to friends as “The Bear.” Hussain says Stanley was often seen running around “like a madman,” tripping over wires and cursing. “This was a guy who knew what needed to be done about how this music should be presented to those who were not there. I mean, Bear had this idea that the music should be heard in a way where people can close their eyes and actually see where the musicians are seated.”\u003c/p>\n\u003cp>“His objective with his recording was to try to capture the audiences’ experience so that he could improve the sound system,” says Starfinder Stanley, son of the late sound man and head of the \u003ca href=\"https://owsleystanleyfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Owsley Stanley Foundation\u003c/a>. He describes his father as an “audiophile who was born in a low fidelity world,” devoted to improving the sound systems and overall sonic experience of rock and roll. “He called his tapes his sonic journals,” he recalls. “They were his working diary so that he could improve the sound.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=myYeIlhh45U\u003c/p>\n\u003cp>The Foundation has begun restoring Stanley’s tapes and releasing the music. “He had collected about 1,300 reels of 80 different artists in nearly every idiom you can imagine of music,” says Hawk Semins, the executive producer of the series. From Miles Davis to Janis Joplin, Semins says these live recordings capture the ‘magic’ of the ’60s and ’70s Bay Area music scene. “It’s just absolutely remarkable the mix that’s reflected, the contacts that there were, the open-mindedness of the scene in terms of the various musical influences,” he says. “You’ve got Ali Akbar Khan one night, and you’ve got Commander Cody another night, and you’ve got the Grateful Dead another night. And they were all listening to each other, and they were all playing with each other.”\u003c/p>\n\u003cp>It was a time for expanding consciousness, and while Starfinder acknowledges his father’s role in chemically altering the minds of that scene’s participants, he insists the music was Owsley Stanley’s real drug. 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And this album in particular is great for that—you know, it just transports you.”\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=When+The+Giants+Of+Indian+Classical+Music+Collided+With+Psychedelic+San+Francisco&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>Capturing the performance in the highest fidelity possible was the goal of Owsley Stanley, the man known to friends as “The Bear.” Hussain says Stanley was often seen running around “like a madman,” tripping over wires and cursing. “This was a guy who knew what needed to be done about how this music should be presented to those who were not there. I mean, Bear had this idea that the music should be heard in a way where people can close their eyes and actually see where the musicians are seated.”\u003c/p>\n\u003cp>“His objective with his recording was to try to capture the audiences’ experience so that he could improve the sound system,” says Starfinder Stanley, son of the late sound man and head of the \u003ca href=\"https://owsleystanleyfoundation.org/\" target=\"_blank\" rel=\"noopener noreferrer\">Owsley Stanley Foundation\u003c/a>. He describes his father as an “audiophile who was born in a low fidelity world,” devoted to improving the sound systems and overall sonic experience of rock and roll. “He called his tapes his sonic journals,” he recalls. “They were his working diary so that he could improve the sound.”\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/myYeIlhh45U'\n title='//www.youtube.com/embed/myYeIlhh45U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Foundation has begun restoring Stanley’s tapes and releasing the music. “He had collected about 1,300 reels of 80 different artists in nearly every idiom you can imagine of music,” says Hawk Semins, the executive producer of the series. From Miles Davis to Janis Joplin, Semins says these live recordings capture the ‘magic’ of the ’60s and ’70s Bay Area music scene. “It’s just absolutely remarkable the mix that’s reflected, the contacts that there were, the open-mindedness of the scene in terms of the various musical influences,” he says. “You’ve got Ali Akbar Khan one night, and you’ve got Commander Cody another night, and you’ve got the Grateful Dead another night. And they were all listening to each other, and they were all playing with each other.”\u003c/p>\n\u003cp>It was a time for expanding consciousness, and while Starfinder acknowledges his father’s role in chemically altering the minds of that scene’s participants, he insists the music was Owsley Stanley’s real drug. Zakir Hussain says that idea is captured in the new album’s title: Thousands of years ago, an ancient thinker named Bharata lived in India; he wrote many treatises, including the \u003cem>Natya Shastra\u003c/em>, where raga originates. “It says, ‘\u003cem>Rangati iti raga\u003c/em>,’ which means ‘That which colors the mind is a raga.’ And that ties into this recording, the title.”\u003c/p>\n\u003cp>Starfinder says he hopes the recordings can introduce a new generation to a pivotal moment in American music history, when genres and cultures cross-pollinated in a spirit of openness and dialogue. He suggests that the album makes a great companion in the chaos of our current time, especially in moments where one needs to unplug and step back.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Stop doom-scrolling through all the crazy stuff that’s going on,” he says. “Let this into your mind, and let it soothe that internal monologue. And this album in particular is great for that—you know, it just transports you.”\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=When+The+Giants+Of+Indian+Classical+Music+Collided+With+Psychedelic+San+Francisco&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Who are you?\u003c/em>\u003c/p>\n\u003cp>If you saw Derek DelGaudio’s \u003cem>In & Of Itself \u003c/em>in its original incarnation as live theater, the first thing that happened was that as you went into the Daryl Roth Theatre, you passed a wall with little cards hanging on it, and you were meant to choose one. They said “I AM” on the top half, and then there was a word or a phrase on the bottom half. So you could choose “I AM the life of the party,” or “I AM a father,” or “I AM an accountant.” The first time I went to see it in October 2017, I had sold my book only a couple of months earlier, and it was a year and a half away from publication. I chose “I AM a novelist.” They collected the cards and tore them—you kept your I AM half, they kept the other half. The cards they kept were placed in a little stack. That’s how it started.\u003c/p>\n\u003cp>I ultimately saw the show one more time with a friend in January 2018 (that time, I believe I chose “I AM a gamechanger” or something), because I couldn’t bear that no one I was close to had seen it and could talk about it with me. Now, a filmed adaptation is available on Hulu. And they’ve managed to do something that’s always hard with filmed theater and seemed like it was going to be almost impossible here: They’ve made this version feel very, very much the way one of the most powerful theatrical experiences I’ve ever had felt when I was in the room.\u003c/p>\n\u003cp>DelGaudio is … well, he’s a storyteller, and he’s a performer, and he’s a magician. You’ll hear \u003cem>In & Of Itself \u003c/em>referred to as conceptual magic or interactive theater or a one-man show. Those things are all technically true, but they’re desperately incomplete. I might describe it as a series of vignettes, punctuated by some basic sleight-of-hand, some card tricks, and two of the most extraordinary audience-involved sequences I ever expect to see. I don’t understand—at all—how either was done. I have tried not to make too many guesses. I don’t want people to tell me their guesses. I know both sequences have earthly explanations, but I don’t need them. I don’t want them.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_62BeXxd_jo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I don’t mean to stall with the basics; I want to describe the show to you, because of how badly I want to persuade you to watch the film. But I knew essentially nothing when I first saw it except that it was kind of magic-adjacent and several people I trusted had recommended it. I want that for you. So I don’t want to tell you too much about the elephant, or the brick, or the boat, or the moment in the film when you can see a familiar audience member’s hand shaking with emotion. (The film is assembled from several live performances, so you’ll glimpse a handful of the many famous people who made their way into the theater at some point or another, but no attention is drawn to them unless you’re looking for it.) [aside postid='arts_13882001']\u003c/p>\n\u003cp>One of the traps of watching magic is that it can be like watching fireworks: At the beginning, there’s the startle that comes from just being reminded that a particular thing—explosions, or card tricks—can be really impressive and grand. But once you see that a couple of times, the effect quickly fades. And with magic, what are your choices once you’ve seen something flashy other than to either forget about it or fuss over how it was done? Once it’s over, what can you do with it, with the fact of it, other than try to ruin it for yourself? What’s special about this magic relative to a lot of lesser presentations is that it’s \u003cem>about \u003c/em>something. It’s about seeing people and being seen by them, and about how your own narrative of who you are—I AM a novelist, I AM a gamechanger—collides with stories about who you are that you didn’t get to write.\u003c/p>\n\u003cp>The place of magic in \u003cem>In & Of Itself\u003c/em> is not to amaze for amazement’s sake, although I was certainly stunned by some of what happened. It’s that the unreal is used to create the super-real: an experience you know not to take literally creates a truthful feeling of connectedness in an audience. You’ll see that feeling in the climax of the show, which starts about 15 minutes from the end of the film, and I can honestly, truly tell you it felt just like that to me when I saw it. The things you’re seeing aren’t literally what they seem, in the same way a body is not literally being sawed in half in another show, or a rabbit isn’t really spontaneously appearing in a hat. But the feeling was entirely genuine, in that it activated a part of me that craved that moment of being seen and identified and recognized as \u003cem>myself\u003c/em>, and that’s what you see in the often emotional reactions of DelGaudio’s audience in the film.\u003c/p>\n\u003cp>(Stay for the credits; there’s a series of photos and videos that reflect the way the show sends a bit of itself out into the world, out into the places where its specific illusions don’t persist.)\u003c/p>\n\u003cp>Not often but occasionally, you’ll see quick cuts through the same moment in the show as it happened during a bunch of performances, generally to demonstrate how it looked with all different people in the audience. It’s an effective technique, partly because it can put to rest some theories about how some of the show’s magic might have been accomplished (no, it was not the same person in that seat or in this situation every night) and partly to emphasize over and over one of the things that makes live theater special, which is that each performance only exists relative to its audience, especially with something like this. You never see \u003cem>the \u003c/em>show, only \u003cem>your \u003c/em>show. You see your show on your night, with your company, in your mood. In less expert hands, that could break the film by making each individual moment feel interchangeable, but director Frank Oz—who was also DelGaudio’s partner in the production of the original show—knows how to deploy those techniques sparingly, so that you’re just briefly reminded that this reality was created over and over, and it was always a little different.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I’m probably always going to want to know how some of this was done, but I try not to think about it. Do not tell me. I prefer to sit quietly with my not-understanding, which is to say, my wonder. I AM a skeptic; I AM a critic; I AM a novelist; I AM satisfied.\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=%27In+%26+Of+Itself%27+Is+A+Study+Of+Identity+And+Magic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>The morning after her powerful performance of “The Hill We Climb” at the inauguration of President Biden, poet Amanda Gorman hit another high point: She took the top two slots on Amazon’s bestseller list—for titles that won’t be out until the fall.\u003c/p>\n\u003cp>At No. 1 is her debut poetry collection, also called \u003ca href=\"https://www.penguinrandomhouse.com/books/688816/the-hill-we-climb-by-amanda-gorman/9780593465066/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Hill We Climb\u003c/em>\u003c/a>, and at No. 2 is a picture book called \u003ca href=\"https://www.penguinrandomhouse.com/books/634480/change-sings-by-amanda-gorman-illustrated-by-loren-long/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Change Sings: A Children’s Anthem\u003c/em>\u003c/a>, illustrated by Loren Long, both set to come out in September.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/biden-transition-updates/2021/01/19/958077401/history-has-its-eyes-on-us-poet-amanda-gorman-seeks-right-words-for-inauguration\" target=\"_blank\" rel=\"noopener noreferrer\">Gorman told NPR’s Steve Inskeep\u003c/a> that she struggled with her inaugural poem at first, “because you don’t even really know the entry point in which to step into the murk.” But the insurrection at the Capitol on Jan. 6 spurred her to finish. “I was like, ‘Well, this is something we need to talk about.’ ”\u003c/p>\n\u003cp>The poem—which hit a range of notes from Scripture to \u003cem>Hamilton—\u003c/em>drew widespread praise. NPR poetry critic Craig Morgan Teicher called it “\u003ca href=\"https://www.npr.org/2021/01/21/958853210/a-different-day-a-2021-poetry-preview-part-2\" target=\"_blank\" rel=\"noopener noreferrer\">beautiful\u003c/a>,” and Gorman had this memorable Twitter exchange with \u003cem>Hamilton\u003c/em> creator Lin-Manuel Miranda:\u003c/p>\n\u003cp>https://twitter.com/Lin_Manuel/status/1351954141111865347\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Gorman has some interestingly inaugural-themed company on the list. At No. 3 is \u003cem>Ambitious Girl\u003c/em>, a picture book by Meena Harris, niece of the new vice president. \u003ca href=\"https://www.npr.org/2021/01/09/954750510/ambitious-girl-reminds-kids-your-dreams-are-not-a-drawback\" target=\"_blank\" rel=\"noopener noreferrer\">Harris told NPR’s Michel Martin\u003c/a> the book was inspired by her Aunt Kamala, who was criticized for being “too ambitious” on the campaign trail.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And just behind \u003cem>Ambitious Girl\u003c/em> is former President Barack Obama’s memoir \u003ca href=\"https://www.npr.org/2020/11/12/933894064/former-president-obama-tells-his-story-his-way-and-makes-his-case-for-history\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Promised Land\u003c/em>\u003c/a>, one of the bestselling books of 2020 and still going strong in the new year.\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=After+Inaugural+Performance%2C+Poet+Amanda+Gorman+Tops+The+Amazon+Bestseller+List&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The morning after her powerful performance of “The Hill We Climb” at the inauguration of President Biden, poet Amanda Gorman hit another high point: She took the top two slots on Amazon’s bestseller list—for titles that won’t be out until the fall.\u003c/p>\n\u003cp>At No. 1 is her debut poetry collection, also called \u003ca href=\"https://www.penguinrandomhouse.com/books/688816/the-hill-we-climb-by-amanda-gorman/9780593465066/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>The Hill We Climb\u003c/em>\u003c/a>, and at No. 2 is a picture book called \u003ca href=\"https://www.penguinrandomhouse.com/books/634480/change-sings-by-amanda-gorman-illustrated-by-loren-long/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Change Sings: A Children’s Anthem\u003c/em>\u003c/a>, illustrated by Loren Long, both set to come out in September.\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/biden-transition-updates/2021/01/19/958077401/history-has-its-eyes-on-us-poet-amanda-gorman-seeks-right-words-for-inauguration\" target=\"_blank\" rel=\"noopener noreferrer\">Gorman told NPR’s Steve Inskeep\u003c/a> that she struggled with her inaugural poem at first, “because you don’t even really know the entry point in which to step into the murk.” But the insurrection at the Capitol on Jan. 6 spurred her to finish. “I was like, ‘Well, this is something we need to talk about.’ ”\u003c/p>\n\u003cp>The poem—which hit a range of notes from Scripture to \u003cem>Hamilton—\u003c/em>drew widespread praise. NPR poetry critic Craig Morgan Teicher called it “\u003ca href=\"https://www.npr.org/2021/01/21/958853210/a-different-day-a-2021-poetry-preview-part-2\" target=\"_blank\" rel=\"noopener noreferrer\">beautiful\u003c/a>,” and Gorman had this memorable Twitter exchange with \u003cem>Hamilton\u003c/em> creator Lin-Manuel Miranda:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gorman has some interestingly inaugural-themed company on the list. At No. 3 is \u003cem>Ambitious Girl\u003c/em>, a picture book by Meena Harris, niece of the new vice president. \u003ca href=\"https://www.npr.org/2021/01/09/954750510/ambitious-girl-reminds-kids-your-dreams-are-not-a-drawback\" target=\"_blank\" rel=\"noopener noreferrer\">Harris told NPR’s Michel Martin\u003c/a> the book was inspired by her Aunt Kamala, who was criticized for being “too ambitious” on the campaign trail.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And just behind \u003cem>Ambitious Girl\u003c/em> is former President Barack Obama’s memoir \u003ca href=\"https://www.npr.org/2020/11/12/933894064/former-president-obama-tells-his-story-his-way-and-makes-his-case-for-history\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Promised Land\u003c/em>\u003c/a>, one of the bestselling books of 2020 and still going strong in the new year.\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=After+Inaugural+Performance%2C+Poet+Amanda+Gorman+Tops+The+Amazon+Bestseller+List&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Doctors Blackwell' Tells the Story of 2 Sisters Who Changed Medicine",
