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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>\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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"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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"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": "\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>\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>\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/MZzFjeQFpro'\n title='//www.youtube.com/embed/MZzFjeQFpro'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>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>\u003c/p>\u003c/div>",
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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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"title": "'Promising Young Woman' and 'Pieces of a Woman' Examine Trauma and Revenge",
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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>\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>\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/7i5kiFDunk8'\n title='//www.youtube.com/embed/7i5kiFDunk8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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>\u003c/p>\u003c/div>",
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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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"content": "\u003cp>Iconoclastic humorist \u003ca href=\"https://www.npr.org/books/authors/657929490/fran-lebowitz\" target=\"_blank\" rel=\"noopener noreferrer\">Fran Lebowitz\u003c/a> used to be known as a writer. Back in the late 1970s and ’80s she released two popular collections of essays featuring her cutting observations and opinions about life. But that part of her career was cut short by a decades long case of writer’s block—now she’s known for talking.\u003c/p>\n\u003cp>The Netflix series, \u003cem>Pretend It’s a City\u003c/em>, features Lebowitz in conversation with Martin Scorsese—who directed both the new series and the 2010 HBO documentary about Lebowitz, \u003cem>Public Speaking. \u003c/em>Lebowitz has known Scorsese for so long she’s no longer certain of how they met—though she thinks it was probably at a party.\u003c/p>\n\u003cp>“Whenever I saw Marty at a party, I would spend most of the evening talking to Marty,” she says.\u003c/p>\n\u003cp>In the new series, Lebowitz talks about why she cleaned apartments in her 20s when her friends were making more money waitressing, working as a New York City cab driver in the 1970s, getting kicked out of high school in New Jersey, and her collection of 10,000 books. Many of her stories center on Manhattan—a place both she and Scorsese feel deeply connected to.\u003c/p>\n\u003cp>“We both have such a strong connection to New York that, in fact, when I made my deal with Marty for \u003cem>Public Speaking\u003c/em> … Marty said, ‘OK, here’s the deal. We don’t leave Manhattan,’ ” Lebowitz says. “In \u003cem>Pretend It’s a City\u003c/em>, we did go to Queens [and it was] something Marty talked about as if we were going to Afghanistan.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=MClMxqD-HNA\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On living alone during the COVID-19 pandemic \u003c/strong>\u003c/p>\n\u003cp>Well, it still seems to me to be by far the best choice. I cannot understand how people who do not live alone have stood this last 10 months, because the only upside of having to stay in my apartment is at least there was no one else there. I would find that unbearable, I mean, truly unbearable. … At the very beginning [of the pandemic], this guy I know, this friend of mine sent me, like, one million dollars worth of orchids saying, “These are to keep you company.” And I thought, really? I mean, thank you. They’re beautiful, but I keep myself company. So I don’t feel that living alone is a drawback during this. I think it’s an asset. …\u003c/p>\n\u003cp>Truthfully, I really never get lonely. I mean, I certainly can say that there are people that I miss, specific people that I’ve missed in my life numerous times, some very grievously. But a kind of abstract loneliness? No.\u003c/p>\n\u003cp>\u003cstrong>On being comfortable as herself and not being envious of others \u003c/strong>\u003c/p>\n\u003cp>I’m always surprised that people, adults, look to other people—even for things like haircuts. I just never thought about it. I don’t know why. But that was true even when I was a little kid. I don’t have a habit of comparing myself to other people. … The few times in my life I felt deeply envious, the feeling was so repellent to me that I thought, “God, this must be what it’s like to be these people who are constantly envious of other people.” … It’s less surprising that, say, teenagers feel that way. But I know a lot of adults who feel that way, and I think it is just ridiculous.