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"content": "\u003cp>A cardinal sin too many biopics indulge in is checking off the beat-by-beat life excerpts, ignoring a specified vision for depicting their real-life protagonists in favor of broad strokes. \u003cem>Mank\u003c/em>, directed by David Fincher and based on a screenplay written by his late father Jack, is no such kind of biopic, thankfully. Inspired by Pauline Kael’s spicy (and since widely discredited) \u003cem>New Yorker \u003c/em>tome “\u003ca href=\"https://www.newyorker.com/magazine/1971/02/20/raising-kane-i\" target=\"_blank\" rel=\"noopener noreferrer\">Raising Kane\u003c/a>,” which argued Herman J. Mankiewicz deserved sole credit for the \u003cem>Citizen Kane \u003c/em>script, not Orson Welles, the film is as much about Hollywood’s immersion in politics as it is about a writer struggling to finish what would become known as his masterpiece.\u003c/p>\n\u003cp>“You cannot capture a man’s entire life in two hours, you can only hope to leave the impression of one,” pronounces Mankiewicz (Gary Oldman)—explaining his circuitous, complex approach to writing \u003cem>Kane\u003c/em>, but also, implicitly, Fincher’s approach to making \u003cem>Mank.\u003c/em>\u003c/p>\n\u003cp>Homages to \u003cem>Kane \u003c/em>abound. The story unfolds non-linearly: In 1940, as a bed-ridden Mank settles in to write the script from a rented ranch house, and in flashbacks to various points in his earlier career working within the Hollywood studio system. (In a nice writerly touch, screenplay slug lines like “Ext. Paramount Studios—Day—1930 (Flashback),” mark time jumps, useful to the viewer following along.) It’s also gorgeously rendered in black and white by cinematographer Erik Messerschmidt and colorist Eric Weidt while deploying visual techniques (such as deep focus) most heavily associated with \u003cem>Kane\u003c/em>.\u003c/p>\n\u003cp>As a movie about a movie—and one that has been propped up as the greatest of all time and included on every Film History 101 syllabus, no less—it could easily fall into the stale trap of navel-gazing and doe-eyed optimism about the magic and power of The Cinema™. On the former, it does stumble a bit, as I can imagine most viewers who aren’t cinephiles may have a hard time following the action of the first 45 minutes or so. (Many long-forgotten Hollywood stars and filmmakers of the 1930s are introduced or name-checked in scene after scene.)\u003c/p>\n\u003cp>But Fincher, whose creative eye tends to be drawn to the dark and macabre, manages to avoid putting Hollywood on too high of a pedestal, even as he clearly demonstrates his affection for it through his own painstaking techniques. While Mank’s prickly relationship with M-G-M executives Louis B. Mayer (Arliss Howard) and Irving Thalberg (Ferdinand Kingsley), told in flashbacks, has shades of the familiar art-vs.-commerce banter—”If you want a message, call Western Union,” Mayer grunts in one scene, evincing his entire approach to filmmaking—Fincher isn’t so interested in telling a story in which the “art” triumphs. Instead, amidst the clever aesthetic details, there’s sharp attention to deglamorization.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aSfX-nrg-lI\u003c/p>\n\u003cp>Much of the plot concerns Mayer and Thalberg’s open support for the incumbent California governor Frank Merriam’s re-election campaign against journalist Upton Sinclair, alongside media mogul William Randolph Hearst (Charles Dance). Hearst, of course, is considered the thinly veiled inspiration for the power-hungry Charles Foster Kane, and Mank’s attendance at Hearst’s lavish dinner party salons, and their eventual falling out, serve as the creative spark he needs to write.\u003c/p>\n\u003cp>As Mank, Oldman is a crochety but witty alcoholic, who is generally respected but labeled by many to be difficult; the real-life Mankiewicz was \u003ca href=\"https://www.newyorker.com/culture/the-front-row/herman-mankiewicz-pauline-kael-and-the-battle-over-citizen-kane\" target=\"_blank\" rel=\"noopener noreferrer\">notoriously disdainful\u003c/a> toward the art of moviemaking, in part because he believed its inherently collaborative nature diluted the input of everyone involved. This type of character could lend itself quite well to scenery chewing of the \u003ca href=\"https://www.npr.org/2017/11/23/565935388/darkest-hour-is-a-grand-ham-fisted-showpiece-for-gary-oldman-s-churchill\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Darkest Hour \u003c/em>variety\u003c/a>, but mercifully, Oldman is a touch more subtle here, playing disaffected handily. His best scenes are with Amanda Seyfried as the actress Marion Davies—Seyfried is outstanding here, infusing Hearst’s longtime mistress with pluck and self-awareness that allows her to carry on thoughtful conversations with Mank, the only person who seems to take her seriously.