"headTitle": "‘Doctors Blackwell’ Tells the Story of 2 Sisters Who Changed Medicine | KQED",
"content": "\u003cp>In the 1840s, Elizabeth Blackwell was admitted to a U.S. medical school—in part because the male students thought her application was part of an elaborate prank. She persisted and got her degree, becoming the first American woman to do so. A few years later, her younger sister Emily followed in her footsteps, earning her own medical degree from the institution that would become Case Western Reserve University in Cleveland.\u003c/p>\n\u003cp>Biographer Janice Nimura tells the sisters’ story in the new book, \u003cem>The Doctors Blackwell. \u003c/em>Nimura says Elizabeth was “greeted with everything from rejection to hilarity” during her years at Geneva Medical College in upstate New York.\u003c/p>\n\u003cp>“There was the basic idea that a woman’s sphere did not include anything professional,” Nimura says. “The townspeople [of Geneva] basically thought that any woman who wanted to study medicine was either wicked or insane.” [aside postid='arts_13877186']\u003c/p>\n\u003cp>Nimura notes that even after graduation, the Blackwell sisters struggled to find patients. “The idea of a female physician—the very phrase ‘female physician’—connoted an abortionist—someone who worked in the shadows, on the wrong side of the law,” she says.\u003c/p>\n\u003cp>Elizabeth’s career tended to focus on public health and education, while Emily was a more active medical practitioner, functioning as both a surgeon and an obstetrician. In 1857, the sisters helped established the New York Infirmary for Indigent Women and Children. Twelve years later, in 1869, they established the Women’s Medical College in New York City.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today, both women are regarded as feminist trailblazers, but Nimura notes that they were also “complicated, prickly, sometimes self-contradictory people.” Elizabeth, for instance, regarded the women of her day as trifling gossips and took a dim view of the women’s suffrage movement.\u003c/p>\n\u003cp>“To me, that taught me that it’s really important in this moment to kind of relearn how to admire women,” Nimura says. “To understand that a heroine doesn’t always have to be a Disney princess, but can be a woman with all sorts of rough edges and complications and that we can admire them profoundly anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13891472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-800x600.jpg\" alt=\"The book cover of 'The Doctors Blackwell,' by Janice Nimura, featuring the two sisters.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef.jpg 1822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Doctors Blackwell,’ by Janice Nimura \u003ccite>(WW Norton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the reasons that were given for excluding women from becoming doctors\u003c/strong>\u003c/p>\n\u003cp>There was the idea that if you let a woman go to medical school, she’s going to be sitting in a lecture hall alongside men talking about the human body, and that’s not proper. That’s appalling. Especially when you get to certain systems of the body. … And then there was the idea that medical education increasingly included anatomy and dissection. And the idea of a woman with her hands in a corpse was impossible. No woman worthy of the title “woman” would want to be that person with her hands in a body. So for all those reasons, it was just impossible. It really wasn’t a matter of, “Are you good enough?” it was, “You’re female. This is impossible.”\u003c/p>\n\u003cp>\u003cstrong>On how the professors at Geneva Medical College allowed the students to decide whether or not to accept Elizabeth Blackwell as a medical student \u003c/strong>[aside postid='arts_13879147']\u003c/p>\n\u003cp>The students—recognizing that A) their professors were cowards, and B) this was an opportunity to make serious mischief—had a meeting that night and basically beat any dissenters into submission and presented a unanimous front the next morning that, yes, we definitely want this … “lady” medical student [to study with us]. The students assumed that it was a prank being played by a neighboring medical school. This was a fairly unpolished group of provincial boys, and they were seeing the opportunity for some good fun. And then they sent their response back to their faculty and forgot about it until several weeks later—a young woman walked into the lecture hall.\u003c/p>\n\u003cp>\u003cstrong>On Elizabeth Blackwell not looking favorably on the women’s suffrage movement, which was happening while she was in medical school \u003c/strong>\u003c/p>\n\u003cp>The medical school that she ended up in was in Geneva, N.Y., right near Seneca Falls, in the Finger Lakes. She was right there. And yet she really looked sideways at those women, who really wanted to recruit her to their side. She was doing something very visible and very stunning, and they really wanted her to be part of their movement. She laughed in a way—or at least scorned what they were trying to invite her to do. I think she called the Seneca Falls conference “the Seneca Falls absurdity.” She really believed that there was different work to do first. And she chose medicine because it was an unusually graphic way to prove this idea that women could do what they wanted to do by virtue of toil and talent, not anything to do with their sex.\u003c/p>\n\u003cp>\u003cstrong>On how it was for Emily Blackwell, following in her sister’s footsteps \u003c/strong>\u003c/p>\n\u003cp>Geneva College itself, having given Elizabeth a degree at the top of the class, politely but firmly said, ‘Emily, we are not interested in having you here as a student. We’ve had enough with women medical students.’ The issue was that just at the time that Elizabeth was receiving her medical degree, women’s medical colleges were beginning to open, because there were more than just these two women who were interested in receiving medical degrees.\u003c/p>\n\u003cp>But the world was so horrified at the idea of men and women studying medicine together that in Philadelphia and in Boston, women’s medical colleges had opened. So if you were a woman who wanted to pursue medicine, that was the obvious thing to do. It was much easier for the male medical colleges to reject you because they could say, ‘Why do you need to come here? Go there. That’s for you.’\u003c/p>\n\u003cp>Emily, though, and Elizabeth, did not esteem these women’s medical colleges highly at all. They just concluded that any women’s medical college is going to be, by definition, inferior, mediocre—that a truly impressive degree would only be earned from a men’s medical college. [aside postid='arts_13870056']\u003c/p>\n\u003cp>So Emily was not going to be bested by her sister and take a degree from a women’s medical college. So she struggled and received, I would say, more rejections than Elizabeth, because the Blackwell name was now a thing. But she insisted and eventually found her way to a place at Rush Medical College in Chicago, which was wonderful. And she had a wonderful year there. And she found a wonderful patron among the faculty and was doing great until he decided to take a sabbatical. And the trustees of Rush said, ‘Could you please not come back for the second term? Thanks.’\u003c/p>\n\u003cp>And so she was left high and dry and—being just as determined as Elizabeth—managed to get herself to a place at Cleveland Medical College, which is now Case Western, to finish her second term and receive her diploma. She was just as much of a force.\u003c/p>\n\u003cp>\u003cstrong>On Emily’s legacy more in the practice and Elizabeth more as a writer about public health \u003c/strong>\u003c/p>\n\u003cp>They died within months of each other in 1910. There was a huge gathering at the New York Academy of Medicine to honor their lives, and the speakers honored both of them, of course—honored Elizabeth’s pioneering achievement.\u003c/p>\n\u003cp>But none of the speakers had known Elizabeth in the last 40 years because she’d been gone [in England], and all of them had a deeper professional connection to Emily as this major figure in the New York medical scene. And, so, when you read the eulogies that happened that day, the eulogies for Elizabeth were rather more formal, talking about her as if she was sort of an idea more than a person. But the eulogies for Emily were really warm and and deeply respectful and admiring.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Deborah Franklin 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=%27Doctors+Blackwell%27+Tells+The+Story+Of+2+Pioneering+Sisters+Who+Changed+Medicine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the 1840s, Elizabeth Blackwell was admitted to a U.S. medical school—in part because the male students thought her application was part of an elaborate prank. She persisted and got her degree, becoming the first American woman to do so. A few years later, her younger sister Emily followed in her footsteps, earning her own medical degree from the institution that would become Case Western Reserve University in Cleveland.\u003c/p>\n\u003cp>Biographer Janice Nimura tells the sisters’ story in the new book, \u003cem>The Doctors Blackwell. \u003c/em>Nimura says Elizabeth was “greeted with everything from rejection to hilarity” during her years at Geneva Medical College in upstate New York.\u003c/p>\n\u003cp>“There was the basic idea that a woman’s sphere did not include anything professional,” Nimura says. “The townspeople [of Geneva] basically thought that any woman who wanted to study medicine was either wicked or insane.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nimura notes that even after graduation, the Blackwell sisters struggled to find patients. “The idea of a female physician—the very phrase ‘female physician’—connoted an abortionist—someone who worked in the shadows, on the wrong side of the law,” she says.\u003c/p>\n\u003cp>Elizabeth’s career tended to focus on public health and education, while Emily was a more active medical practitioner, functioning as both a surgeon and an obstetrician. In 1857, the sisters helped established the New York Infirmary for Indigent Women and Children. Twelve years later, in 1869, they established the Women’s Medical College in New York City.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today, both women are regarded as feminist trailblazers, but Nimura notes that they were also “complicated, prickly, sometimes self-contradictory people.” Elizabeth, for instance, regarded the women of her day as trifling gossips and took a dim view of the women’s suffrage movement.\u003c/p>\n\u003cp>“To me, that taught me that it’s really important in this moment to kind of relearn how to admire women,” Nimura says. “To understand that a heroine doesn’t always have to be a Disney princess, but can be a woman with all sorts of rough edges and complications and that we can admire them profoundly anyway.”\u003c/p>\n\u003cfigure id=\"attachment_13891472\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891472\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-800x600.jpg\" alt=\"The book cover of 'The Doctors Blackwell,' by Janice Nimura, featuring the two sisters.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef-1536x1152.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/nimura-jacket-fc50e19e979f8eb6605b00db52892a37a4d631ef.jpg 1822w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘The Doctors Blackwell,’ by Janice Nimura \u003ccite>(WW Norton)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On the reasons that were given for excluding women from becoming doctors\u003c/strong>\u003c/p>\n\u003cp>There was the idea that if you let a woman go to medical school, she’s going to be sitting in a lecture hall alongside men talking about the human body, and that’s not proper. That’s appalling. Especially when you get to certain systems of the body. … And then there was the idea that medical education increasingly included anatomy and dissection. And the idea of a woman with her hands in a corpse was impossible. No woman worthy of the title “woman” would want to be that person with her hands in a body. So for all those reasons, it was just impossible. It really wasn’t a matter of, “Are you good enough?” it was, “You’re female. This is impossible.”\u003c/p>\n\u003cp>\u003cstrong>On how the professors at Geneva Medical College allowed the students to decide whether or not to accept Elizabeth Blackwell as a medical student \u003c/strong>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The students—recognizing that A) their professors were cowards, and B) this was an opportunity to make serious mischief—had a meeting that night and basically beat any dissenters into submission and presented a unanimous front the next morning that, yes, we definitely want this … “lady” medical student [to study with us]. The students assumed that it was a prank being played by a neighboring medical school. This was a fairly unpolished group of provincial boys, and they were seeing the opportunity for some good fun. And then they sent their response back to their faculty and forgot about it until several weeks later—a young woman walked into the lecture hall.\u003c/p>\n\u003cp>\u003cstrong>On Elizabeth Blackwell not looking favorably on the women’s suffrage movement, which was happening while she was in medical school \u003c/strong>\u003c/p>\n\u003cp>The medical school that she ended up in was in Geneva, N.Y., right near Seneca Falls, in the Finger Lakes. She was right there. And yet she really looked sideways at those women, who really wanted to recruit her to their side. She was doing something very visible and very stunning, and they really wanted her to be part of their movement. She laughed in a way—or at least scorned what they were trying to invite her to do. I think she called the Seneca Falls conference “the Seneca Falls absurdity.” She really believed that there was different work to do first. And she chose medicine because it was an unusually graphic way to prove this idea that women could do what they wanted to do by virtue of toil and talent, not anything to do with their sex.