\u003c/p>\n\u003cp>\u003cstrong>On being a lifelong germaphobe \u003c/strong>\u003c/p>\n\u003cp>I’ve always been very careful about touching things. … I’ve never touched a single thing in the New York City subway system—ever. Usually I’m by myself on the subway, but a few times I remember … [I was] with someone, and he said to me, when we got out, he said, “You didn’t touch anything.” And I said, “No.” And the truth is, if I dropped the Hope Diamond on the floor of a subway car, I’d leave it there. I’d say, “Well, you know, it’s just the Hope Diamond.” [aside postid='pop_8412']\u003c/p>\n\u003cp>But I’ve, of course, seen people pick things up from the floor. I, at least once, was sitting across from a woman with a baby, and the pacifier fell out of the baby’s mouth. The woman picked it up, wiped it off on her shirt and put it back in the baby’s mouth. I really thought one of two things going to happen to that baby: Either he’s going to drop dead right now or he’ll live to be a million years old, because he’s just been exposed to every germ and virus on the planet Earth.\u003c/p>\n\u003cp>\u003cstrong>On getting elected class president of her all-girls school and then shortly thereafter being expelled \u003c/strong>\u003c/p>\n\u003cp>Well, the difference is that the kids elected to be president and the headmaster threw me out. … The official reason he threw me out was he said, “I was a terrible influence on the other girls and I was usurping his power.” Whatever that meant, I have no idea. …\u003c/p>\n\u003cp>I always felt that I was punished for things unfairly. In other words, when I got thrown out of school for years afterward, people say, what did you do? And I know I was expected to say, “I started a revolution.” “I set fire to the gym.” But I really didn’t do anything. And I really think that what I got expelled for was what my mother used to call “that look on your face.”\u003c/p>\n\u003cp>\u003cstrong>On driving a taxi cab in New York in her early 20s in the ’70s \u003c/strong>\u003c/p>\n\u003cp>I drove a taxi because I don’t have any skills. I didn’t know how to do anything else. … I also didn’t want to do the job that most of my friends did, which was wait tables, because I didn’t want to have to be nice to men to get tips or to sleep with the manager of my shift, which was a common requirement then for being a waitress in New York. So I didn’t want to have a boss, which you don’t in either one of those jobs. Cab driving as a profession was completely different than it is now, because there were these garages with big fleets. Someone would own, like, 40 cabs or maybe more. So you could pick up a cab any shift, you could always make money so that if you woke up in your apartment with no money—a frequent occurrence in my life—I could go pick up a cab. At the end of eight hours, I had money. So that to me was a great thing.\u003c/p>\n\u003cp>\u003cstrong>On working for Andy Warhol’s \u003c/strong>\u003cem>\u003cstrong>Interview \u003c/strong>\u003c/em>\u003cstrong>magazine and not getting along with Warhol \u003c/strong>\u003c/p>\n\u003cp>I would say that Andy didn’t like me and that I did not like Andy. I noticed right away how many people around him died. … There was a tremendous amount of encouragement of people already teetering on the brink of sanity. … And Andy would feed these fantasies they had of themselves, because it amused him and it was also lucrative for him. And I just didn’t want to be really around that. I think that Andy realized that, or maybe I just wasn’t his cup of tea, but I didn’t have arguments with Andy, because I never had much conversation with Andy.\u003c/p>\n\u003cp>\u003cstrong>On her longtime friendship with Toni Morrison \u003c/strong>\u003c/p>\n\u003cp>So if you didn’t know Toni personally, you would not know how much fun Toni was. Toni was really fun. … Most of the time we were laughing. She was really fun. In fact, when I first knew Toni, she was still working at Random House as an editor, and … at that point, my publisher, and my editor called me and said … “[The President of Random House called] me and you have to stop hanging around in Toni Morrison’s office because [the president] was complaining because you’re hanging around in there and the two of you are laughing all the time and she’s not getting her work done.” …\u003c/p>\n\u003cp>I even once, not that long ago, met a man who taught at Princeton and Toni taught at Princeton much after this, and he said, “I used to have the office next to Toni Morrison. And you and Toni Morrison really annoyed me with all your laughing.” So apparently, the fact that we are laughing is what really annoys people. Of course, men always don’t like to hear women laughing together, because they think you’re laughing about them. But I would say that’s probably the thing we had in common was liking to laugh.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Kayla Lattimore produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey 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=Fran+Lebowitz%27s+%27Pretend+It%27s+A+City%27+Is+The+NYC+Trip+You+Can%27t+Take+Right+Now&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>But I’ve, of course, seen people pick things up from the floor. I, at least once, was sitting across from a woman with a baby, and the pacifier fell out of the baby’s mouth. The woman picked it up, wiped it off on her shirt and put it back in the baby’s mouth. I really thought one of two things going to happen to that baby: Either he’s going to drop dead right now or he’ll live to be a million years old, because he’s just been exposed to every germ and virus on the planet Earth.