\u003c/p>\n\u003cp>While there is much to admire about this movie, I find it easier to appreciate than to love. Many of the scenes at the ranch encounter the problem that often arises when trying to depict the writing process—how to render what is so often an internal exercise in visual form? 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"content": "\u003cp>If you have the sense you’re seeing fewer women on TV than you encounter in everyday life, a new study by the Nielsen company may offer an explanation.\u003c/p>\n\u003cp>The study is titled \u003ca href=\"https://www.nielsen.com/us/en/about-us/diversity-and-inclusion/inclusion-analytics/\" target=\"_blank\" rel=\"noopener noreferrer\">“Being Seen On Screen: Diverse Representation and Inclusion on TV.”\u003c/a>\u003c/p>\n\u003cp>Researchers at Nielsen, the company which also provides TV viewership ratings, looked at the top 100 TV shows each in broadcast, cable and streaming, excluding sports, movies and animated shows.\u003c/p>\n\u003cp>In an analysis of diversity and inclusion among those 300 programs in 2019, Nielsen found women, Native Americans and Latinx people were among the most underrepresented groups relative to their numbers in the general population.\u003c/p>\n\u003cp>For example, women make up 52 percent of the U.S. population, but they show up onscreen 37.9 percent of the time, according to Nielsen’s study. It uses a metric called “share of screen”—the percentage of time members of specific groups appear as recurring cast members—to measure how often TV viewers actually see these types of people.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The numbers get worse for women over age 50. This group is 20 percent of the population, but only gets 8 percent of screen time. Men over age 50, who are 17 percent of the population, get a 14 percent share of screen time—closer to their actual numbers in real life.\u003c/p>\n\u003cp>Latinos and non-white Hispanics were among the most underrepresented non-white racial groups—a trend also noted in other studies about \u003ca href=\"https://www.npr.org/sections/codeswitch/2014/08/06/338324139/why-arent-top-films-diverse-as-the-real-world-they-miss-hispanics\" target=\"_blank\" rel=\"noopener noreferrer\">diversity in Hollywood.\u003c/a>\u003c/p>\n\u003cp>Nielsen found this disparity was consistent across broadcast, cable and streaming services, drawing a total 5.5 percent of screen time, though they are 18.8 percent of the population.\u003c/p>\n\u003cp>Native Americans’ share of screen time was less than one quarter of their presence in the population, totaling just .4 percent across broadcast, cable and streaming.\u003c/p>\n\u003cp>Black people—whose depictions in media became a focus of concern amid the worldwide reckoning over civil rights this summer—were actually slightly overrepresented with 18.1 percent of screen time, while comprising 14 percent of the population.\u003c/p>\n\u003cp>Nielsen found a TV landscape where representation has risen for some groups, as the number of media platforms continually increase and viewers look for content that tells their stories.\u003c/p>\n\u003cp>But overall, many groups who are marginalized in the real world remain underrepresented in media depictions—especially on cable TV, where white characters got 88 percent of screen time, despite comprising 60 percent of the population.\u003c/p>\n\u003cp>The study doesn’t offer many clues as to why the diversity issues play out the way they do. Nielsen, which sells its ratings services to media companies, didn’t name specific shows or media platforms which may be among the worst offenders or best performers.\u003c/p>\n\u003cp>But company officials said the study does indicate areas where inclusion and diversity work should be focused, as the audience demands media depictions which better reflect the world they live in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The content we consume should reflect the growing diversity of our country, and we know that diverse audiences look for diverse content,” wrote David Kenney, Nielsen CEO and Chief Diversity Officer, in the study’s foreword. “As our nation’s demographic become more diverse, the call for more authentic content, reflecting real people and real life, is louder than ever.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=More+Evidence+TV+Doesn%27t+Reflect+Real+Life+Diversity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you have the sense you’re seeing fewer women on TV than you encounter in everyday life, a new study by the Nielsen company may offer an explanation.\u003c/p>\n\u003cp>The study is titled \u003ca href=\"https://www.nielsen.com/us/en/about-us/diversity-and-inclusion/inclusion-analytics/\" target=\"_blank\" rel=\"noopener noreferrer\">“Being Seen On Screen: Diverse Representation and Inclusion on TV.”