\u003c/p>\n\u003cp>\u003cstrong>On how it was for Emily Blackwell, following in her sister’s footsteps \u003c/strong>\u003c/p>\n\u003cp>Geneva College itself, having given Elizabeth a degree at the top of the class, politely but firmly said, ‘Emily, we are not interested in having you here as a student. We’ve had enough with women medical students.’ The issue was that just at the time that Elizabeth was receiving her medical degree, women’s medical colleges were beginning to open, because there were more than just these two women who were interested in receiving medical degrees.\u003c/p>\n\u003cp>But the world was so horrified at the idea of men and women studying medicine together that in Philadelphia and in Boston, women’s medical colleges had opened. So if you were a woman who wanted to pursue medicine, that was the obvious thing to do. It was much easier for the male medical colleges to reject you because they could say, ‘Why do you need to come here? Go there. That’s for you.’\u003c/p>\n\u003cp>Emily, though, and Elizabeth, did not esteem these women’s medical colleges highly at all. They just concluded that any women’s medical college is going to be, by definition, inferior, mediocre—that a truly impressive degree would only be earned from a men’s medical college. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So Emily was not going to be bested by her sister and take a degree from a women’s medical college. So she struggled and received, I would say, more rejections than Elizabeth, because the Blackwell name was now a thing. But she insisted and eventually found her way to a place at Rush Medical College in Chicago, which was wonderful. And she had a wonderful year there. And she found a wonderful patron among the faculty and was doing great until he decided to take a sabbatical. And the trustees of Rush said, ‘Could you please not come back for the second term? Thanks.’\u003c/p>\n\u003cp>And so she was left high and dry and—being just as determined as Elizabeth—managed to get herself to a place at Cleveland Medical College, which is now Case Western, to finish her second term and receive her diploma. She was just as much of a force.\u003c/p>\n\u003cp>\u003cstrong>On Emily’s legacy more in the practice and Elizabeth more as a writer about public health \u003c/strong>\u003c/p>\n\u003cp>They died within months of each other in 1910. There was a huge gathering at the New York Academy of Medicine to honor their lives, and the speakers honored both of them, of course—honored Elizabeth’s pioneering achievement.\u003c/p>\n\u003cp>But none of the speakers had known Elizabeth in the last 40 years because she’d been gone [in England], and all of them had a deeper professional connection to Emily as this major figure in the New York medical scene. And, so, when you read the eulogies that happened that day, the eulogies for Elizabeth were rather more formal, talking about her as if she was sort of an idea more than a person. But the eulogies for Emily were really warm and and deeply respectful and admiring.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Deborah Franklin 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=%27Doctors+Blackwell%27+Tells+The+Story+Of+2+Pioneering+Sisters+Who+Changed+Medicine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "See-Saws Built on U.S. Border Wall Win Prestigious Design Prize",
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"content": "\u003cp>An art project that turned the border wall at the U.S.-Mexico border into the temporary base for pink see-saws—inviting children on each side to come play together—has won London’s Design Museum award for best design of 2020.\u003c/p>\n\u003cp>“We are totally surprised by this unexpected honor,” \u003ca href=\"https://www.instagram.com/p/CKOTVgDhxFv/\" target=\"_blank\" rel=\"noopener noreferrer\">said Ronald Rael\u003c/a>, who designed the project with fellow architect Virginia San Fratello. They share the award, he said, with the Juarez-based art collective Colectivo Chopeke.\u003c/p>\n\u003cp>“That’s amazing,” San Fratello said in a video feed announcing the prize. The see-saw installation won both the overall prize and in the transportation category. [aside postid='arts_13862548']\u003c/p>\n\u003cp>“Most importantly, it comes at a time when we are hopeful for change and that we start building more bridges instead of walls,” Rael added.\u003c/p>\n\u003cp>“The \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year\" target=\"_blank\" rel=\"noopener noreferrer\">Beazley Designs of the Year\u003c/a> are the Oscars of the design world,” said Razia Iqbal, a journalist who chaired the Design Museum’s panel of judges. The award, she noted, highlights work that pushes boundaries of creativity and innovation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The metal wall was meant to be a stark barrier dividing the U.S. and Mexico, the centerpiece of President Trump’s aggressive immigration policies. But in one spot, it became a junction point instead—a fulcrum for a series of see-saws that let children in the two countries share a playground toy.\u003c/p>\n\u003cp>https://www.instagram.com/p/CKOTVgDhxFv/\u003c/p>\n\u003cp>The project, officially named Teeter-Totter Wall, was \u003ca href=\"https://www.npr.org/2019/07/30/746612462/see-saw-diplomacy-lets-people-play-together-along-u-s-border-wall\" target=\"_blank\" rel=\"noopener noreferrer\">first installed in July of 2019\u003c/a>, when workers slid steel beams through the slats of the border near El Paso, Texas and Ciudad Juárez, Mexico.\u003c/p>\n\u003cp>“For the first time, children from both El Paso, Texas and the Anapra community in Mexico were invited to connect with their neighbors, in an attempt to create unity at the politically divisive border,” the museum said.\u003c/p>\n\u003cp>“Everyone was very happy and excited to engage the seesaws,” Rael told NPR at the time. The installation went smoothly, turning an idea that had been growing for 10 years into a reality.\u003c/p>\n\u003cp>“It was peaceful and fun—a day at a park for the children and mothers of Anapra,” Rael said.\u003c/p>\n\u003cp>“The project resonated with people around the world in a way that we didn’t anticipate,” San Fratello said when the award was announced. “It speaks to the fact that most people are excited about being together, and about optimism and about possibility and the future. And the divisiveness actually comes from the minority.”\u003c/p>\n\u003cp>Rael is a professor at the University of California, Berkeley; San Fratello teaches at San José State University. [aside postid='arts_13867520']\u003c/p>\n\u003cp>The see-saw project was chosen out of more than 70 nominees from dozens of countries, including a customized \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year/fashion/stormzys-stab-proof-vest\" target=\"_blank\" rel=\"noopener noreferrer\">“stab-proof vest”\u003c/a> the artist Banksy designed for musician Stormzy.\u003c/p>\n\u003cp>Also considered: the \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year/graphics/3d-rendering-of-sars-cov-2\" target=\"_blank\" rel=\"noopener noreferrer\">grey and red rendering of SARS-CoV-2\u003c/a>, the coronavirus that causes COVID-19. Commissioned by the U.S. Centers for Disease Control and Prevention and designed by Alissa Eckert and Dan Higgins, the famous sphere, with its menacing clusters of crowns, won the design award in the graphics category.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Impossible Burger 2.0 won in the crowded \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year/product\" target=\"_blank\" rel=\"noopener noreferrer\">product category\u003c/a>, which also included LEGO Braille bricks and a self-sanitizing door handle.\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=See-Saws+Built+On+U.S.+Border+Wall+Win+Prestigious+Design+Prize&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The project, officially named Teeter-Totter Wall, was \u003ca href=\"https://www.npr.org/2019/07/30/746612462/see-saw-diplomacy-lets-people-play-together-along-u-s-border-wall\" target=\"_blank\" rel=\"noopener noreferrer\">first installed in July of 2019\u003c/a>, when workers slid steel beams through the slats of the border near El Paso, Texas and Ciudad Juárez, Mexico.\u003c/p>\n\u003cp>“For the first time, children from both El Paso, Texas and the Anapra community in Mexico were invited to connect with their neighbors, in an attempt to create unity at the politically divisive border,” the museum said.\u003c/p>\n\u003cp>“Everyone was very happy and excited to engage the seesaws,” Rael told NPR at the time. The installation went smoothly, turning an idea that had been growing for 10 years into a reality.\u003c/p>\n\u003cp>“It was peaceful and fun—a day at a park for the children and mothers of Anapra,” Rael said.\u003c/p>\n\u003cp>“The project resonated with people around the world in a way that we didn’t anticipate,” San Fratello said when the award was announced. “It speaks to the fact that most people are excited about being together, and about optimism and about possibility and the future. And the divisiveness actually comes from the minority.”\u003c/p>\n\u003cp>Rael is a professor at the University of California, Berkeley; San Fratello teaches at San José State University. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The see-saw project was chosen out of more than 70 nominees from dozens of countries, including a customized \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year/fashion/stormzys-stab-proof-vest\" target=\"_blank\" rel=\"noopener noreferrer\">“stab-proof vest”\u003c/a> the artist Banksy designed for musician Stormzy.\u003c/p>\n\u003cp>Also considered: the \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year/graphics/3d-rendering-of-sars-cov-2\" target=\"_blank\" rel=\"noopener noreferrer\">grey and red rendering of SARS-CoV-2\u003c/a>, the coronavirus that causes COVID-19. Commissioned by the U.S. Centers for Disease Control and Prevention and designed by Alissa Eckert and Dan Higgins, the famous sphere, with its menacing clusters of crowns, won the design award in the graphics category.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Impossible Burger 2.0 won in the crowded \u003ca href=\"https://designmuseum.org/exhibitions/beazley-designs-of-the-year/product\" target=\"_blank\" rel=\"noopener noreferrer\">product category\u003c/a>, which also included LEGO Braille bricks and a self-sanitizing door handle.\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=See-Saws+Built+On+U.S.+Border+Wall+Win+Prestigious+Design+Prize&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Saturday Night Live\u003c/em> and The Second City comedy enterprises have announced the recipients of a new training scholarship for diverse, emerging talent. From a pool of some 1,300 applicants, four up and coming comedians were selected: Alexi Bolden, Gabriella “Gabi” Castillo, Kaili Turner and Morgan Van Dyne. The scholarships will cover all of their performance and writing training at Second City and give them access to \u003cem>SNL\u003c/em> talent executives.\u003c/p>\n\u003cp>This partnership between these two legendary comedy institutions got off the ground last summer when \u003cem>SNL\u003c/em> approached The Second City with an offer to sponsor a fund for developing diverse talent, says Abby Wagner, The Second City’s VP for Customer Success. She says executives didn’t flinch. “It was the ultimate ‘Yes, And,'” Wagner laughs, employing \u003ca href=\"https://www.secondcity.com/how-to-say-yes-and/\" target=\"_blank\" rel=\"noopener noreferrer\">improv’s\u003c/a> cardinal rule. [aside postid='arts_13886669']\u003c/p>\n\u003cp>“Giddy” is how Gabriela “Gabi” Castillo says she feels about winning the scholarship. Castillo is an actor and teaching artist living in Chicago who immigrated to the United States from Cuba in 1998. She’s taken classes at Second City before. “This blessing has rid me of a major financial obstacle that was delaying my return to the Second City Training Center,” she says in a \u003ca href=\"https://www.secondcity.com/network/meet-the-snl-scholarship-recipients/\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a>, “It was at the SCTC where I first learned how to use comedy to transform into art the paradoxes of my experiences as a Cuban-American of Black descent and refugee.”\u003c/p>\n\u003cp>Both \u003cem>SNL\u003c/em> and The Second City have been criticized for racial inequities and both have taken steps to address the criticism.\u003c/p>\n\u003cp>Last June, numerous comedians with experience at The Second City signed an open \u003ca href=\"https://thecomicscomic.com/2020/06/15/black-performers-and-other-minority-alums-of-the-second-city-and-the-ucb-join-forces-asking-their-theaters-to-do-better/\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> saying “erasure, racial discrimination, manipulation, pay inequity, tokenism, monetization of Black culture, and trauma-inducing experiences of Black artists at The Second City will no longer be tolerated.” In response, Andrew Alexander, co-owner and executive producer of the company \u003ca href=\"https://chicago.suntimes.com/2020/6/5/21282158/andrew-alexander-owner-second-city-chicago-steps-down-amid-racism-accusations\" target=\"_blank\" rel=\"noopener noreferrer\">resigned\u003c/a> and the company \u003ca href=\"https://twitter.com/TheSecondCity/status/1271094775530356739\" target=\"_blank\" rel=\"noopener noreferrer\">committed\u003c/a> to a number of DEI (Diversity, Equity and Inclusion) initiatives. In November \u003ca href=\"https://www.secondcity.com/network/the-second-city-names-jon-carr-new-executive-producer/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Carr\u003c/a>, who is Black, was named The Second City’s new Executive Director.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>SNL\u003c/em> has been \u003ca href=\"https://www.npr.org/sections/codeswitch/2014/01/10/261373327/conversation-about-snl-and-diversity-just-getting-started\" target=\"_blank\" rel=\"noopener noreferrer\">called\u003c/a> out for a decades long lack of diversity among its writers and performers. Up until recently, its cast was predominately white. In 2016, \u003cem>SNL\u003c/em> executive producer Lorne Michaels’ company Broadway Video launched \u003ca href=\"http://www.latina.com/entertainment/buzz/mas-mejor-snl-studio\" target=\"_blank\" rel=\"noopener noreferrer\">Mas Mejor\u003c/a>, a showcase and launchpad for Latino voices like \u003ca href=\"https://www.npr.org/2018/09/29/652610008/a-top-impressionist-melissa-villase-or-is-finding-her-own-voice-on-snl\" target=\"_blank\" rel=\"noopener noreferrer\">Melissa Villasenor\u003c/a> who became \u003cem>SNL\u003c/em>‘s first Latina cast member. Last year, \u003ca href=\"https://www.npr.org/2020/09/24/916498255/bowen-yang-on-snl-and-diversity\" target=\"_blank\" rel=\"noopener noreferrer\">Bowen Yang\u003c/a> became the cast’s first Chinese American. Over the course of its 46 years, the show has had very few Black, female writers. [aside postid='arts_13840702']\u003c/p>\n\u003cp>The \u003cem>SNL\u003c/em>/Second City scholarship is intended to help make the pipeline for new comedy talent more diverse. As Wagner explains it, the judges looked for aspiring comedians at various entry points in their careers from just starting out to “some experience.” She says all of their training costs will be covered for one to two years, depending on their needs. The individual programs will be a “customized package that gets them to the point where they can get in front of \u003cem>SNL\u003c/em>” executives.\u003c/p>\n\u003cp>Here are the other scholarship recipients:\u003c/p>\n\u003cp>Alexi Bolden, a senior at the University of Iowa majoring in theater and African American Studies, is thrilled to have been selected. “I am constantly influenced and inspired by \u003cem>SNL\u003c/em> to be bold with myself and, by association, with my comedy,” she says.\u003c/p>\n\u003cp>Kaili Turner is a self-described “Black Indian and proud enrolled member of the Nipmuc nation, as well as a comedian, actress, writer, producer and puppeteer.”\u003c/p>\n\u003cp>Morgan Van Dyne is a Chicago-based comedian who uses “their platform to speak about queer identities, mental health, and disabilities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wagner says, while there are “no guarantees” the scholarships will result in jobs at \u003cem>SNL\u003c/em>, by the end of their training, she believes they’ll have a leg up when it comes to an \u003cem>SNL\u003c/em> audition.