\u003c/p>\n\u003cp>\u003cstrong>On getting elected class president of her all-girls school and then shortly thereafter being expelled \u003c/strong>\u003c/p>\n\u003cp>Well, the difference is that the kids elected to be president and the headmaster threw me out. … The official reason he threw me out was he said, “I was a terrible influence on the other girls and I was usurping his power.” Whatever that meant, I have no idea. …\u003c/p>\n\u003cp>I always felt that I was punished for things unfairly. In other words, when I got thrown out of school for years afterward, people say, what did you do? And I know I was expected to say, “I started a revolution.” “I set fire to the gym.” But I really didn’t do anything. And I really think that what I got expelled for was what my mother used to call “that look on your face.”\u003c/p>\n\u003cp>\u003cstrong>On driving a taxi cab in New York in her early 20s in the ’70s \u003c/strong>\u003c/p>\n\u003cp>I drove a taxi because I don’t have any skills. I didn’t know how to do anything else. … I also didn’t want to do the job that most of my friends did, which was wait tables, because I didn’t want to have to be nice to men to get tips or to sleep with the manager of my shift, which was a common requirement then for being a waitress in New York. So I didn’t want to have a boss, which you don’t in either one of those jobs. Cab driving as a profession was completely different than it is now, because there were these garages with big fleets. Someone would own, like, 40 cabs or maybe more. So you could pick up a cab any shift, you could always make money so that if you woke up in your apartment with no money—a frequent occurrence in my life—I could go pick up a cab. At the end of eight hours, I had money. So that to me was a great thing.\u003c/p>\n\u003cp>\u003cstrong>On working for Andy Warhol’s \u003c/strong>\u003cem>\u003cstrong>Interview \u003c/strong>\u003c/em>\u003cstrong>magazine and not getting along with Warhol \u003c/strong>\u003c/p>\n\u003cp>I would say that Andy didn’t like me and that I did not like Andy. I noticed right away how many people around him died. … There was a tremendous amount of encouragement of people already teetering on the brink of sanity. … And Andy would feed these fantasies they had of themselves, because it amused him and it was also lucrative for him. And I just didn’t want to be really around that. I think that Andy realized that, or maybe I just wasn’t his cup of tea, but I didn’t have arguments with Andy, because I never had much conversation with Andy.\u003c/p>\n\u003cp>\u003cstrong>On her longtime friendship with Toni Morrison \u003c/strong>\u003c/p>\n\u003cp>So if you didn’t know Toni personally, you would not know how much fun Toni was. Toni was really fun. … Most of the time we were laughing. She was really fun. In fact, when I first knew Toni, she was still working at Random House as an editor, and … at that point, my publisher, and my editor called me and said … “[The President of Random House called] me and you have to stop hanging around in Toni Morrison’s office because [the president] was complaining because you’re hanging around in there and the two of you are laughing all the time and she’s not getting her work done.” …\u003c/p>\n\u003cp>I even once, not that long ago, met a man who taught at Princeton and Toni taught at Princeton much after this, and he said, “I used to have the office next to Toni Morrison. And you and Toni Morrison really annoyed me with all your laughing.” So apparently, the fact that we are laughing is what really annoys people. Of course, men always don’t like to hear women laughing together, because they think you’re laughing about them. But I would say that’s probably the thing we had in common was liking to laugh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He started by getting some friends together in the spring to experiment with singing, isolated in their cars, their voices connected by wireless microphones attached to a mixer.\u003c/p>\n\u003cp>After some thinking, a lightbulb went off: attach an FM transmitter to the mixer. That allowed the singers’ voices to be broadcast back into their cars through the radio, without a discernable delay.\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=CPD7kxrO03w\" target=\"_blank\" rel=\"noopener noreferrer\">His YouTube videos\u003c/a> about the process caught the attention of many singers and choir leaders. Newman figures about 20 choirs are using their cars and car radios for rehearsals—including Luminous Voices. The ensemble’s founder and conductor, Tim Shantz, says this new way of singing together filled a void.