\u003c/a>\u003c/p>\n\u003cp>Researchers at Nielsen, the company which also provides TV viewership ratings, looked at the top 100 TV shows each in broadcast, cable and streaming, excluding sports, movies and animated shows.\u003c/p>\n\u003cp>In an analysis of diversity and inclusion among those 300 programs in 2019, Nielsen found women, Native Americans and Latinx people were among the most underrepresented groups relative to their numbers in the general population.\u003c/p>\n\u003cp>For example, women make up 52 percent of the U.S. population, but they show up onscreen 37.9 percent of the time, according to Nielsen’s study. It uses a metric called “share of screen”—the percentage of time members of specific groups appear as recurring cast members—to measure how often TV viewers actually see these types of people.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The numbers get worse for women over age 50. This group is 20 percent of the population, but only gets 8 percent of screen time. Men over age 50, who are 17 percent of the population, get a 14 percent share of screen time—closer to their actual numbers in real life.\u003c/p>\n\u003cp>Latinos and non-white Hispanics were among the most underrepresented non-white racial groups—a trend also noted in other studies about \u003ca href=\"https://www.npr.org/sections/codeswitch/2014/08/06/338324139/why-arent-top-films-diverse-as-the-real-world-they-miss-hispanics\" target=\"_blank\" rel=\"noopener noreferrer\">diversity in Hollywood.\u003c/a>\u003c/p>\n\u003cp>Nielsen found this disparity was consistent across broadcast, cable and streaming services, drawing a total 5.5 percent of screen time, though they are 18.8 percent of the population.\u003c/p>\n\u003cp>Native Americans’ share of screen time was less than one quarter of their presence in the population, totaling just .4 percent across broadcast, cable and streaming.\u003c/p>\n\u003cp>Black people—whose depictions in media became a focus of concern amid the worldwide reckoning over civil rights this summer—were actually slightly overrepresented with 18.1 percent of screen time, while comprising 14 percent of the population.\u003c/p>\n\u003cp>Nielsen found a TV landscape where representation has risen for some groups, as the number of media platforms continually increase and viewers look for content that tells their stories.\u003c/p>\n\u003cp>But overall, many groups who are marginalized in the real world remain underrepresented in media depictions—especially on cable TV, where white characters got 88 percent of screen time, despite comprising 60 percent of the population.\u003c/p>\n\u003cp>The study doesn’t offer many clues as to why the diversity issues play out the way they do. Nielsen, which sells its ratings services to media companies, didn’t name specific shows or media platforms which may be among the worst offenders or best performers.\u003c/p>\n\u003cp>But company officials said the study does indicate areas where inclusion and diversity work should be focused, as the audience demands media depictions which better reflect the world they live in.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The content we consume should reflect the growing diversity of our country, and we know that diverse audiences look for diverse content,” wrote David Kenney, Nielsen CEO and Chief Diversity Officer, in the study’s foreword. “As our nation’s demographic become more diverse, the call for more authentic content, reflecting real people and real life, is louder than ever.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=More+Evidence+TV+Doesn%27t+Reflect+Real+Life+Diversity&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New Documentary 'Billie' Explores Mysteries of Billie Holiday and Her Biographer",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/14894617/billie-holiday\" target=\"_blank\" rel=\"noopener noreferrer\">Billie Holiday\u003c/a>‘s life and artistry have been analyzed, scrutinized, interpreted and embellished more than any other jazz singer in history. But the first biographer to fully immerse herself in the world of Lady Day was a New York journalist and avid Holiday fan named Linda Lipnack Kuehl. For some eight years in the 1970s, Kuehl interviewed everyone she could find who had a personal association with Holiday—musicians, managers, childhood friends, lovers and FBI agents among them. Then, before she could finish her biography, Kuehl died: In 1978, her body was found on a Washington, D.C. street. Her death was ruled a suicide.\u003c/p>\n\u003cfigure id=\"attachment_13889923\" class=\"wp-caption alignright\" style=\"max-width: 270px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM.png\" alt=\"Linda Lipnack Kuehl, who spent eight years trying to write the definitive biography of Billie Holiday.