\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=%27SNL%27+And+%27Second+City%27+Announce+Scholarships+For+Diverse%2C+Emerging+Comic+Talent&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Saturday Night Live\u003c/em> and The Second City comedy enterprises have announced the recipients of a new training scholarship for diverse, emerging talent. From a pool of some 1,300 applicants, four up and coming comedians were selected: Alexi Bolden, Gabriella “Gabi” Castillo, Kaili Turner and Morgan Van Dyne. The scholarships will cover all of their performance and writing training at Second City and give them access to \u003cem>SNL\u003c/em> talent executives.\u003c/p>\n\u003cp>This partnership between these two legendary comedy institutions got off the ground last summer when \u003cem>SNL\u003c/em> approached The Second City with an offer to sponsor a fund for developing diverse talent, says Abby Wagner, The Second City’s VP for Customer Success. She says executives didn’t flinch. “It was the ultimate ‘Yes, And,'” Wagner laughs, employing \u003ca href=\"https://www.secondcity.com/how-to-say-yes-and/\" target=\"_blank\" rel=\"noopener noreferrer\">improv’s\u003c/a> cardinal rule. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Giddy” is how Gabriela “Gabi” Castillo says she feels about winning the scholarship. Castillo is an actor and teaching artist living in Chicago who immigrated to the United States from Cuba in 1998. She’s taken classes at Second City before. “This blessing has rid me of a major financial obstacle that was delaying my return to the Second City Training Center,” she says in a \u003ca href=\"https://www.secondcity.com/network/meet-the-snl-scholarship-recipients/\" target=\"_blank\" rel=\"noopener noreferrer\">statement\u003c/a>, “It was at the SCTC where I first learned how to use comedy to transform into art the paradoxes of my experiences as a Cuban-American of Black descent and refugee.”\u003c/p>\n\u003cp>Both \u003cem>SNL\u003c/em> and The Second City have been criticized for racial inequities and both have taken steps to address the criticism.\u003c/p>\n\u003cp>Last June, numerous comedians with experience at The Second City signed an open \u003ca href=\"https://thecomicscomic.com/2020/06/15/black-performers-and-other-minority-alums-of-the-second-city-and-the-ucb-join-forces-asking-their-theaters-to-do-better/\" target=\"_blank\" rel=\"noopener noreferrer\">letter\u003c/a> saying “erasure, racial discrimination, manipulation, pay inequity, tokenism, monetization of Black culture, and trauma-inducing experiences of Black artists at The Second City will no longer be tolerated.” In response, Andrew Alexander, co-owner and executive producer of the company \u003ca href=\"https://chicago.suntimes.com/2020/6/5/21282158/andrew-alexander-owner-second-city-chicago-steps-down-amid-racism-accusations\" target=\"_blank\" rel=\"noopener noreferrer\">resigned\u003c/a> and the company \u003ca href=\"https://twitter.com/TheSecondCity/status/1271094775530356739\" target=\"_blank\" rel=\"noopener noreferrer\">committed\u003c/a> to a number of DEI (Diversity, Equity and Inclusion) initiatives. In November \u003ca href=\"https://www.secondcity.com/network/the-second-city-names-jon-carr-new-executive-producer/\" target=\"_blank\" rel=\"noopener noreferrer\">Jon Carr\u003c/a>, who is Black, was named The Second City’s new Executive Director.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>SNL\u003c/em> has been \u003ca href=\"https://www.npr.org/sections/codeswitch/2014/01/10/261373327/conversation-about-snl-and-diversity-just-getting-started\" target=\"_blank\" rel=\"noopener noreferrer\">called\u003c/a> out for a decades long lack of diversity among its writers and performers. Up until recently, its cast was predominately white. In 2016, \u003cem>SNL\u003c/em> executive producer Lorne Michaels’ company Broadway Video launched \u003ca href=\"http://www.latina.com/entertainment/buzz/mas-mejor-snl-studio\" target=\"_blank\" rel=\"noopener noreferrer\">Mas Mejor\u003c/a>, a showcase and launchpad for Latino voices like \u003ca href=\"https://www.npr.org/2018/09/29/652610008/a-top-impressionist-melissa-villase-or-is-finding-her-own-voice-on-snl\" target=\"_blank\" rel=\"noopener noreferrer\">Melissa Villasenor\u003c/a> who became \u003cem>SNL\u003c/em>‘s first Latina cast member. Last year, \u003ca href=\"https://www.npr.org/2020/09/24/916498255/bowen-yang-on-snl-and-diversity\" target=\"_blank\" rel=\"noopener noreferrer\">Bowen Yang\u003c/a> became the cast’s first Chinese American. Over the course of its 46 years, the show has had very few Black, female writers. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The \u003cem>SNL\u003c/em>/Second City scholarship is intended to help make the pipeline for new comedy talent more diverse. As Wagner explains it, the judges looked for aspiring comedians at various entry points in their careers from just starting out to “some experience.” She says all of their training costs will be covered for one to two years, depending on their needs. The individual programs will be a “customized package that gets them to the point where they can get in front of \u003cem>SNL\u003c/em>” executives.\u003c/p>\n\u003cp>Here are the other scholarship recipients:\u003c/p>\n\u003cp>Alexi Bolden, a senior at the University of Iowa majoring in theater and African American Studies, is thrilled to have been selected. “I am constantly influenced and inspired by \u003cem>SNL\u003c/em> to be bold with myself and, by association, with my comedy,” she says.\u003c/p>\n\u003cp>Kaili Turner is a self-described “Black Indian and proud enrolled member of the Nipmuc nation, as well as a comedian, actress, writer, producer and puppeteer.”\u003c/p>\n\u003cp>Morgan Van Dyne is a Chicago-based comedian who uses “their platform to speak about queer identities, mental health, and disabilities.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Wagner says, while there are “no guarantees” the scholarships will result in jobs at \u003cem>SNL\u003c/em>, by the end of their training, she believes they’ll have a leg up when it comes to an \u003cem>SNL\u003c/em> audition.\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=%27SNL%27+And+%27Second+City%27+Announce+Scholarships+For+Diverse%2C+Emerging+Comic+Talent&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'WandaVision': The Next Era of the MCU Will Be Televised",
"headTitle": "‘WandaVision’: The Next Era of the MCU Will Be Televised | KQED",
"content": "\u003cp>It’s been a while since we saw the logo of the Marvel Cinematic Universe—those fast-flipping comics pages, that stirring anthem of strings and brass and clashing cymbals—and I’m pleased to report that it retains its power to act as visual appetizer, whetting our collective palate for the mix of iconic, larger-than-life, vibrantly colored acts of selfless heroism, cosmic stakes and petty intra-hero squabbling that is the Marvel brand.\u003c/p>\n\u003cp>It’s tacked to the opening of all nine episodes of \u003cem>WandaVision\u003c/em>, the Disney+ series that finds Wanda Maximoff (Elizabeth Olsen) and a mysteriously reconstructed Vision (Paul Bettany’s character died at the end of \u003cem>Infinity War\u003c/em>, you will be forgiven for not remembering) starting a quiet life in the suburbs—the suburbs of 1950s America, in particular: tract houses, subdivisions, cul-de-sacs and white picket fences. [aside postid='pop_109932']\u003c/p>\n\u003cp>The disconnect between the pulse-pounding MCU logo and the pilot’s’ I-Like-Ike setting is jarring, yes—imagine a meal starting with a spoonful of Massaman curry followed by a PB&J—but that’s purely intentional. Because the suburbs in question aren’t strictly those of 1950s suburbia as it truly existed, but rather how it was depicted at the time, in American sitcoms.\u003c/p>\n\u003cp>Given that the next phase of the MCU is moving to Disney+, it makes sense that its first installment should take the form of extended homage to television itself. And given the lead characters involved—two Avengers whose romantic relationship, though long-established over decades of comics, only managed to snatch a few minutes of MCU screentime — it’s also logical enough that the sitcom in question should be of the domestic variety, in which a young couple navigates the demands of the office (him), social demands (her, mostly) and kids (again: her, mostly).\u003c/p>\n\u003cp>But here’s the challenge: The audience is ahead of the characters. From the opening shots, as the spritely theme song kicks in, we know the deal. Something or someone has trapped these characters in this clean, freshly scrubbed, laughtracked, black-and-white virtual Levittown (Westview, technically), and it’s only a matter of time before they figure it out, escape, kick said something/one’s butt, and reconnect to the greater MCU.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The trapped-in-television thing has been done before, in and out of superhero fiction, many, many, \u003cem>many \u003c/em>times. Sometimes as pure parody, sometimes as pastiche or homage, but always as a plot device—a trap to be escaped from, a hurdle to be cleared so they can get on with their lives.\u003c/p>\n\u003cp>The makers of \u003cem>WandaVision\u003c/em> seem to be betting on our savviness in this regard, and our impatience. The tactic they have chosen to combat it is to withhold what they know we’re clamoring for—big superhero action, wider Marvel universe interconnectivity—and instead double down on the details of the execution of this sitcom universe.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=sj9J2ecsSpo\u003c/p>\n\u003cp>The first three episodes of the series made available to the press dole out any clues to what is really going on outside the characters’ sitcom Purgatory with a frustrating parsimoniousness. Importantly, however, the revelations that do come—usually in the last few minutes of any given episode—are different enough in kind and in scope to deepen the mystery, rather than merely reiterate it.\u003c/p>\n\u003cp>The gamble the team behind \u003cem>WandaVision\u003c/em> is making is that if they truly commit to the reality of Wanda and Vision’s unreality—if they treat the sitcom simulacrum not as a joke or a plot point, but instead embrace its every aspect without irony, then we will too. [aside postid='arts_13872364']\u003c/p>\n\u003cp>What they’ve created, as a result, is in many ways an American Studies seminar focusing on the sitcom’s status as a reflection of cultural change. The pilot’s a 1950s sitcom—think \u003cem>I Love Lucy/Leave It To Beaver\u003c/em>. Episode Two offers a subtle shift into the television comedies of the sixties—\u003cem>The Dick Van Dyke Show\u003c/em> shading into \u003cem>Bewitched\u003c/em>, in particular. The third episode explodes in a riot of \u003cem>Brady Bunch\u003c/em> colors and polyester and shag carpeting—and, presumably, so on, through the following episodes.\u003c/p>\n\u003cp>What is striking is how straight this conceit is played, and with what assiduous attention to detail it is wrought. In interviews, the cast has talked about the “sitcom boot camp” they attended, which consisted of studying episodes of sitcoms from different eras. It shows: Watch how the great Kathryn Hahn, playing nosy neighbor Agnes, holds her arms as she talks, how her pinkies remain preternaturally extended. Listen to how Olsen’s wry delivery in the first episode slides into something more earnest and bubbly in the second. Notice how the series’ special effects—as when Wanda must use her telekinesis to whip up a quick meal—remain rigorously period-appropriate (the wires holding up the mixing bowl and the whisk have been CGI’d out, but the stiff artificiality of it all remains). And, mostly, take note of how unsettling it becomes at those moments when the pilot’s bright multi-camera, shot-before-a-live-studio audience \u003cem>mis-en-scene\u003c/em> abruptly switches to a single-camera close-up of a character’s face steeped in foreboding shadows.\u003c/p>\n\u003cp>It’s effective, this dedication to the tone, look and feel of the sitcom genre. How else to explain why, despite knowing it’s all an illusion, we find ourselves truly invested in the frippery of a given episode’s ostensible plot—Will Vision’s boss be impressed when he comes to dinner? Will their powers get revealed? Will they win the town’s talent contest? Etc.\u003c/p>\n\u003cp>There will be plenty of Marvel fans who’ll prove unwilling or unable to suspend their impatience long enough to get to what is sure to be an impressive fireworks factory, down around episodes eight or nine or so, probably. It’s a lot to ask of people who aren’t sufficiently interested in the sitcom as a genre to appreciate the series’ deep meditation on that most American of texts, and nod approvingly at, for example, its production design—at the way, in early episodes, Wanda and Vision’s home smashes together the \u003cem>Bewitched \u003c/em>living room and the \u003cem>Dick Van Dyke Show\u003c/em> kitchen.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But for others—perhaps most especially those who are given to bemoaning the MCU’s formulaic, predictable quality—\u003cem>WandaVision\u003c/em>‘s commitment to confounding expectations might offer something few franchises as hoary as this one ever do—a fresh, surprising way in.\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=%27WandaVision%27%3A+The+Next+Era+Of+The+MCU+Will+Be+Televised&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s been a while since we saw the logo of the Marvel Cinematic Universe—those fast-flipping comics pages, that stirring anthem of strings and brass and clashing cymbals—and I’m pleased to report that it retains its power to act as visual appetizer, whetting our collective palate for the mix of iconic, larger-than-life, vibrantly colored acts of selfless heroism, cosmic stakes and petty intra-hero squabbling that is the Marvel brand.\u003c/p>\n\u003cp>It’s tacked to the opening of all nine episodes of \u003cem>WandaVision\u003c/em>, the Disney+ series that finds Wanda Maximoff (Elizabeth Olsen) and a mysteriously reconstructed Vision (Paul Bettany’s character died at the end of \u003cem>Infinity War\u003c/em>, you will be forgiven for not remembering) starting a quiet life in the suburbs—the suburbs of 1950s America, in particular: tract houses, subdivisions, cul-de-sacs and white picket fences. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The disconnect between the pulse-pounding MCU logo and the pilot’s’ I-Like-Ike setting is jarring, yes—imagine a meal starting with a spoonful of Massaman curry followed by a PB&J—but that’s purely intentional. Because the suburbs in question aren’t strictly those of 1950s suburbia as it truly existed, but rather how it was depicted at the time, in American sitcoms.\u003c/p>\n\u003cp>Given that the next phase of the MCU is moving to Disney+, it makes sense that its first installment should take the form of extended homage to television itself. And given the lead characters involved—two Avengers whose romantic relationship, though long-established over decades of comics, only managed to snatch a few minutes of MCU screentime — it’s also logical enough that the sitcom in question should be of the domestic variety, in which a young couple navigates the demands of the office (him), social demands (her, mostly) and kids (again: her, mostly).\u003c/p>\n\u003cp>But here’s the challenge: The audience is ahead of the characters. From the opening shots, as the spritely theme song kicks in, we know the deal. Something or someone has trapped these characters in this clean, freshly scrubbed, laughtracked, black-and-white virtual Levittown (Westview, technically), and it’s only a matter of time before they figure it out, escape, kick said something/one’s butt, and reconnect to the greater MCU.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The trapped-in-television thing has been done before, in and out of superhero fiction, many, many, \u003cem>many \u003c/em>times. Sometimes as pure parody, sometimes as pastiche or homage, but always as a plot device—a trap to be escaped from, a hurdle to be cleared so they can get on with their lives.