\u003c/p>\n\u003cfigure id=\"attachment_13890994\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13890994\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/dsc_5338-20201004_wide-73b763ed99dd2a8053b3fb3bcd819696317b5fb7-800x450.jpg\" alt=\"Shantz conducts Luminous Voices' first car concert, on Oct. 4, 2020. Audience vehicles are seen parked to behind him.\" width=\"800\" height=\"450\">\u003cfigcaption class=\"wp-caption-text\">Shantz conducts Luminous Voices’ first car concert, on Oct. 4, 2020. Audience vehicles are seen parked to behind him.\u003c/figcaption>\u003c/figure>\n\u003cp>“For us not to be able to [sing together], it’s like a whole part of our soul is sort of taken out. And we need to find ways to somehow fill that gap,” Shantz tells NPR.\u003c/p>\n\u003cp>In addition to using the system for rehearsals, Luminous Voices has also performed two car concerts. Shantz estimates about 200 people attended \u003ca href=\"https://www.youtube.com/watch?v=puV3Aeu4P5Y\" target=\"_blank\" rel=\"noopener noreferrer\">one in December\u003c/a>, all in their cars. Audience members gathered in a parking lot and tuned in to the performance on their radios. Instead of clapping, audience members honked horns.\u003c/p>\n\u003cp>For Shantz, those concerts were as much about the audience as the singers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s not just about the performers and satisfying something for us. But there was this element of ‘Wow, the participation of an audience really brought the whole experience to the fore,’ ” Shantz says. “And you realize the importance of performing arts.”\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=Car+Concerts+Offer+Choirs+A+Way+To+Rehearse+And+Perform&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Singer-songwriter Tracy Chapman has won her case against hip-hop star Nicki Minaj over Chapman’s claims that Minaj took her work without permission.\u003c/p>\n\u003cp>According to documents filed in California’s federal Central District Court on Thursday, Chapman has accepted Minaj’s offer of judgment in the case, and she will receive $450,000 from Minaj. As a result, the two have avoided going to trial.\u003c/p>\n\u003cp>Chapman originally filed her lawsuit in Oct. 2018, saying that Minaj’s song “\u003ca href=\"https://www.youtube.com/watch?v=hDCSFXhZlm8\" target=\"_blank\" rel=\"noopener noreferrer\">Sorry\u003c/a>,” a collaboration with Nas, used both the lyrics and vocal melody from one of Chapman’s songs, “Baby Can I Hold You,” which was released in 1998.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DqoLMGSBGYc\u003c/p>\n\u003cp>According to Chapman’s suit, Minaj’s team sent a formal request in July 2018 to use Chapman’s song, noting that Minaj intended to “interpolate” Chapman’s work (that is, re-record the melody and lyrics of the song, rather than sample Chapman’s existing recording). Chapman’s publishing representatives turned down the request days later. According to the suit, Chapman believes that Minaj had already recorded “Sorry” before the clearance request was made.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Chapman said in her original filing that Minaj’s representatives seemed to already have been aware that Chapman would probably be loathe to OK the arrangement even before they sent the formal request. Weeks before, at the end of June, a music clearance company called DMG sent Chapman’s representatives an exploratory note, allegedly saying that an “A list artist” wanted to use “Baby Can I Hold You,” and asking if Chapman remained on an unofficial “do not sample or interpolate” list. [aside postid='arts_13888864']\u003c/p>\n\u003cp>In a since-deleted tweet posted at the end of July 2018, Minaj wrote that she had “no clue” that her song used “the legend” Chapman’s work, asking her fans: “Do I keep my [release] date & lose the record? Or do I lose the record & keep my date? … Ugh! I’m torn, y’all help.” Separately, she also tweeted to Chapman, asking her for clearance.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In the end, “Sorry” was not included on Minaj’s album, \u003cem>Queen\u003c/em>, which was released less than a month after her formal request to use the Chapman material—and Minaj’s song leaked anyway, both onto HOT 97 radio in New York via DJ Funkmaster Flex and online.\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=Tracy+Chapman+Wins+Lawsuit+Against+Nicki+Minaj&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cp>Before Julie Andrews first sang “A Spoonful of Sugar,” its songwriter found inspiration for the iconic \u003cem>Mary Poppins\u003c/em> tune in an unlikely place.\u003c/p>\n\u003cp>The late Robert B. Sherman wrote it with his brother, Richard; many of the duo’s songs are featured in classic Walt Disney films. At StoryCorps last month, Robert’s son, Jeffrey, said that it was telling his father about getting the polio vaccine as a child that sparked the lyrics for the famous song.\u003c/p>\n\u003cp>Jeffrey, now 63, said his dad had a way with words.\u003c/p>\n\u003cp>“My dad always filtered everything down to its simplest form,” he said.\u003c/p>\n\u003cp>“People thought maybe he wasn’t listening, but he would always listen. And then he would form his words very carefully. … He wanted to just know words and he loved the sound of words and how they felt on your tongue.