\" width=\"270\" height=\"210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM.png 270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM-160x124.png 160w\" sizes=\"(max-width: 270px) 100vw, 270px\">\u003cfigcaption class=\"wp-caption-text\">Linda Lipnack Kuehl spent eight years trying to write the definitive biography of Billie Holiday. \u003ccite>(Courtesy of the Kuehl family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kuehl left behind a trove of notes, transcripts and some 200 hours of interviews on cassette tapes—mostly in shoeboxes, some labeled, some not. That archive is where director James Erskine first began pulling together the story Kuehl was never able to finish. His new documentary, \u003cem>Billie (\u003c/em>out Dec. 4 on VOD and in select theaters), is about both Holiday—as told through the voices of people who knew her—and Kuehl’s obsession with crafting her biography.\u003c/p>\n\u003cp>“I’d like to write something that is real,” we hear Kuehl tell one of her interviewees in the film, “that is really Lady Day, and people who don’t see her in any sentimental way, you know? Really, as she is.”\u003c/p>\n\u003cp>Erskine describes Kuehl as “a brilliant interviewer” who tracked down everybody from various stages of Holiday’s life. “What was extraordinary was it felt like an archaeological journey,” he says, “because it felt like we were excavating voices lost to the past.” Those now-deceased jazz voices include Count Basie, Charles Mingus, John Hammond, Jo Jones and Sylvia Syms.\u003c/p>\n\u003cp>“She excited me with just three notes,” drummer Roy Harte tells Kuehl. “She looked like a panther. It’s the only way I can describe it. With the most unbelievable face in the world,” marvels Syms, singer and Holiday’s friend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>To give the documentary a cohesive structure—and to make sense out of the 200 hours of interview material—Erskine says, “We had a discipline that people speaking in the film should only be speaking about an event that they actually witnessed … because otherwise the material was just sort of overwhelming\u003cem>.”\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hKimh-iPd_0\u003c/p>\n\u003cp>One of most provocative moments in the documentary is Kuehl speaking with Jones, a jazz drummer who toured the country with Holiday when they were both in Basie’s band. Jones questions whether Kuehl, a white woman, is capable of understanding the racism they faced.\u003c/p>\n\u003cp>“Miss Billie Holiday didn’t have the privilege of using a toilet. The boys at least could go out in the woods,” Jones tells Kuehl. “You don’t know anything about it because you never had to subjugate yourself to it. Never.”\u003c/p>\n\u003cp>For \u003ca href=\"https://afamstudies.columbia.edu/content/farah-jasmine-griffin\" target=\"_blank\" rel=\"noopener noreferrer\">Farah Jasmine Griffin\u003c/a>, author of \u003cem>If You Can’t Be Free, Be a Mystery: In Search of Billie Holiday,\u003c/em> Kuehl’s interview with Jones is “extraordinary.”\u003c/p>\n\u003cp>“I found his passion, his truth-telling, all of his wisdom … his honesty, his courage—I found him so compelling,” Griffin says. “And I was very happy that the filmmakers gave him as much space as they did.”\u003c/p>\n\u003cp>The film reaffirms some oft-told legends about Billie Holiday: She could curse up a storm; had affairs with men and women (according to some, Tallulah Bankhead among them); liked to get high from cannabis, heroin and cocaine; and often surrounded herself with men who treated her horribly.\u003c/p>\n\u003cp>We’re also reminded that when Holiday sang “Strange Fruit,” she was “fighting inequality before Martin Luther King, Jr,” as Mingus puts it. (Holiday sang the haunting indictment of lynching to white and Black audiences as early as 1939.) Mingus tells Kuehl, “That might be why the cops were against her. Not just junk”—alluding to Holiday’s arrest, in 1947, for narcotics possession, another event in Holiday’s life that Kuehl probed.\u003c/p>\n\u003cp>In her interview with Jimmy Fletcher, the narcotics agent assigned to conduct surveillance of Holiday, Kuehl asks him whether a big star like Holiday “would have been a target because it would have been a lot of publicity for an agent.” Fletcher concedes, “Well, not just for an agent. For the Bureau of Narcotics.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Erskine, Kuehl’s tireless efforts to uncover the truth about Holiday lead to all kinds of revelations. “You certainly get the sense that the more interviews Linda did, the closer she did get to this sort of underground, seedy world,” he says. In the documentary, Kuehl’s sister says the family does not believe she died by suicide. Erskine isn’t sure. “You do start to wonder,” he says, “if she was maybe doing a lot more than just uncovering Billie’s life, but also the political forces that wanted to silence her.