\u003c/p>\n\u003cp>The makers of \u003cem>WandaVision\u003c/em> seem to be betting on our savviness in this regard, and our impatience. The tactic they have chosen to combat it is to withhold what they know we’re clamoring for—big superhero action, wider Marvel universe interconnectivity—and instead double down on the details of the execution of this sitcom universe.\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/sj9J2ecsSpo'\n title='//www.youtube.com/embed/sj9J2ecsSpo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The first three episodes of the series made available to the press dole out any clues to what is really going on outside the characters’ sitcom Purgatory with a frustrating parsimoniousness. Importantly, however, the revelations that do come—usually in the last few minutes of any given episode—are different enough in kind and in scope to deepen the mystery, rather than merely reiterate it.\u003c/p>\n\u003cp>The gamble the team behind \u003cem>WandaVision\u003c/em> is making is that if they truly commit to the reality of Wanda and Vision’s unreality—if they treat the sitcom simulacrum not as a joke or a plot point, but instead embrace its every aspect without irony, then we will too. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What they’ve created, as a result, is in many ways an American Studies seminar focusing on the sitcom’s status as a reflection of cultural change. The pilot’s a 1950s sitcom—think \u003cem>I Love Lucy/Leave It To Beaver\u003c/em>. Episode Two offers a subtle shift into the television comedies of the sixties—\u003cem>The Dick Van Dyke Show\u003c/em> shading into \u003cem>Bewitched\u003c/em>, in particular. The third episode explodes in a riot of \u003cem>Brady Bunch\u003c/em> colors and polyester and shag carpeting—and, presumably, so on, through the following episodes.\u003c/p>\n\u003cp>What is striking is how straight this conceit is played, and with what assiduous attention to detail it is wrought. In interviews, the cast has talked about the “sitcom boot camp” they attended, which consisted of studying episodes of sitcoms from different eras. It shows: Watch how the great Kathryn Hahn, playing nosy neighbor Agnes, holds her arms as she talks, how her pinkies remain preternaturally extended. Listen to how Olsen’s wry delivery in the first episode slides into something more earnest and bubbly in the second. Notice how the series’ special effects—as when Wanda must use her telekinesis to whip up a quick meal—remain rigorously period-appropriate (the wires holding up the mixing bowl and the whisk have been CGI’d out, but the stiff artificiality of it all remains). And, mostly, take note of how unsettling it becomes at those moments when the pilot’s bright multi-camera, shot-before-a-live-studio audience \u003cem>mis-en-scene\u003c/em> abruptly switches to a single-camera close-up of a character’s face steeped in foreboding shadows.\u003c/p>\n\u003cp>It’s effective, this dedication to the tone, look and feel of the sitcom genre. How else to explain why, despite knowing it’s all an illusion, we find ourselves truly invested in the frippery of a given episode’s ostensible plot—Will Vision’s boss be impressed when he comes to dinner? Will their powers get revealed? Will they win the town’s talent contest? Etc.\u003c/p>\n\u003cp>There will be plenty of Marvel fans who’ll prove unwilling or unable to suspend their impatience long enough to get to what is sure to be an impressive fireworks factory, down around episodes eight or nine or so, probably. It’s a lot to ask of people who aren’t sufficiently interested in the sitcom as a genre to appreciate the series’ deep meditation on that most American of texts, and nod approvingly at, for example, its production design—at the way, in early episodes, Wanda and Vision’s home smashes together the \u003cem>Bewitched \u003c/em>living room and the \u003cem>Dick Van Dyke Show\u003c/em> kitchen.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for others—perhaps most especially those who are given to bemoaning the MCU’s formulaic, predictable quality—\u003cem>WandaVision\u003c/em>‘s commitment to confounding expectations might offer something few franchises as hoary as this one ever do—a fresh, surprising way in.\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=%27WandaVision%27%3A+The+Next+Era+Of+The+MCU+Will+Be+Televised&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "For The Kid in Your Life, 3 Video Games That Play Like Storybooks",
"headTitle": "For The Kid in Your Life, 3 Video Games That Play Like Storybooks | KQED",
"content": "\u003cp>Growing up, I always saw playing video games as a natural extension of my interest in reading. To me, the fantastical worlds I explored in games mirrored those of my favorite children’s books like \u003cem>Where the Wild Things Are\u003c/em> and \u003cem>The Lorax. \u003c/em>Many of the games I played and the stories I read shared a similar sense of whimsy and adventure, and piqued my interest with intriguing art styles.\u003c/p>\n\u003cp>And that makes sense, given that some video games evoke the feeling of reading a great piece of children’s literature. This is especially true for the point-and-click genre (named after the way you play), which can make you feel like you’re turning the pages in a book as you progress from scene to scene, moving your character across a static, 2D illustrated background. And just like a children’s book, these games encourage you to stop and take in the scene as a whole.\u003c/p>\n\u003cp>With that in mind, here are three great games to play alongside the kids in your life. While none of them are specifically marketed towards children, they’re each still compelling and appropriate for younger players—and they don’t require a fancy console or prior experience playing video games. Although some of the puzzles in these games will be too difficult for a kid to figure out alone, they make for a wonderful time that you can share together. Try them sitting side by side, and huddle over the screen together as you tinker through these worlds.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Röki\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13891276\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891276\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/r-ki_keyart_1080p_nologo_wide-73eca5121e46cb314e875e9828f051e0ce7d1507.png\" alt=\"The Nordic forests (okay, and some monsters) of 'Röki.'\" width=\"750\" height=\"421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/r-ki_keyart_1080p_nologo_wide-73eca5121e46cb314e875e9828f051e0ce7d1507.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/r-ki_keyart_1080p_nologo_wide-73eca5121e46cb314e875e9828f051e0ce7d1507-160x90.png 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Explore Nordic forests (okay, and some monsters) in ‘Röki.’ \u003ccite>(Polygon Treehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an essay for the \u003cem>New York Times Book Review\u003c/em>, editor Pamela Paul \u003ca href=\"https://www.nytimes.com/2011/09/18/books/review/the-childrens-authors-who-broke-the-rules.html\" target=\"_blank\" rel=\"noopener noreferrer\">discussed the contributions of classic children’s authors\u003c/a> like Maurice Sendak, Shel Silverstein, and Dr. Seuss, saying they “brought a shock of subversion to the genre—defying the notion that children’s books shouldn’t be scary, silly or sophisticated.” While all the games on this list speak to this sentiment to varying degrees, reading Paul’s words made me particularly think of \u003cem>\u003ca href=\"https://www.polygon-treehouse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Röki\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Polygon Treehouse’s phenomenal debut title brings to life a dark, Scandinavian-inspired fairy tale through a contemporary retelling. \u003cem>Röki\u003c/em> follows Tove, a young girl, who is trying to save her family after they disappear. As she explores snow-covered Nordic forests, she encounters giant monsters and mystical talking trees with dozens of eyes and magical powers. It’s up to her to see if she can contact the spirits she needs to find her family. The characters in the game remind me of creatures from Hayao Miyazaki films like\u003cem> Princess Mononoke \u003c/em>or Sendak’s \u003cem>Where the Wild Things Are\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Röki\u003c/em> switches up the classic point-and-click formula; you’ll move using arrow keys rather than the mouse. However, the gameplay mainly stays true to the genre by having you drag and drop items to solve puzzles. I will say, the changes made make the game more playable. I appreciated little features like a button that makes all items glow, because then it becomes pretty obvious what each next step is.\u003c/p>\n\u003cp>While I think \u003cem>Röki’s \u003c/em>story will interest kids and adults alike, it does start off on a dark note as Tove loses both her father and her brother. So maybe watch a gameplay video beforehand if you aren’t sure it’s a good fit for a child.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Old Man’s Journey\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13891277\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/oldman_bench_wide-526f7a3dc386fd7fbccb6ae176b8484d83ca2104.jpg\" alt=\"The vibrant, pastel-inspired art of 'Old Man's Journey.'\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/oldman_bench_wide-526f7a3dc386fd7fbccb6ae176b8484d83ca2104.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/oldman_bench_wide-526f7a3dc386fd7fbccb6ae176b8484d83ca2104-160x90.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The vibrant, pastel-inspired art fits the story perfectly in ‘Old Man’s Journey.’ \u003ccite>(Broken Rules)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"http://www.oldmansjourney.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Old Man’s Journey\u003c/a> \u003c/em>by Broken Rules is a touching story about a father, his mistakes, and how love can stand the test of time and distance. It starts as the protagonist, an old man, receives a letter and sets off on a worldwide journey, and every piece of scenery he passes evokes a memory. A bell you click reminds him of his wedding, a wharf brings back a memory of sailing with his love, and so on. The pastel and gouache-inspired art is vibrant, colorful, and well suited to its various quaint European landscapes.\u003c/p>\n\u003cp>Point-and-clicks usually use the cursor to move the character through a puzzle. In\u003cem> Old Man’s Journey\u003c/em>, the landscape itself becomes a puzzle. You click and drag the hills in the background up and down to help the main character proceed from scene to scene. It’s also a fitting way to play, given that our main character is an old man, and he moves like one—Mario, he’s not.\u003c/p>\n\u003cp>This game will likely appeal to kids since there is so much to play with in each scene. You can click any animal in the game and it will make some sort of sound. Much of the environment reacts when you simply move the cursor over it—for example, if you move your cursor below waterfalls, the water will flow around it, and the cursor’s pointer-finger shape makes you feel like you are poking and prodding at the world.\u003c/p>\n\u003cp>\u003cstrong>The \u003cem>Samorost\u003c/em> series\u003c/strong>\u003c/p>\n\u003cp>Amanita Design—the studio behind \u003cem>Samorost\u003c/em>—consistently demonstrates a knack for creating intriguing and whimsical worlds. In the \u003cem>Samorost\u003c/em> series, their team designs dreamlike landscapes by combining 2D drawings and detailed close up photos of real-life objects. Their games take something familiar, like dandelions or the roots of a tree, and renders them strange by reworking them into an alien landscape. [aside postid='arts_13889311']\u003c/p>\n\u003cp>In all three titles—\u003cem>\u003ca href=\"https://amanita-design.net/games/samorost-1.html\" target=\"_blank\" rel=\"noopener noreferrer\">Samorost\u003c/a>, \u003ca href=\"https://amanita-design.net/games/samorost-2.html\" target=\"_blank\" rel=\"noopener noreferrer\">Samorost 2\u003c/a>\u003c/em>, and \u003cem>\u003ca href=\"https://amanita-design.net/games/samorost3.html\" target=\"_blank\" rel=\"noopener noreferrer\">Samorost 3\u003c/a>\u003c/em>—you play as a little gnome, and each game has its own story. \u003cem>Samorost \u003c/em>tasks you with saving the planet and home of the protagonist. \u003cem>Samorost 2 \u003c/em>sends you on a quest to save the gnome’s dog after it gets kidnapped by aliens. And \u003cem>Samorost 3 \u003c/em>follows the gnome as it investigates the origins of a magical flute that falls from the sky just outside its house.\u003c/p>\n\u003cp>Many of the scenes in these games look like they were ripped straight out of \u003cem>Alice in Wonderland \u003c/em>and are just as strange. Almost immediately after starting the first game, you will encounter a slug with a human face that uses the photo of one of the developers. The scenes and characters you encounter are a true delight.\u003c/p>\n\u003cp>Growing up, I remember a family friend telling me I would outgrow video games one day. That day never came, but I think that sentiment represents this prevalent idea that video games are childish—the same way that children’s books were once seen as immature or simple. These games challenge the idea that playfulness makes video games a lower art form, and instead shows us that today, video games today can be both silly \u003cem>and \u003c/em>sophisticated.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ana Diaz is a freelance games writer and podcast host at MinnMax. She loves Pikachu and is based in Minneapolis, Minn.\u003c/em> \u003cem>She tweets at \u003ca href=\"https://twitter.com/pokachee\" target=\"_blank\" rel=\"noopener noreferrer\">@Pokachee\u003c/a>\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=For+The+Kid+In+Your+Life%2C+3+Video+Games+That+Play+Like+Storybooks&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Explore alien worlds, Nordic forests, and European countrysides in these point-and-click games that will keep kids entertained.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Growing up, I always saw playing video games as a natural extension of my interest in reading. To me, the fantastical worlds I explored in games mirrored those of my favorite children’s books like \u003cem>Where the Wild Things Are\u003c/em> and \u003cem>The Lorax. \u003c/em>Many of the games I played and the stories I read shared a similar sense of whimsy and adventure, and piqued my interest with intriguing art styles.\u003c/p>\n\u003cp>And that makes sense, given that some video games evoke the feeling of reading a great piece of children’s literature. This is especially true for the point-and-click genre (named after the way you play), which can make you feel like you’re turning the pages in a book as you progress from scene to scene, moving your character across a static, 2D illustrated background. And just like a children’s book, these games encourage you to stop and take in the scene as a whole.\u003c/p>\n\u003cp>With that in mind, here are three great games to play alongside the kids in your life. While none of them are specifically marketed towards children, they’re each still compelling and appropriate for younger players—and they don’t require a fancy console or prior experience playing video games. Although some of the puzzles in these games will be too difficult for a kid to figure out alone, they make for a wonderful time that you can share together. Try them sitting side by side, and huddle over the screen together as you tinker through these worlds.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Röki\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13891276\" class=\"wp-caption aligncenter\" style=\"max-width: 750px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891276\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/r-ki_keyart_1080p_nologo_wide-73eca5121e46cb314e875e9828f051e0ce7d1507.png\" alt=\"The Nordic forests (okay, and some monsters) of 'Röki.'\" width=\"750\" height=\"421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/r-ki_keyart_1080p_nologo_wide-73eca5121e46cb314e875e9828f051e0ce7d1507.png 750w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/r-ki_keyart_1080p_nologo_wide-73eca5121e46cb314e875e9828f051e0ce7d1507-160x90.png 160w\" sizes=\"(max-width: 750px) 100vw, 750px\">\u003cfigcaption class=\"wp-caption-text\">Explore Nordic forests (okay, and some monsters) in ‘Röki.’ \u003ccite>(Polygon Treehouse)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In an essay for the \u003cem>New York Times Book Review\u003c/em>, editor Pamela Paul \u003ca href=\"https://www.nytimes.com/2011/09/18/books/review/the-childrens-authors-who-broke-the-rules.html\" target=\"_blank\" rel=\"noopener noreferrer\">discussed the contributions of classic children’s authors\u003c/a> like Maurice Sendak, Shel Silverstein, and Dr. Seuss, saying they “brought a shock of subversion to the genre—defying the notion that children’s books shouldn’t be scary, silly or sophisticated.” While all the games on this list speak to this sentiment to varying degrees, reading Paul’s words made me particularly think of \u003cem>\u003ca href=\"https://www.polygon-treehouse.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Röki\u003c/a>\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Polygon Treehouse’s phenomenal debut title brings to life a dark, Scandinavian-inspired fairy tale through a contemporary retelling. \u003cem>Röki\u003c/em> follows Tove, a young girl, who is trying to save her family after they disappear. As she explores snow-covered Nordic forests, she encounters giant monsters and mystical talking trees with dozens of eyes and magical powers. It’s up to her to see if she can contact the spirits she needs to find her family. The characters in the game remind me of creatures from Hayao Miyazaki films like\u003cem> Princess Mononoke \u003c/em>or Sendak’s \u003cem>Where the Wild Things Are\u003c/em>.\u003c/p>\n\u003cp>\u003cem>Röki\u003c/em> switches up the classic point-and-click formula; you’ll move using arrow keys rather than the mouse. However, the gameplay mainly stays true to the genre by having you drag and drop items to solve puzzles. I will say, the changes made make the game more playable. I appreciated little features like a button that makes all items glow, because then it becomes pretty obvious what each next step is.\u003c/p>\n\u003cp>While I think \u003cem>Röki’s \u003c/em>story will interest kids and adults alike, it does start off on a dark note as Tove loses both her father and her brother. So maybe watch a gameplay video beforehand if you aren’t sure it’s a good fit for a child.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Old Man’s Journey\u003c/em>\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_13891277\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891277\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/oldman_bench_wide-526f7a3dc386fd7fbccb6ae176b8484d83ca2104.jpg\" alt=\"The vibrant, pastel-inspired art of 'Old Man's Journey.'\" width=\"640\" height=\"360\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/oldman_bench_wide-526f7a3dc386fd7fbccb6ae176b8484d83ca2104.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/oldman_bench_wide-526f7a3dc386fd7fbccb6ae176b8484d83ca2104-160x90.jpg 160w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The vibrant, pastel-inspired art fits the story perfectly in ‘Old Man’s Journey.’ \u003ccite>(Broken Rules)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>\u003ca href=\"http://www.oldmansjourney.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Old Man’s Journey\u003c/a> \u003c/em>by Broken Rules is a touching story about a father, his mistakes, and how love can stand the test of time and distance. It starts as the protagonist, an old man, receives a letter and sets off on a worldwide journey, and every piece of scenery he passes evokes a memory. A bell you click reminds him of his wedding, a wharf brings back a memory of sailing with his love, and so on. The pastel and gouache-inspired art is vibrant, colorful, and well suited to its various quaint European landscapes.\u003c/p>\n\u003cp>Point-and-clicks usually use the cursor to move the character through a puzzle. In\u003cem> Old Man’s Journey\u003c/em>, the landscape itself becomes a puzzle. You click and drag the hills in the background up and down to help the main character proceed from scene to scene. It’s also a fitting way to play, given that our main character is an old man, and he moves like one—Mario, he’s not.\u003c/p>\n\u003cp>This game will likely appeal to kids since there is so much to play with in each scene. You can click any animal in the game and it will make some sort of sound. Much of the environment reacts when you simply move the cursor over it—for example, if you move your cursor below waterfalls, the water will flow around it, and the cursor’s pointer-finger shape makes you feel like you are poking and prodding at the world.\u003c/p>\n\u003cp>\u003cstrong>The \u003cem>Samorost\u003c/em> series\u003c/strong>\u003c/p>\n\u003cp>Amanita Design—the studio behind \u003cem>Samorost\u003c/em>—consistently demonstrates a knack for creating intriguing and whimsical worlds. In the \u003cem>Samorost\u003c/em> series, their team designs dreamlike landscapes by combining 2D drawings and detailed close up photos of real-life objects. Their games take something familiar, like dandelions or the roots of a tree, and renders them strange by reworking them into an alien landscape. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In all three titles—\u003cem>\u003ca href=\"https://amanita-design.net/games/samorost-1.html\" target=\"_blank\" rel=\"noopener noreferrer\">Samorost\u003c/a>, \u003ca href=\"https://amanita-design.net/games/samorost-2.html\" target=\"_blank\" rel=\"noopener noreferrer\">Samorost 2\u003c/a>\u003c/em>, and \u003cem>\u003ca href=\"https://amanita-design.net/games/samorost3.html\" target=\"_blank\" rel=\"noopener noreferrer\">Samorost 3\u003c/a>\u003c/em>—you play as a little gnome, and each game has its own story. \u003cem>Samorost \u003c/em>tasks you with saving the planet and home of the protagonist. \u003cem>Samorost 2 \u003c/em>sends you on a quest to save the gnome’s dog after it gets kidnapped by aliens. And \u003cem>Samorost 3 \u003c/em>follows the gnome as it investigates the origins of a magical flute that falls from the sky just outside its house.\u003c/p>\n\u003cp>Many of the scenes in these games look like they were ripped straight out of \u003cem>Alice in Wonderland \u003c/em>and are just as strange. Almost immediately after starting the first game, you will encounter a slug with a human face that uses the photo of one of the developers. The scenes and characters you encounter are a true delight.\u003c/p>\n\u003cp>Growing up, I remember a family friend telling me I would outgrow video games one day. That day never came, but I think that sentiment represents this prevalent idea that video games are childish—the same way that children’s books were once seen as immature or simple. These games challenge the idea that playfulness makes video games a lower art form, and instead shows us that today, video games today can be both silly \u003cem>and \u003c/em>sophisticated.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Ana Diaz is a freelance games writer and podcast host at MinnMax. She loves Pikachu and is based in Minneapolis, Minn.\u003c/em> \u003cem>She tweets at \u003ca href=\"https://twitter.com/pokachee\" target=\"_blank\" rel=\"noopener noreferrer\">@Pokachee\u003c/a>\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=For+The+Kid+In+Your+Life%2C+3+Video+Games+That+Play+Like+Storybooks&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Artists, Weirdos, Hellriders and Homies:' Thrasher Magazine Turns 40",
"headTitle": "‘Artists, Weirdos, Hellriders and Homies:’ Thrasher Magazine Turns 40 | KQED",
"content": "\u003cp>\u003cem>Playboy.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Glamour.\u003c/em>\u003c/p>\n\u003cp>\u003cem>O.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Teen Vogue.\u003c/em>\u003c/p>\n\u003cp>All these magazines have something in common.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They’re no longer in print.\u003c/p>\n\u003cp>While these—and many other—publications have shifted to digital only in recent years, there’s a print magazine bucking the trends and still going strong: \u003cem>Thrasher \u003c/em>magazine. Created by skateboarders for skateboarders, \u003cem>Thrasher\u003c/em> celebrates its 40th anniversary this month.\u003c/p>\n\u003cp>Founded in 1981 by Eric Swenson and Fausto Vitello, the San Francisco-based publication has been busting out new issues every month for decades. \u003cem>Thrasher\u003c/em> captures the gnarly antics of skaters as they shred pools, bomb hills and hurl themselves down rails and staircases.\u003c/p>\n\u003cp>“Back then there weren’t that many videos, so that was our source of skateboarding,” Mike Carroll, a professional skateboarder, said.\u003c/p>\n\u003cp>Carroll started reading \u003cem>Thrasher\u003c/em> as a kid in the 80’s. In 1994, he was given the coveted title of \u003cem>Thrasher\u003c/em> Skater of the Year and he’s been on numerous covers.\u003c/p>\n\u003cfigure id=\"attachment_13891250\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891250\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7.jpg\" alt=\"Mike Carroll in action. The skateboarder started reading 'Thrasher' as a kid and was Skater of the Year in 1994.\" width=\"200\" height=\"290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7-160x232.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Mike Carroll started reading ‘Thrasher’ as a kid; he was Skater of the Year in 1994. \u003ccite>(Sean Dolinsky /Thrasher Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Skateboarding is so infinite in so many different ways of your love for skateboarding,” he said. “If you’re looking at \u003cem>Thrasher,\u003c/em> reading \u003cem>Thrasher\u003c/em>, there’s so many different things that you can learn from the magazine.”\u003c/p>\n\u003cp>It’s where skaters learn what shoes are in, what their favorite skaters are up to and what bands are worth checking out. Punk rockers like Black Flag and rappers like Tyler the Creator have graced its pages. But most importantly, \u003cem>Thrasher\u003c/em> is a source of inspiring, cutting edge skateboarding.\u003c/p>\n\u003cp>Some readers rip out the magazine pages and posters and tape them to their bedroom walls.\u003c/p>\n\u003cp>“I remember the pictures that I had on my wall as a kid,” Michael Burnett said. Today he’s the Editor in Chief of \u003cem>Thrasher\u003c/em>. He’s the successor of the late, iconic editor \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Skateboarder-Thrasher-editor-Jake-Phelps-dies-at-13690396.php\" target=\"_blank\" rel=\"noopener noreferrer\">Jake Phelps\u003c/a>. “You would stare at this thing. It was like the Led Zeppelin album cover. You’d get this magazine and you would look at it over and over again. You’re like, how did they get in the air?”\u003c/p>\n\u003cp>Some of the epic skateboarding moments captured in the magazine’s covers include Milton Martinez doing a \u003ca href=\"https://www.youtube.com/watch?v=BAqNOneGRiM&t=557s\" target=\"_blank\" rel=\"noopener noreferrer\">kickflip off the roof of a car wash\u003c/a> in Los Angeles and Andrew Reynolds doing a \u003ca href=\"https://www.youtube.com/watch?v=meepxVVGvYk&t=86s\" target=\"_blank\" rel=\"noopener noreferrer\">backside flip down a staircase\u003c/a> at Wallenberg High School. But perhaps the crown jewel of \u003cem>Thrasher\u003c/em> covers is a photo of \u003ca href=\"https://www.thrashermagazine.com/articles/magazine/november-1997/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeremy Wray in the sky\u003c/a> as he ollies from one water tower to another. [aside postid='pop_85006']\u003c/p>\n\u003cp>Pro skater Alexis Sablone remembers seeing the Wray cover when she was young. “He’s just suspended in midair. I mean, if he didn’t make it, he would die,” she said.\u003c/p>\n\u003cp>Sablone is also \u003ca href=\"https://www.thrashermagazine.com/articles/videos/cons-seize-the-seconds-video/\" target=\"_blank\" rel=\"noopener noreferrer\">featured in the magazine\u003c/a>. In addition to putting out a skate video in \u003cem>Thrasher\u003c/em>, she landed a spot on Team USA before skateboarding’s Olympic debut was postponed last year.\u003c/p>\n\u003cp>Sablone says that when most people see a simple bench or planter, skaters like her see an obstacle to conquer. “You’re constantly looking for skate spots in just your everyday environment,” she said. “It could be a street you’ve gone down a million times, but you always have one eye out for something architecturally strange or something where you’re like ‘That’s skatable.'”\u003c/p>\n\u003cp>There are so many ways to skate, after all. There are no rules in skateboarding. But what every skater has in common is an intimate knowledge of what it’s like to slam into the ground. Sablone says landing tricks can be highly demanding.\u003c/p>\n\u003cfigure id=\"attachment_13891251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-800x600.jpg\" alt=\"Alexis Sablone in action. The skateboarder says she's constantly looking for skate spots.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Sablone says she’s constantly looking for skate spots. \u003ccite>(Jonathan Mehring)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It becomes like this personal battle,” Sablone said. “It can be the most frustrating thing ever when it’s not going well—and that happens a lot—or it can be the thing that feels the best.”\u003c/p>\n\u003cp>Editor Burnett says there’s no cheating in skateboarding. It’s just you, the board and the concrete. It’s not like you can fake breaking boards or bones.\u003c/p>\n\u003cp>Despite their commitment to all things skateboarding, \u003cem>Thrasher\u003c/em> doesn’t cover competitions like the X Games and they don’t plan to cover the Olympics either.\u003c/p>\n\u003cp>“I look at skateboarding more as art than sport,” Atiba Jefferson, \u003cem>Thrasher\u003c/em> staff photographer, said.\u003c/p>\n\u003cp>A legend in his own right, Jefferson has been on many adventures with skateboarding’s biggest stars. Some skaters, like Jefferson, say that skateboarding is about more than doing a bunch of tricks for points. [aside postid='news_11733418']\u003c/p>\n\u003cp>“You could put guitar playing in the Olympics if you really wanted to. It’s a physical thing, right?” he said. Instead, \u003cem>Thrasher\u003c/em> creators focus more on the skating that happens in the streets.\u003c/p>\n\u003cp>Still, Burnett knows there’s room to grow the skate community. He’s expressed interest in getting everyone who loves skateboarding involved.\u003c/p>\n\u003cp>There are 488 \u003cem>Thrasher\u003c/em> issues. But look at the covers, you’ll quickly see that most of them are photos of men. The number of women featured on the covers can be counted with one hand: three.\u003c/p>\n\u003cp>The magazine has featured more women pro skaters in recent years, but men still dominate the pages and covers.\u003c/p>\n\u003cp>“\u003cem>Thrasher\u003c/em> is one of the biggest, most influential publications in skateboarding. They really lack diversity,” Leo Baker said. Baker is a pro skater who has been featured in the magazine and also earned a spot on Team USA. Last year, they helped create \u003ca href=\"https://www.thrashermagazine.com/articles/on-glue-article/\">Glue Skateboards\u003c/a> with fellow skaters Cher Strauberry and Stephen Ostrowski. [aside postid='arts_13886143']\u003c/p>\n\u003cp>“When Stephen, Cher and I decided to start Glue, a huge part of that was just being able to skate with and be on a team with people that are queer,” Baker said.\u003c/p>\n\u003cp>Glue Skateboards, There Skateboards and The Skate Witches are among the many groups led by queer and women skaters that are helping expand the skate community.\u003c/p>\n\u003cp>“That’s what I love about skateboarding,” Burnett said. “Different groups around the world latch onto skating and make it their own. People get a little taste of it and then they customize it for their scene and their friends and what they’re doing. And that’s really exciting.”\u003c/p>\n\u003cp>In his editor’s note for the anniversary issue, Burnett writes that the magazine relies on, “the rippers, ragers, videographers, builders, artists, weirdos, hellriders and homies who keep on creating, keep on making skateboarding the beautiful, [f*****-up] thing that it is.”\u003c/p>\n\u003cp>It’s because of them that \u003cem>Thrasher\u003c/em> continues to bring skateboarding to people’s fingertips, month after month.