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But his dad and uncle found themselves at a creative block while writing music for the 1964 film.\u003c/p>\n\u003cp>The pair wrote a favorite song of theirs for \u003cem>Mary Poppins\u003c/em> called “The Eyes of Love,” but it never made it into the movie.\u003c/p>\n\u003cp>“Walt Disney said, ‘Could you write something that’s more in line with the philosophy of Mary Poppins?’ and it was all just falling flat,” according to Jeffrey. “They were both really depressed.”\u003c/p>\n\u003cfigure id=\"attachment_13890969\" class=\"wp-caption aligncenter\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890969\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg\" alt=\"A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s.\" width=\"547\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc-160x111.jpg 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s. \u003ccite>(Jeffrey Sherman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1962, when he was about 5 years old, Jeffrey had come home from school one day when he says he found his dad in low spirits.\u003c/p>\n\u003cp>“All the shades were closed, it was very dark in the house,” he said.\u003c/p>\n\u003cp>His dad asked him how his day was and Jeffrey told him that he and his classmates had received an oral polio vaccine that day.\u003c/p>\n\u003cp>“He goes, ‘You let someone give you a shot at school? Did it hurt?’ ” recalled Jeffrey. “And I said, ‘No, no, no. They took out this little cup and put a sugar cube in it and then dropped the medicine and you just ate it.’ ”\u003c/p>\n\u003cp>“And my dad looked at me and started shaking his head,” he said.\u003c/p>\n\u003cp>Soon after, Jeffrey said, Robert phoned his brother Richard to tell him that he had something for a song.\u003c/p>\n\u003cp>The very next day, said Jeffrey, the two wrote the lyrics: \u003cem>A spoonful of sugar helps the medicine go down\u003c/em>.\u003c/p>\n\u003cp>His dad, he said, thanked him for that song.\u003c/p>\n\u003cp>“I think that the love of his family and each of us kids inspired different things all the time for him,” said Jeffrey.\u003c/p>\n\u003cp>“It was kind of like that was his yarn and he could make it into the most beautiful afghan. He could take something mundane like that and see the magic in it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ftxnr28LDXc\u003c/p>\n\u003cp>\u003cem>Audio produced for \u003c/em>Morning Edition\u003cem> by Jo Corona. NPR’s Emma Bowman adapted it for the Web.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>StoryCorps is a national nonprofit that gives people the chance to interview friends and loved ones about their lives. These conversations are archived at the American Folklife Center at the Library of Congress, allowing participants to leave a legacy for future generations. Learn more, including how to interview someone in your life, at \u003c/em>\u003ca href=\"http://storycorps.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>StoryCorps.org\u003c/em>\u003c/a>\u003cem>.\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=His+Vaccine+Story+Inspired+His+Father+To+Write+A+Disney+Classic&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>But his dad and uncle found themselves at a creative block while writing music for the 1964 film.\u003c/p>\n\u003cp>The pair wrote a favorite song of theirs for \u003cem>Mary Poppins\u003c/em> called “The Eyes of Love,” but it never made it into the movie.\u003c/p>\n\u003cp>“Walt Disney said, ‘Could you write something that’s more in line with the philosophy of Mary Poppins?’ and it was all just falling flat,” according to Jeffrey. “They were both really depressed.”\u003c/p>\n\u003cfigure id=\"attachment_13890969\" class=\"wp-caption aligncenter\" style=\"max-width: 547px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13890969\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg\" alt=\"A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s.\" width=\"547\" height=\"379\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc.jpg 547w, https://cdn.kqed.org/wp-content/uploads/sites/2/2021/01/shermannpr_custom-224dff666d72e8a3e900310f2f729b20399b12cc-160x111.jpg 160w\" sizes=\"(max-width: 547px) 100vw, 547px\">\u003cfigcaption class=\"wp-caption-text\">A 5-year-old Jeffrey Sherman is pictured with his father, songwriter Robert Sherman, in the early 1960s. \u003ccite>(Jeffrey Sherman)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 1962, when he was about 5 years old, Jeffrey had come home from school one day when he says he found his dad in low spirits.\u003c/p>\n\u003cp>“All the shades were closed, it was very dark in the house,” he said.\u003c/p>\n\u003cp>His dad asked him how his day was and Jeffrey told him that he and his classmates had received an oral polio vaccine that day.\u003c/p>\n\u003cp>“He goes, ‘You let someone give you a shot at school? Did it hurt?’ ” recalled Jeffrey. “And I said, ‘No, no, no. They took out this little cup and put a sugar cube in it and then dropped the medicine and you just ate it.’ ”\u003c/p>\n\u003cp>“And my dad looked at me and started shaking his head,” he said.\u003c/p>\n\u003cp>Soon after, Jeffrey said, Robert phoned his brother Richard to tell him that he had something for a song.\u003c/p>\n\u003cp>The very next day, said Jeffrey, the two wrote the lyrics: \u003cem>A spoonful of sugar helps the medicine go down\u003c/em>.\u003c/p>\n\u003cp>His dad, he said, thanked him for that song.\u003c/p>\n\u003cp>“I think that the love of his family and each of us kids inspired different things all the time for him,” said Jeffrey.\u003c/p>\n\u003cp>“It was kind of like that was his yarn and he could make it into the most beautiful afghan. He could take something mundane like that and see the magic in it.”\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/ftxnr28LDXc'\n title='//www.youtube.com/embed/ftxnr28LDXc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Audio produced for \u003c/em>Morning Edition\u003cem> by Jo Corona. NPR’s Emma Bowman adapted it for the Web.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>StoryCorps is a national nonprofit that gives people the chance to interview friends and loved ones about their lives. These conversations are archived at the American Folklife Center at the Library of Congress, allowing participants to leave a legacy for future generations. Learn more, including how to interview someone in your life, at \u003c/em>\u003ca href=\"http://storycorps.org/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>StoryCorps.org\u003c/em>\u003c/a>\u003cem>.\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=His+Vaccine+Story+Inspired+His+Father+To+Write+A+Disney+Classic&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "A Biden Cabinet Secretary For Arts? Advocates Are Hopeful | KQED",
"content": "\u003cp>Arts and culture make up a huge, \u003ca href=\"https://www.arts.gov/about/news/2020/during-economic-highs-and-lows-arts-are-key-segment-us-economy\" target=\"_blank\" rel=\"noopener noreferrer\">$877 billion industry that generates more than five million jobs across the country\u003c/a>. But the amount of federal funding for the arts is tiny when compared with smaller industries like agriculture—so what are arts organizations hoping for under the Biden administration?\u003c/p>\n\u003cp>The National Endowment for the Arts gives grants to organizations across the country—from big ones like Lincoln Center and NPR to small ones like the Wichita Falls Alliance for Arts and Culture. “West Texas Wichita Falls. We’re not in Kansas,” says executive director Margie Reese, who adds that her group used one of their NEA grants to commission regional artists to make murals in economically distressed areas.\u003c/p>\n\u003cp>For Vernon, Texas, 25 year old Selena Mize painted musician and native son, the late Roy Orbison. It was a name Mize didn’t know—until Reese played her one of his songs, “Pretty Woman.” [aside postid='arts_13890625']\u003c/p>\n\u003cp>“At first I didn’t know that was Roy Orbison,” Mize laughs. “I thought it was Elvis Presley.” She says growing up she heard both singers while listening to music with her father and grandparents. Her mural shows Orbison with his trademark dark sunglasses, playing his guitar. She says the attention she got for the work was life-changing. “The community was very excited and open about it, and it’s just something I would never forget.”\u003c/p>\n\u003cp>“This bright, sunshiny mural is bringing pride back to Vernon, Texas,” Reese says. “The power of visual arts to bring a community back to life—this is what our attempt was with that mural.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When it comes to government support of the arts, Reese is a veteran, having worked in the cultural affairs departments in Dallas and Los Angeles. She’s seen presidents and NEA chairs come and go. “When you have a change in administration and a shift in philosophy about arts funding,” she says, “the entire field begins to worry about what’s going to happen, how is this change going to affect us?”\u003c/p>\n\u003cp>“Steady” is the word Reese uses to describe federal arts funding under President Trump. Even though each of his budgets proposed eliminating the arts and humanities endowments—as well as the Institute of Museum and Library Services—Congress rejected the cuts.\u003c/p>\n\u003cp>“There’s a lot of love for libraries and for museums inside the Beltway,” says Crosby Kemper, who was the Trump administration’s pick to head the IMLS. Like the endowments, the Institute distributes grants, conducts research and helps shape policies that affect museums and libraries. Even though Republicans often talk about cutting funding for the arts, Kemper points out that all three budgets have increased slightly over the last three years: “I think you have to look at what actually happens, and what actually happens for the IMLS, the NEA and the NEH is they have a lot of support in the political world—and including inside the administration.” [aside postid='arts_13890207']\u003c/p>\n\u003cp>But for actor Kal Penn, Trump’s rhetoric has been damaging to the arts. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102859368\" target=\"_blank\" rel=\"noopener noreferrer\">Penn was appointed by President Obama to the President’s Committee on the Arts and Humanities\u003c/a>, an advisory group founded in 1982. He had planned to stay on, but after Trump’s handling of the deadly white supremacist rally in Charlottesville, \u003ca href=\"https://news.artnet.com/art-world/resignation-arts-committee-trump-1056158\" target=\"_blank\" rel=\"noopener noreferrer\">he and everyone else on the committee resigned\u003c/a>.\u003c/p>\n\u003cp>“The President’s Committee on the Arts and Humanities was then never relaunched under the Trump administration, just to show you that it really wasn’t a priority at all,” he says.\u003c/p>\n\u003cp>Penn says he wants to see the Biden administration give the Endowments an “astronomical increase.”\u003c/p>\n\u003cp>“I think it’s important now more than ever to be bold,” he says, noting that the arts benefit education, innovation, mental and emotional health. Plus, he says, it’s a good investment.\u003c/p>\n\u003cp>“When you say, okay, well, why did you spend all this money to save this theater—yes, you’re saving the theater, and maybe you’re saving the 500 jobs that the theater provides for the local community, but you’re also then saving the restaurants that people go to the night of the show,” he says. “You’re saving the hotels that the visiting artists stay at. You’re saving, you know, the parking facility. And it may sound like very little, but when you start to multiply that by the numbers of businesses like this that exist around the country, you can see why investing in the arts really makes economic sense.”\u003c/p>\n\u003cp>Earlier this year, the Bureau of Economic Analysis and the National Endowment for the Arts released a report that said the arts contributed 4.5 percent to the country’s GDP in 2017. That’s more than agriculture and transportation. Arts advocate Charles Segars, head of the Ovation TV network, says it’s time for the arts to be taken just as seriously by the White House, by creating a cabinet level Secretary of Arts and Culture. [aside postid='arts_13888399']\u003c/p>\n\u003cp>“It centralizes, in the positive sense of the word, all of the leverage of the United States government. Remember, you have arts pockets throughout the Department of State, Department of Defense. Even Transportation and Agriculture has a taste of that, of arts programs that they help support.”\u003c/p>\n\u003cp>Segars says the Cabinet-level position would also handle intellectual property rights and exports. Years ago, music producer Quincy Jones tried to get Obama to create a Secretary of Arts; it never happened, but Segars says he thinks it’s a realistic goal. “I think it’s going to take time,” he says, “but we all have to talk about it.”\u003c/p>\n\u003cp>Crosby Kemper of the IMLS says he can’t predict what the next administration will do, but he thinks Biden’s personality points in that direction. “I’d say the first and most important thing is that he’s a great lover of Irish poetry and therefore clearly a civilized man.”\u003c/p>\n\u003cp>The Biden transition team did not respond to requests for comment.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Biden+Cabinet+Secretary+For+Arts%3F+Advocates+Are+Hopeful&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arts and culture make up a huge, \u003ca href=\"https://www.arts.gov/about/news/2020/during-economic-highs-and-lows-arts-are-key-segment-us-economy\" target=\"_blank\" rel=\"noopener noreferrer\">$877 billion industry that generates more than five million jobs across the country\u003c/a>. But the amount of federal funding for the arts is tiny when compared with smaller industries like agriculture—so what are arts organizations hoping for under the Biden administration?\u003c/p>\n\u003cp>The National Endowment for the Arts gives grants to organizations across the country—from big ones like Lincoln Center and NPR to small ones like the Wichita Falls Alliance for Arts and Culture. “West Texas Wichita Falls. We’re not in Kansas,” says executive director Margie Reese, who adds that her group used one of their NEA grants to commission regional artists to make murals in economically distressed areas.\u003c/p>\n\u003cp>For Vernon, Texas, 25 year old Selena Mize painted musician and native son, the late Roy Orbison. It was a name Mize didn’t know—until Reese played her one of his songs, “Pretty Woman.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At first I didn’t know that was Roy Orbison,” Mize laughs. “I thought it was Elvis Presley.” She says growing up she heard both singers while listening to music with her father and grandparents. Her mural shows Orbison with his trademark dark sunglasses, playing his guitar. She says the attention she got for the work was life-changing. “The community was very excited and open about it, and it’s just something I would never forget.”\u003c/p>\n\u003cp>“This bright, sunshiny mural is bringing pride back to Vernon, Texas,” Reese says. “The power of visual arts to bring a community back to life—this is what our attempt was with that mural.