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=New+Documentary+%27Billie%27+Explores+Mysteries+Of+Billie+Holiday+And+Her+Biographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/14894617/billie-holiday\" target=\"_blank\" rel=\"noopener noreferrer\">Billie Holiday\u003c/a>‘s life and artistry have been analyzed, scrutinized, interpreted and embellished more than any other jazz singer in history. But the first biographer to fully immerse herself in the world of Lady Day was a New York journalist and avid Holiday fan named Linda Lipnack Kuehl. For some eight years in the 1970s, Kuehl interviewed everyone she could find who had a personal association with Holiday—musicians, managers, childhood friends, lovers and FBI agents among them. Then, before she could finish her biography, Kuehl died: In 1978, her body was found on a Washington, D.C. street. Her death was ruled a suicide.\u003c/p>\n\u003cfigure id=\"attachment_13889923\" class=\"wp-caption alignright\" style=\"max-width: 270px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889923\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM.png\" alt=\"Linda Lipnack Kuehl, who spent eight years trying to write the definitive biography of Billie Holiday.\" width=\"270\" height=\"210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM.png 270w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-03-at-12.08.21-PM-160x124.png 160w\" sizes=\"(max-width: 270px) 100vw, 270px\">\u003cfigcaption class=\"wp-caption-text\">Linda Lipnack Kuehl spent eight years trying to write the definitive biography of Billie Holiday. \u003ccite>(Courtesy of the Kuehl family)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kuehl left behind a trove of notes, transcripts and some 200 hours of interviews on cassette tapes—mostly in shoeboxes, some labeled, some not. That archive is where director James Erskine first began pulling together the story Kuehl was never able to finish. His new documentary, \u003cem>Billie (\u003c/em>out Dec. 4 on VOD and in select theaters), is about both Holiday—as told through the voices of people who knew her—and Kuehl’s obsession with crafting her biography.\u003c/p>\n\u003cp>“I’d like to write something that is real,” we hear Kuehl tell one of her interviewees in the film, “that is really Lady Day, and people who don’t see her in any sentimental way, you know? Really, as she is.”\u003c/p>\n\u003cp>Erskine describes Kuehl as “a brilliant interviewer” who tracked down everybody from various stages of Holiday’s life. “What was extraordinary was it felt like an archaeological journey,” he says, “because it felt like we were excavating voices lost to the past.” Those now-deceased jazz voices include Count Basie, Charles Mingus, John Hammond, Jo Jones and Sylvia Syms.\u003c/p>\n\u003cp>“She excited me with just three notes,” drummer Roy Harte tells Kuehl. “She looked like a panther. It’s the only way I can describe it. With the most unbelievable face in the world,” marvels Syms, singer and Holiday’s friend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>To give the documentary a cohesive structure—and to make sense out of the 200 hours of interview material—Erskine says, “We had a discipline that people speaking in the film should only be speaking about an event that they actually witnessed … because otherwise the material was just sort of overwhelming\u003cem>.”\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/hKimh-iPd_0'\n title='//www.youtube.com/embed/hKimh-iPd_0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>One of most provocative moments in the documentary is Kuehl speaking with Jones, a jazz drummer who toured the country with Holiday when they were both in Basie’s band. Jones questions whether Kuehl, a white woman, is capable of understanding the racism they faced.\u003c/p>\n\u003cp>“Miss Billie Holiday didn’t have the privilege of using a toilet. The boys at least could go out in the woods,” Jones tells Kuehl. “You don’t know anything about it because you never had to subjugate yourself to it. Never.”\u003c/p>\n\u003cp>For \u003ca href=\"https://afamstudies.columbia.edu/content/farah-jasmine-griffin\" target=\"_blank\" rel=\"noopener noreferrer\">Farah Jasmine Griffin\u003c/a>, author of \u003cem>If You Can’t Be Free, Be a Mystery: In Search of Billie Holiday,\u003c/em> Kuehl’s interview with Jones is “extraordinary.”\u003c/p>\n\u003cp>“I found his passion, his truth-telling, all of his wisdom … his honesty, his courage—I found him so compelling,” Griffin says. “And I was very happy that the filmmakers gave him as much space as they did.”