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Nina Gregory edited this story for broadcast. Petra Mayer and Milton Guevara adapted it for the Web. \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=%27Artists%2C+Weirdos%2C+Hellriders+And+Homies%3A%27+Thrasher+Magazine+Turns+40&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Playboy.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Glamour.\u003c/em>\u003c/p>\n\u003cp>\u003cem>O.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Teen Vogue.\u003c/em>\u003c/p>\n\u003cp>All these magazines have something in common.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They’re no longer in print.\u003c/p>\n\u003cp>While these—and many other—publications have shifted to digital only in recent years, there’s a print magazine bucking the trends and still going strong: \u003cem>Thrasher \u003c/em>magazine. Created by skateboarders for skateboarders, \u003cem>Thrasher\u003c/em> celebrates its 40th anniversary this month.\u003c/p>\n\u003cp>Founded in 1981 by Eric Swenson and Fausto Vitello, the San Francisco-based publication has been busting out new issues every month for decades. \u003cem>Thrasher\u003c/em> captures the gnarly antics of skaters as they shred pools, bomb hills and hurl themselves down rails and staircases.\u003c/p>\n\u003cp>“Back then there weren’t that many videos, so that was our source of skateboarding,” Mike Carroll, a professional skateboarder, said.\u003c/p>\n\u003cp>Carroll started reading \u003cem>Thrasher\u003c/em> as a kid in the 80’s. In 1994, he was given the coveted title of \u003cem>Thrasher\u003c/em> Skater of the Year and he’s been on numerous covers.\u003c/p>\n\u003cfigure id=\"attachment_13891250\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891250\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7.jpg\" alt=\"Mike Carroll in action. The skateboarder started reading 'Thrasher' as a kid and was Skater of the Year in 1994.\" width=\"200\" height=\"290\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/carroll_sftownsend93_dolinsky_dz_custom-13215bbc8b3547103f39baad32dc80e5052de2e7-160x232.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Mike Carroll started reading ‘Thrasher’ as a kid; he was Skater of the Year in 1994. \u003ccite>(Sean Dolinsky /Thrasher Magazine)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Skateboarding is so infinite in so many different ways of your love for skateboarding,” he said. “If you’re looking at \u003cem>Thrasher,\u003c/em> reading \u003cem>Thrasher\u003c/em>, there’s so many different things that you can learn from the magazine.”\u003c/p>\n\u003cp>It’s where skaters learn what shoes are in, what their favorite skaters are up to and what bands are worth checking out. Punk rockers like Black Flag and rappers like Tyler the Creator have graced its pages. But most importantly, \u003cem>Thrasher\u003c/em> is a source of inspiring, cutting edge skateboarding.\u003c/p>\n\u003cp>Some readers rip out the magazine pages and posters and tape them to their bedroom walls.\u003c/p>\n\u003cp>“I remember the pictures that I had on my wall as a kid,” Michael Burnett said. Today he’s the Editor in Chief of \u003cem>Thrasher\u003c/em>. He’s the successor of the late, iconic editor \u003ca href=\"https://www.sfchronicle.com/bayarea/article/Skateboarder-Thrasher-editor-Jake-Phelps-dies-at-13690396.php\" target=\"_blank\" rel=\"noopener noreferrer\">Jake Phelps\u003c/a>. “You would stare at this thing. It was like the Led Zeppelin album cover. You’d get this magazine and you would look at it over and over again. You’re like, how did they get in the air?”\u003c/p>\n\u003cp>Some of the epic skateboarding moments captured in the magazine’s covers include Milton Martinez doing a \u003ca href=\"https://www.youtube.com/watch?v=BAqNOneGRiM&t=557s\" target=\"_blank\" rel=\"noopener noreferrer\">kickflip off the roof of a car wash\u003c/a> in Los Angeles and Andrew Reynolds doing a \u003ca href=\"https://www.youtube.com/watch?v=meepxVVGvYk&t=86s\" target=\"_blank\" rel=\"noopener noreferrer\">backside flip down a staircase\u003c/a> at Wallenberg High School. But perhaps the crown jewel of \u003cem>Thrasher\u003c/em> covers is a photo of \u003ca href=\"https://www.thrashermagazine.com/articles/magazine/november-1997/\" target=\"_blank\" rel=\"noopener noreferrer\">Jeremy Wray in the sky\u003c/a> as he ollies from one water tower to another. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pro skater Alexis Sablone remembers seeing the Wray cover when she was young. “He’s just suspended in midair. I mean, if he didn’t make it, he would die,” she said.\u003c/p>\n\u003cp>Sablone is also \u003ca href=\"https://www.thrashermagazine.com/articles/videos/cons-seize-the-seconds-video/\" target=\"_blank\" rel=\"noopener noreferrer\">featured in the magazine\u003c/a>. In addition to putting out a skate video in \u003cem>Thrasher\u003c/em>, she landed a spot on Team USA before skateboarding’s Olympic debut was postponed last year.\u003c/p>\n\u003cp>Sablone says that when most people see a simple bench or planter, skaters like her see an obstacle to conquer. “You’re constantly looking for skate spots in just your everyday environment,” she said. “It could be a street you’ve gone down a million times, but you always have one eye out for something architecturally strange or something where you’re like ‘That’s skatable.'”\u003c/p>\n\u003cp>There are so many ways to skate, after all. There are no rules in skateboarding. But what every skater has in common is an intimate knowledge of what it’s like to slam into the ground. Sablone says landing tricks can be highly demanding.\u003c/p>\n\u003cfigure id=\"attachment_13891251\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13891251\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-800x600.jpg\" alt=\"Alexis Sablone in action. The skateboarder says she's constantly looking for skate spots.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/alexissablone_backside180_mehring1-3ce2c2c02a5c7fdac8c9692d3395ad6e49af9640.jpg 980w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Alexis Sablone says she’s constantly looking for skate spots. \u003ccite>(Jonathan Mehring)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It becomes like this personal battle,” Sablone said. “It can be the most frustrating thing ever when it’s not going well—and that happens a lot—or it can be the thing that feels the best.”\u003c/p>\n\u003cp>Editor Burnett says there’s no cheating in skateboarding. It’s just you, the board and the concrete. It’s not like you can fake breaking boards or bones.\u003c/p>\n\u003cp>Despite their commitment to all things skateboarding, \u003cem>Thrasher\u003c/em> doesn’t cover competitions like the X Games and they don’t plan to cover the Olympics either.\u003c/p>\n\u003cp>“I look at skateboarding more as art than sport,” Atiba Jefferson, \u003cem>Thrasher\u003c/em> staff photographer, said.\u003c/p>\n\u003cp>A legend in his own right, Jefferson has been on many adventures with skateboarding’s biggest stars. Some skaters, like Jefferson, say that skateboarding is about more than doing a bunch of tricks for points. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“You could put guitar playing in the Olympics if you really wanted to. It’s a physical thing, right?” he said. Instead, \u003cem>Thrasher\u003c/em> creators focus more on the skating that happens in the streets.\u003c/p>\n\u003cp>Still, Burnett knows there’s room to grow the skate community. He’s expressed interest in getting everyone who loves skateboarding involved.\u003c/p>\n\u003cp>There are 488 \u003cem>Thrasher\u003c/em> issues. But look at the covers, you’ll quickly see that most of them are photos of men. The number of women featured on the covers can be counted with one hand: three.\u003c/p>\n\u003cp>The magazine has featured more women pro skaters in recent years, but men still dominate the pages and covers.\u003c/p>\n\u003cp>“\u003cem>Thrasher\u003c/em> is one of the biggest, most influential publications in skateboarding. They really lack diversity,” Leo Baker said. Baker is a pro skater who has been featured in the magazine and also earned a spot on Team USA. Last year, they helped create \u003ca href=\"https://www.thrashermagazine.com/articles/on-glue-article/\">Glue Skateboards\u003c/a> with fellow skaters Cher Strauberry and Stephen Ostrowski. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When Stephen, Cher and I decided to start Glue, a huge part of that was just being able to skate with and be on a team with people that are queer,” Baker said.\u003c/p>\n\u003cp>Glue Skateboards, There Skateboards and The Skate Witches are among the many groups led by queer and women skaters that are helping expand the skate community.\u003c/p>\n\u003cp>“That’s what I love about skateboarding,” Burnett said. “Different groups around the world latch onto skating and make it their own. People get a little taste of it and then they customize it for their scene and their friends and what they’re doing. And that’s really exciting.”\u003c/p>\n\u003cp>In his editor’s note for the anniversary issue, Burnett writes that the magazine relies on, “the rippers, ragers, videographers, builders, artists, weirdos, hellriders and homies who keep on creating, keep on making skateboarding the beautiful, [f*****-up] thing that it is.”\u003c/p>\n\u003cp>It’s because of them that \u003cem>Thrasher\u003c/em> continues to bring skateboarding to people’s fingertips, month after month.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Siegfried Fischbacher, one-half of the famous magician duo Siegfried & Roy, died Wednesday night at his home in Las Vegas from pancreatic cancer. He was 81.\u003c/p>\n\u003cp>Fischbacher’s death comes just months after his performance partner, Roy Horn, died from complications related to COVID-19 at the age of 75.\u003c/p>\n\u003cp>A statement from Siegfried & Roy’s press office said Fischbacher had a unique ability to “perform complicated magic at lightning speed.” This made him a perfect foil for Horn, a “perpetual dreamer.”\u003c/p>\n\u003cp>“Their complementary skills created a live entertainment phenomenon unlike anything that came before.”\u003c/p>\n\u003cfigure id=\"attachment_13891243\" class=\"wp-caption aligncenter\" style=\"max-width: 781px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891243\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM.png\" alt=\"Siegfried & Roy pose with their tigers, Neva and Vegas, in June 1987.\" width=\"781\" height=\"689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM.png 781w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM-160x141.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM-768x678.png 768w\" sizes=\"(max-width: 781px) 100vw, 781px\">\u003cfigcaption class=\"wp-caption-text\">Siegfried & Roy pose with their tigers, Neva and Vegas, in June 1987. \u003ccite>(Scott McKiernan/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Siegfried Fischbacher was born in Germany in 1939. He loved magic so much growing up that he worked as an entertainer on a cruise ship. That’s where he met Roy Horn and began a 50-year partnership that took them to Las Vegas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A Siegfried & Roy magic show was an opportunity for extravagance. By 1990, they filled the stage at the MGM Mirage Hotel and Casino with costumes, smoke machines, animals and set designs that made them a destination for millions on the Las Vegas entertainment circuit.\u003c/p>\n\u003cp>Then, in 2003, a 380-pound white tiger attacked Roy Horn onstage and ended the duo’s Vegas show. The two formally retired in 2010.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A \u003ca href=\"https://newsroom.mgmresorts.com/road-to-mirage-in-las-vegas-renamed-siegfried-roy-drive.htm\" target=\"_blank\" rel=\"noopener noreferrer\">street on the Las Vegas strip was named\u003c/a> after them last year, shortly after Horn’s death.\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=Siegfried+Fischbacher+Of+Siegfried+%26+Roy+Dies+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Siegfried Fischbacher, one-half of the famous magician duo Siegfried & Roy, died Wednesday night at his home in Las Vegas from pancreatic cancer. He was 81.\u003c/p>\n\u003cp>Fischbacher’s death comes just months after his performance partner, Roy Horn, died from complications related to COVID-19 at the age of 75.\u003c/p>\n\u003cp>A statement from Siegfried & Roy’s press office said Fischbacher had a unique ability to “perform complicated magic at lightning speed.” This made him a perfect foil for Horn, a “perpetual dreamer.”\u003c/p>\n\u003cp>“Their complementary skills created a live entertainment phenomenon unlike anything that came before.”\u003c/p>\n\u003cfigure id=\"attachment_13891243\" class=\"wp-caption aligncenter\" style=\"max-width: 781px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13891243\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM.png\" alt=\"Siegfried & Roy pose with their tigers, Neva and Vegas, in June 1987.\" width=\"781\" height=\"689\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM.png 781w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM-160x141.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/Screen-Shot-2021-01-14-at-2.12.49-PM-768x678.png 768w\" sizes=\"(max-width: 781px) 100vw, 781px\">\u003cfigcaption class=\"wp-caption-text\">Siegfried & Roy pose with their tigers, Neva and Vegas, in June 1987. \u003ccite>(Scott McKiernan/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Siegfried Fischbacher was born in Germany in 1939. He loved magic so much growing up that he worked as an entertainer on a cruise ship. That’s where he met Roy Horn and began a 50-year partnership that took them to Las Vegas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A Siegfried & Roy magic show was an opportunity for extravagance. By 1990, they filled the stage at the MGM Mirage Hotel and Casino with costumes, smoke machines, animals and set designs that made them a destination for millions on the Las Vegas entertainment circuit.\u003c/p>\n\u003cp>Then, in 2003, a 380-pound white tiger attacked Roy Horn onstage and ended the duo’s Vegas show. The two formally retired in 2010.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A \u003ca href=\"https://newsroom.mgmresorts.com/road-to-mirage-in-las-vegas-renamed-siegfried-roy-drive.htm\" target=\"_blank\" rel=\"noopener noreferrer\">street on the Las Vegas strip was named\u003c/a> after them last year, shortly after Horn’s death.\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=Siegfried+Fischbacher+Of+Siegfried+%26+Roy+Dies+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Need a Break? The Pets and Vets of 'All Creatures Great and Small' Might Hit the Spot",