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When it comes to government support of the arts, Reese is a veteran, having worked in the cultural affairs departments in Dallas and Los Angeles. She’s seen presidents and NEA chairs come and go. “When you have a change in administration and a shift in philosophy about arts funding,” she says, “the entire field begins to worry about what’s going to happen, how is this change going to affect us?”\u003c/p>\n\u003cp>“Steady” is the word Reese uses to describe federal arts funding under President Trump. Even though each of his budgets proposed eliminating the arts and humanities endowments—as well as the Institute of Museum and Library Services—Congress rejected the cuts.\u003c/p>\n\u003cp>“There’s a lot of love for libraries and for museums inside the Beltway,” says Crosby Kemper, who was the Trump administration’s pick to head the IMLS. Like the endowments, the Institute distributes grants, conducts research and helps shape policies that affect museums and libraries. Even though Republicans often talk about cutting funding for the arts, Kemper points out that all three budgets have increased slightly over the last three years: “I think you have to look at what actually happens, and what actually happens for the IMLS, the NEA and the NEH is they have a lot of support in the political world—and including inside the administration.” \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But for actor Kal Penn, Trump’s rhetoric has been damaging to the arts. \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102859368\" target=\"_blank\" rel=\"noopener noreferrer\">Penn was appointed by President Obama to the President’s Committee on the Arts and Humanities\u003c/a>, an advisory group founded in 1982. He had planned to stay on, but after Trump’s handling of the deadly white supremacist rally in Charlottesville, \u003ca href=\"https://news.artnet.com/art-world/resignation-arts-committee-trump-1056158\" target=\"_blank\" rel=\"noopener noreferrer\">he and everyone else on the committee resigned\u003c/a>.\u003c/p>\n\u003cp>“The President’s Committee on the Arts and Humanities was then never relaunched under the Trump administration, just to show you that it really wasn’t a priority at all,” he says.\u003c/p>\n\u003cp>Penn says he wants to see the Biden administration give the Endowments an “astronomical increase.”\u003c/p>\n\u003cp>“I think it’s important now more than ever to be bold,” he says, noting that the arts benefit education, innovation, mental and emotional health. Plus, he says, it’s a good investment.\u003c/p>\n\u003cp>“When you say, okay, well, why did you spend all this money to save this theater—yes, you’re saving the theater, and maybe you’re saving the 500 jobs that the theater provides for the local community, but you’re also then saving the restaurants that people go to the night of the show,” he says. “You’re saving the hotels that the visiting artists stay at. You’re saving, you know, the parking facility. And it may sound like very little, but when you start to multiply that by the numbers of businesses like this that exist around the country, you can see why investing in the arts really makes economic sense.”\u003c/p>\n\u003cp>Earlier this year, the Bureau of Economic Analysis and the National Endowment for the Arts released a report that said the arts contributed 4.5 percent to the country’s GDP in 2017. That’s more than agriculture and transportation. Arts advocate Charles Segars, head of the Ovation TV network, says it’s time for the arts to be taken just as seriously by the White House, by creating a cabinet level Secretary of Arts and Culture. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It centralizes, in the positive sense of the word, all of the leverage of the United States government. Remember, you have arts pockets throughout the Department of State, Department of Defense. Even Transportation and Agriculture has a taste of that, of arts programs that they help support.”\u003c/p>\n\u003cp>Segars says the Cabinet-level position would also handle intellectual property rights and exports. Years ago, music producer Quincy Jones tried to get Obama to create a Secretary of Arts; it never happened, but Segars says he thinks it’s a realistic goal. “I think it’s going to take time,” he says, “but we all have to talk about it.”\u003c/p>\n\u003cp>Crosby Kemper of the IMLS says he can’t predict what the next administration will do, but he thinks Biden’s personality points in that direction. “I’d say the first and most important thing is that he’s a great lover of Irish poetry and therefore clearly a civilized man.”\u003c/p>\n\u003cp>The Biden transition team did not respond to requests for comment.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was edited for radio by Rose Friedman, and adapted for the Web by Petra Mayer\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2021 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Biden+Cabinet+Secretary+For+Arts%3F+Advocates+Are+Hopeful&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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