\u003c/p>\n\u003cp>The film reaffirms some oft-told legends about Billie Holiday: She could curse up a storm; had affairs with men and women (according to some, Tallulah Bankhead among them); liked to get high from cannabis, heroin and cocaine; and often surrounded herself with men who treated her horribly.\u003c/p>\n\u003cp>We’re also reminded that when Holiday sang “Strange Fruit,” she was “fighting inequality before Martin Luther King, Jr,” as Mingus puts it. (Holiday sang the haunting indictment of lynching to white and Black audiences as early as 1939.) Mingus tells Kuehl, “That might be why the cops were against her. Not just junk”—alluding to Holiday’s arrest, in 1947, for narcotics possession, another event in Holiday’s life that Kuehl probed.\u003c/p>\n\u003cp>In her interview with Jimmy Fletcher, the narcotics agent assigned to conduct surveillance of Holiday, Kuehl asks him whether a big star like Holiday “would have been a target because it would have been a lot of publicity for an agent.” Fletcher concedes, “Well, not just for an agent. For the Bureau of Narcotics.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For Erskine, Kuehl’s tireless efforts to uncover the truth about Holiday lead to all kinds of revelations. “You certainly get the sense that the more interviews Linda did, the closer she did get to this sort of underground, seedy world,” he says. In the documentary, Kuehl’s sister says the family does not believe she died by suicide. Erskine isn’t sure. “You do start to wonder,” he says, “if she was maybe doing a lot more than just uncovering Billie’s life, but also the political forces that wanted to silence her.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=New+Documentary+%27Billie%27+Explores+Mysteries+Of+Billie+Holiday+And+Her+Biographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Spoilers ahead for Season 1 of \u003c/em>Industry.\u003c/p>\n\u003cp>An exceptionally bleak finance drama is not necessarily what many of us, myself included, may be itching to consume in 2020, the Year of Bleak. HBO’s \u003cem>Industry\u003c/em> follows a group of young grads competing to prove they are the “right fit” for permanent positions at the fictional London bank Pierpoint & Co., and in the premiere episode one of those grads literally works himself to death, succumbing in an office bathroom stall after staying up for days and taking a lot of drugs to complete a project.\u003c/p>\n\u003cp>His demise looms over the entire eight-episode season, now streaming on HBO Max, and the writers are not at all subtle in conveying the significant moral (and mental health) compromises each character makes. In between all of the befriending, flirting, hooking up, snorting coke, backstabbing and sucking up to bosses, this sprawling bunch of hot overachievers wrestles frequently with the selling of their souls.\u003c/p>\n\u003cp>But what ultimately makes creators Mickey Down and Konrad Kay’s series so arresting is one bought soul in particular: Harper (Myha’la Herrold), a young woman who is every bit an outsider amongst her peers—a Black American who went to a “s*** uni[versity],” as one grad puts it. Harper is the embodiment of the old adage handed down to generations of Black youth everywhere, “You must be twice as good as any white person in order to succeed,” and she knows it. This creates an inherent chip on her shoulder, a personal arc she must contend with while fighting through this high-stakes program, not unlike, say, the brilliant, real-life Black women depicted in the 2016 biopic \u003cem>Hidden Figures\u003c/em>.\u003c/p>\n\u003cp>The thing about \u003cem>Industry\u003c/em>, though, is that it dares to call into question whether or not this protagonist (or anti-hero?) is actually underestimated unjustifiably. What if she’s not really \u003cem>as good \u003c/em>as the others, much less twice as good? Harper’s default mode is guarded and wary, and from the very first episode, it’s clear she has at least one glaring skeleton in her closet—she didn’t exactly graduate from that “s*** uni”—for personal reasons only partially explained in a later episode—and so she summons an ex to create a fake transcript for Pierpoint & Co. She can be timid and hesitant, stammering and shaking when dealing with shrewd, high-powered clients (and potential clients), giving off the impression she has no idea what she’s doing. Her uber bro-y boss and mentor Eric (Ken Leung), who also happens to be an American, chastises her for being too “quiet and nice.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>She takes this criticism to heart. Harper can also be dangerously impulsive, flouting workplace etiquette and going behind managers’ backs with risky moves which threaten the bank’s longstanding accounts. She spends the fourth episode a jittery mess, attempting to cover up an error that could put Pierpoint & Co. at a significant loss. (As someone whose eyes glaze over at the mere mention of dividends and short-selling, I won’t even pretend to understand the details of how this happens, but the extreme close-ups on Harper’s frightened face and the desperation in her voice effectively translate the DRAMA.)