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"content": "\u003cp>When young veterinarian James Herriot first opened his eyes and saw the richly green hills around Darrowby in the new adaptation of \u003cem>All Creatures Great And Small\u003c/em>, I felt my shoulders drop. When he saw the village tucked—it must be said—adorably into the valley between them, I felt my breathing slow.\u003c/p>\n\u003cp>Darrowby is the fictional setting for the real James Herriot’s books about his life as a vet in Yorkshire, England, and the new \u003cem>All Creatures Great and Small \u003c/em>that arrived on PBS on Sunday night after a successful run in the UK is the second television version of those stories to feature a fictionalized Herriot (here played by Nicholas Ralph) joining the veterinary practice of Siegfried Farnon (Samuel West) and, eventually, Siegfried’s brother Tristan (Callum Woodhouse). The first version ran from 1978 to 1990, and while I remember almost nothing about it, it’s one of the shows that formed my general impression of PBS shows when I was young: gentle, calm, funny without a laugh track, and very popular with parents, mine included. And now, as a person older than they were at the time, I have—not for the first time—come around to their way of thinking.\u003c/p>\n\u003cp>The new \u003cem>All Creatures Great and Small \u003c/em>is, above all else, soothing. Not because it is mindless or merely distracting, but because the slice of humanity that it focuses on is a slice taken from the better rather than the worst of what we can be. Is this a lot to ask of a show that adapts stories about taking care of animals in a beautiful setting in 1930s England? Maybe. But for all its simplicity, it has a real and resonant core, in that the drama comes not from external and fanciful circumstances, but from the day-to-day matters of family and work.\u003c/p>\n\u003cp>The family here is Herriot, the two Farnons, and Mrs. Hall (Anna Madeley), who takes care of Siegfried’s house, where they all live and where the veterinary practice is located. The first season, which consists of six episodes and the beloved traditional Christmas episode (an idea the UK embraces and American television usually doesn’t, to its detriment), establishes this family with its loving but complicated relationships. The stories are focused as much on mentoring and teaching and caring for people—and the drama and comedy that naturally follow—as so many shows are on harming and forgiving and enabling people. There is something to be said for the realism of television that reminds us uncannily of our worst and most toxic relationships; this is television meant to remind us of the contours of our best ones.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MZzFjeQFpro\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As played by Ralph, who gets the rarely-seen “introducing” credit, James Herriot is a nervous but committed young vet who leaves home and family in Glasgow to take one of the few vet jobs that’s open now that the world is turning from horses to cars: the Yorkshire practice of Siegfried Farnon. Siegfried sees cows and bulls, working horses and racehorses, sheep and goats, cats and dogs, and birds and ferrets. He is the vet in Darrowby, and they’re all his responsibility—especially since he tends to toss his assistants in short order. He’s haughty but also dryly funny, and Mrs. Hall’s obvious fondness for him, while it calls to mind a lot of other housekeeper-homeowner relationships of fiction, helps to humanize him. Shortly after James arrives, Siegfried’s ne’er-do-well brother Tristan blows back into town after failing his vet school exams. Siegfried practically raised Tristan from adolescence, so this sets up a dynamic in which if you squint, Siegfried and Mrs. Hall (whose name is Audrey, it will turn out) are the parents, and James and Tristan are the sons: the older one responsible and shy, the younger one brash and charming and prone to screwing up.\u003c/p>\n\u003cp>So really, what unfolds is a chosen-family story, with dashes of cute dogs and pregnant cows and an underlying recognition that animals, for many residents of Darrowby, are the most important property they own as well as revered living creatures. The reason a vet in Yorkshire is such a rich well of stories is not only because animals are interesting or they get a lot of weird diseases. It’s because in a farming community, animals are adjacent to wealth, to power, to business, to sport, to families, to children, to making a living. They are adjacent to everything important, so vets know the rich and the poor, the honest and the dishonest. Siegfried’s practice is everything to this community. In fact, one of the best episodes finds James doing his first turn as the vet at the local fair, measuring ponies and judging the pet contest, and it reminded me a pinch—just a \u003cem>pinch\u003c/em>—of the episode of \u003cem>Schitt’s Creek \u003c/em>where the family winds up dancing in the barn. It is about what it means to be joined to a community, with all its joys and frustrations.\u003c/p>\n\u003cp>There are, unsurprisingly, women other than Audrey who come into the lives of the three men. The only one it seems sporting to discuss is Helen Alderson (Rachel Shenton), who lives on one of the farms Herriot visits. Helen is independent and capable (at most things), but also funny and observant, and she seems a bit fascinated by the new vet’s assistant.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>PBS will be running these episodes once a week through the rest of January and February (and making them available on demand), and when you reach the end, there is another sigh, just like the one that comes with the first view of the rolling hills. It’s the satisfaction of a well-designed first season of what I hope will be a long run. Particularly at a time when rest is important and exhaling is important, perhaps a beautiful setting, some fine performances and a high regard for what happens inside a home between people who care for each other will be just what the (ahem) doctor ordered.\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=Need+A+Break%3F+The+Pets+And+Vets+Of+%27All+Creatures+Great+And+Small%27+Might+Hit+The+Spot&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>PBS will be running these episodes once a week through the rest of January and February (and making them available on demand), and when you reach the end, there is another sigh, just like the one that comes with the first view of the rolling hills. It’s the satisfaction of a well-designed first season of what I hope will be a long run. Particularly at a time when rest is important and exhaling is important, perhaps a beautiful setting, some fine performances and a high regard for what happens inside a home between people who care for each other will be just what the (ahem) doctor ordered.\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=Need+A+Break%3F+The+Pets+And+Vets+Of+%27All+Creatures+Great+And+Small%27+Might+Hit+The+Spot&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you didn’t know what they were about, you’d be forgiven for confusing the striking new movies \u003cem>Promising Young Woman\u003c/em> and \u003cem>Pieces of a Woman\u003c/em>. They do have similarities that go beyond their titles: Each is an intense but uneven film about the lingering effects of trauma and tragedy. And each one centers on an American woman played by an English actor doing her strongest work in some time.\u003c/p>\n\u003cp>In the devious revenge thriller \u003cem>Promising Young Woman\u003c/em>, the actor is Carey Mulligan, and we first see her character, Cassie, nearly passed out drunk in a nightclub. A nice-seeming young man offers to take her home, but instead brings her back to his place. Just as he starts to undress her, Cassie suddenly snaps to attention, fully awake and fully sober. There’s an ominous cut to black; we never find out what happens to the young man or the many others like him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7i5kiFDunk8\u003c/p>\n\u003cp>This is what Cassie does almost every night, offering herself up as bait and turning the tables on would-be rapists. In her mind, she’s making the world a safer place for women, one predator at a time.\u003c/p>\n\u003cp>Her days are uneventful by comparison. At 30, she works in a coffee shop and still lives at home with her parents. Years ago, she was studying to be a doctor, but dropped out after something terrible happened to her best friend and classmate, Nina.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Promising Young Woman\u003c/em> is the first feature written and directed by the English filmmaker Emerald Fennell, who served as showrunner on the second season of \u003ca href=\"https://www.npr.org/2018/04/06/600104179/paterno-and-killing-eve-bring-complexity-and-intrigue-to-cable\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Killing Eve\u003c/em>\u003c/a>. She gives the movie a subversively candy-colored surface; watching it is like biting into a super-sweet cupcake with a surprisingly bitter aftertaste.\u003c/p>\n\u003cp>Initially it suggests a vigilante movie for the #MeToo era, as Cassie tries to settle the score with everyone, including the dean who turned a blind eye to Nina’s pain. But then it turns into a disquietingly charming romantic comedy, as Cassie—who has trained herself to see every nice guy as a potential threat—unexpectedly falls for a nice guy, played by the comedian and filmmaker \u003ca href=\"https://www.npr.org/2018/12/27/680356663/director-bo-burnham-on-growing-up-with-anxiety-and-an-audience\" target=\"_blank\" rel=\"noopener noreferrer\">Bo Burnham\u003c/a>.\u003c/p>\n\u003cp>These wild tonal shifts seem to echo Cassie’s own identity crisis: the trusting innocent she used to be and the self-destructive avenger she’s become. But as it barrels toward an ending that strives to be tragic, darkly funny and queasily nihilistic all at once, \u003cem>Promising\u003c/em> \u003cem>Young Woman \u003c/em>starts to feel at odds with itself, as if it were trying to make you cackle and weep at the same time. That it works at all is a credit to Mulligan’s skillful, shape-shifting performance. She gives this audacious but not fully realized movie an emotional coherence it wouldn’t have had otherwise.\u003c/p>\n\u003cp>Vanessa Kirby does something similar in \u003cem>Pieces of a Woman\u003c/em>: She’s ultimately more convincing than the movie itself. In this grim English-language drama from the Hungarian director Kornél Mundruczó and the screenwriter Kata Wéber, Kirby plays a Boston woman named Martha who’s about to have a child with her partner, Sean, played by Shia LaBeouf.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=1zLKbMAZNGI\u003c/p>\n\u003cp>The two have planned on a home birth, which takes place in a brilliantly choreographed and excruciatingly tense sequence that plays out in real time for almost 25 minutes. I’ve never seen anything quite like this scene, in which Martha endures contraction after contraction, retching and groaning in pain while Sean and the midwife, played by a terrific Molly Parker, rush about trying to help. But their efforts end in tragedy, and the baby doesn’t survive.\u003c/p>\n\u003cp>The story unfolds over the next eight months. Martha’s mother, played by an astonishing\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6388248\" target=\"_blank\" rel=\"noopener noreferrer\"> Ellen Burstyn\u003c/a>, demands justice, urging them to sue the midwife. While Martha retreats into herself, Sean descends noisily into grief and rage. At one point, he becomes frighteningly aggressive in a hard-to-watch sex scene that couldn’t help but remind me that LaBeouf’s former girlfriend recently brought\u003ca href=\"https://www.npr.org/2020/12/11/945549607/fka-twigs-sues-shia-labeouf-accusing-him-of-domestic-abuse\" target=\"_blank\" rel=\"noopener noreferrer\"> abuse allegations \u003c/a>against him. It’s not the first time the actor has given a performance that seems to spring, in part, from his own personal demons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Pieces of a Woman \u003c/em>doesn’t entirely work; it has its share of falsely contrived moments and heavy-handed symbolism. But Kirby’s quiet, implosive performance is breathtaking in its subtlety. You can see in Martha a quality that also defined Kirby’s young Princess Margaret on \u003cem>The Crown\u003c/em>: a steely refusal to conform to others’ expectations. Martha recoils when loved ones try to comfort her, and she’s reluctant to pursue the lawsuit; her grief exists beyond the reach of compensation or consolation. You don’t always know what she’s thinking from moment to moment, but you believe her completely.\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=%27Promising+Young+Woman%27+And+%27Pieces+Of+A+Woman%27+Examine+Trauma+And+Revenge&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>\u003cem>Promising Young Woman\u003c/em> is the first feature written and directed by the English filmmaker Emerald Fennell, who served as showrunner on the second season of \u003ca href=\"https://www.npr.org/2018/04/06/600104179/paterno-and-killing-eve-bring-complexity-and-intrigue-to-cable\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Killing Eve\u003c/em>\u003c/a>. She gives the movie a subversively candy-colored surface; watching it is like biting into a super-sweet cupcake with a surprisingly bitter aftertaste.\u003c/p>\n\u003cp>Initially it suggests a vigilante movie for the #MeToo era, as Cassie tries to settle the score with everyone, including the dean who turned a blind eye to Nina’s pain. But then it turns into a disquietingly charming romantic comedy, as Cassie—who has trained herself to see every nice guy as a potential threat—unexpectedly falls for a nice guy, played by the comedian and filmmaker \u003ca href=\"https://www.npr.org/2018/12/27/680356663/director-bo-burnham-on-growing-up-with-anxiety-and-an-audience\" target=\"_blank\" rel=\"noopener noreferrer\">Bo Burnham\u003c/a>.\u003c/p>\n\u003cp>These wild tonal shifts seem to echo Cassie’s own identity crisis: the trusting innocent she used to be and the self-destructive avenger she’s become. But as it barrels toward an ending that strives to be tragic, darkly funny and queasily nihilistic all at once, \u003cem>Promising\u003c/em> \u003cem>Young Woman \u003c/em>starts to feel at odds with itself, as if it were trying to make you cackle and weep at the same time. That it works at all is a credit to Mulligan’s skillful, shape-shifting performance. She gives this audacious but not fully realized movie an emotional coherence it wouldn’t have had otherwise.\u003c/p>\n\u003cp>Vanessa Kirby does something similar in \u003cem>Pieces of a Woman\u003c/em>: She’s ultimately more convincing than the movie itself. In this grim English-language drama from the Hungarian director Kornél Mundruczó and the screenwriter Kata Wéber, Kirby plays a Boston woman named Martha who’s about to have a child with her partner, Sean, played by Shia LaBeouf.\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/1zLKbMAZNGI'\n title='//www.youtube.com/embed/1zLKbMAZNGI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The two have planned on a home birth, which takes place in a brilliantly choreographed and excruciatingly tense sequence that plays out in real time for almost 25 minutes. I’ve never seen anything quite like this scene, in which Martha endures contraction after contraction, retching and groaning in pain while Sean and the midwife, played by a terrific Molly Parker, rush about trying to help. But their efforts end in tragedy, and the baby doesn’t survive.\u003c/p>\n\u003cp>The story unfolds over the next eight months. Martha’s mother, played by an astonishing\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=6388248\" target=\"_blank\" rel=\"noopener noreferrer\"> Ellen Burstyn\u003c/a>, demands justice, urging them to sue the midwife. While Martha retreats into herself, Sean descends noisily into grief and rage. At one point, he becomes frighteningly aggressive in a hard-to-watch sex scene that couldn’t help but remind me that LaBeouf’s former girlfriend recently brought\u003ca href=\"https://www.npr.org/2020/12/11/945549607/fka-twigs-sues-shia-labeouf-accusing-him-of-domestic-abuse\" target=\"_blank\" rel=\"noopener noreferrer\"> abuse allegations \u003c/a>against him. It’s not the first time the actor has given a performance that seems to spring, in part, from his own personal demons.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Pieces of a Woman \u003c/em>doesn’t entirely work; it has its share of falsely contrived moments and heavy-handed symbolism. But Kirby’s quiet, implosive performance is breathtaking in its subtlety. You can see in Martha a quality that also defined Kirby’s young Princess Margaret on \u003cem>The Crown\u003c/em>: a steely refusal to conform to others’ expectations. Martha recoils when loved ones try to comfort her, and she’s reluctant to pursue the lawsuit; her grief exists beyond the reach of compensation or consolation. You don’t always know what she’s thinking from moment to moment, but you believe her completely.\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=%27Promising+Young+Woman%27+And+%27Pieces+Of+A+Woman%27+Examine+Trauma+And+Revenge&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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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.",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
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},
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
"fresh-air": {
"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"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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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"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"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
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