\u003c/p>\n\u003cp>It’s a rookie move, but it’s what Harper does next that transports her from the realm of relatively innocent precocious go-getter to a baby \u003ca href=\"https://www.nytimes.com/2020/05/14/opinion/viola-davis-how-to-get-away-with-murder.html\" target=\"_blank\" rel=\"noopener noreferrer\">Annalise Keating\u003c/a>—messy, conniving, and brutal in her quest for survival. Trying to buy time to fix it before Eric finds out, she bribes the older, white lower-level employee who discovered her mistake with an offer to help him move to the front office, in exchange for his keeping quiet for just a few hours more. “You’re offering \u003cem>me\u003c/em> a job?” he scoffs, insulted by her hubris. “Do you even know how long I’ve worked here?”\u003c/p>\n\u003cp>As he begins to walk away, she blurts out, “Just f****** help me!” And then, she switches gears and gets vulnerable, begging him to save a young person who is only four months into her career. He reluctantly agrees to hold off on informing Eric.\u003c/p>\n\u003cp>It’s a brilliantly staged power play on the part of the script, one of many scenes in which Harper oscillates between seemingly internalizing her imposter syndrome and showing off the calculated confidence of \u003cem>Succession\u003c/em>‘s Shiv Roy. She possesses a keen ability to exhaust every possible tactic in order to keep her head above water. She knows how to subvert and manipulate others’ expectations of her, even if the execution is haphazard and erratic.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=PbM84z4XYgc\u003c/p>\n\u003cp>Such faux pas and dastardly tactics would in all likelihood be career suicide for a real Black woman at her level within the corporate space; as Harper tells a white colleague in her program, “I’m not allowed to make any mistakes, people like \u003cem>you \u003c/em>are allowed to make mistakes.” Yet curiously, she stays afloat, scolded by whichever boss or mentor uncovers her latest rash act of deception, and then sent on her way to woo the next client. The things she’s able to get away with might require some suspension of disbelief, but this is an office drama set firmly in the present, where the managers and executives tacitly acknowledge the media’s reporting in recent years on hostile work environments for women, people of color and queer people. They are, for the most part, fully aware of optics and afraid of negative press, and this certainly plays a part in their repeatedly giving Harper the benefit of the doubt.\u003c/p>\n\u003cp>This tension lives fascinatingly at the center of Harper’s narrative. With every higher-up she encounters, she asks some version of the same question: “Do you think I deserve to be here?” The responses are telling—in most cases, they evade the question; once, the editing does the evading for them, letting it linger ominously by ending the scene soon after it’s asked.\u003c/p>\n\u003cp>But both the question and non-answers are moot points. “Deserve” is a loaded term, one that’s too easily leveraged against people who look like Harper, to imply that the only reason they’ve made it into these lily-white spaces is because of a hand-out as a diversity hire. It ignores the fact that every other person in Harper’s program got there for a reason other than just talent or hard work; they have connections, they went to top schools, they come from wealth, or some combination of all three.\u003c/p>\n\u003cp>To have a Black woman find her own way there by pluck and deceit, and not necessarily by being the “best” or the “brightest” is a bold move, and challenges the viewer’s allegiance to her. She’s a risk-taker and unrelenting salesperson, the kind of individual who corners clients in the bathroom or in the audience during their niece’s school play in order to show initiative. It’s the kind of behavior usually celebrated and admired in the Old Boys Club corners of business, and the same mindset Eric ascribes to.\u003c/p>\n\u003cp>But in 2020, in a post-#MeToo and so-called racial reckoning era, corporations have to at least seem like they care about changing the culture. Daria (Freya Mavor), the vice president of consumer portfolio sales, just might actually be the real deal on this front, and attempts to take Harper under her wing so as to convince her she can succeed without being underhanded and resorting to “text-book narcissism.”\u003c/p>\n\u003cp>It’s easy to imagine a script where Harper chooses to align herself with Daria and learns to rise in the ranks via more ethical and equitable manners than Eric’s tactics. But Daria’s motivations aren’t so clear-cut, either, and some of her actions done under the pretense of “protecting” Harper seem more self-serving than genuine.\u003c/p>\n\u003cp>Harper can sense this and resists Daria’s tutelage, even as Eric makes her uncomfortable with his abusive language and disturbing outbursts. He gets her in a way Daria never can: together they are two American minority outsiders at a London bank, who both “come from nothing” and have beaten the odds.\u003c/p>\n\u003cp>In episode four, Eric is unfazed upon learning about Harper’s fake transcript. Merely by being at Pierpoint, he boasts, outsiders like them “intimidate people.” “Hunger is not a birthright,” he adds.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Is Harper good at what she does? Well, she’s definitely hungry. And selfish, cagey, enigmatic, precocious, insecure, rash, inexperienced, astute, analytical, strong-willed. She’s a Black female TV character who’s not easy to love or easy to categorize, yet is compelling because each of her actions are at least understandable, if destructive. Annalise Keating would be proud.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=HBO%27s+%27Industry%27+Features+The+Most+Fascinating+Character+On+TV+Right+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Spoilers ahead for Season 1 of \u003c/em>Industry.\u003c/p>\n\u003cp>An exceptionally bleak finance drama is not necessarily what many of us, myself included, may be itching to consume in 2020, the Year of Bleak. HBO’s \u003cem>Industry\u003c/em> follows a group of young grads competing to prove they are the “right fit” for permanent positions at the fictional London bank Pierpoint & Co., and in the premiere episode one of those grads literally works himself to death, succumbing in an office bathroom stall after staying up for days and taking a lot of drugs to complete a project.\u003c/p>\n\u003cp>His demise looms over the entire eight-episode season, now streaming on HBO Max, and the writers are not at all subtle in conveying the significant moral (and mental health) compromises each character makes. In between all of the befriending, flirting, hooking up, snorting coke, backstabbing and sucking up to bosses, this sprawling bunch of hot overachievers wrestles frequently with the selling of their souls.\u003c/p>\n\u003cp>But what ultimately makes creators Mickey Down and Konrad Kay’s series so arresting is one bought soul in particular: Harper (Myha’la Herrold), a young woman who is every bit an outsider amongst her peers—a Black American who went to a “s*** uni[versity],” as one grad puts it. Harper is the embodiment of the old adage handed down to generations of Black youth everywhere, “You must be twice as good as any white person in order to succeed,” and she knows it. This creates an inherent chip on her shoulder, a personal arc she must contend with while fighting through this high-stakes program, not unlike, say, the brilliant, real-life Black women depicted in the 2016 biopic \u003cem>Hidden Figures\u003c/em>.\u003c/p>\n\u003cp>The thing about \u003cem>Industry\u003c/em>, though, is that it dares to call into question whether or not this protagonist (or anti-hero?) is actually underestimated unjustifiably. What if she’s not really \u003cem>as good \u003c/em>as the others, much less twice as good? Harper’s default mode is guarded and wary, and from the very first episode, it’s clear she has at least one glaring skeleton in her closet—she didn’t exactly graduate from that “s*** uni”—for personal reasons only partially explained in a later episode—and so she summons an ex to create a fake transcript for Pierpoint & Co. She can be timid and hesitant, stammering and shaking when dealing with shrewd, high-powered clients (and potential clients), giving off the impression she has no idea what she’s doing. Her uber bro-y boss and mentor Eric (Ken Leung), who also happens to be an American, chastises her for being too “quiet and nice.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>She takes this criticism to heart. Harper can also be dangerously impulsive, flouting workplace etiquette and going behind managers’ backs with risky moves which threaten the bank’s longstanding accounts. She spends the fourth episode a jittery mess, attempting to cover up an error that could put Pierpoint & Co. at a significant loss. (As someone whose eyes glaze over at the mere mention of dividends and short-selling, I won’t even pretend to understand the details of how this happens, but the extreme close-ups on Harper’s frightened face and the desperation in her voice effectively translate the DRAMA.)\u003c/p>\n\u003cp>It’s a rookie move, but it’s what Harper does next that transports her from the realm of relatively innocent precocious go-getter to a baby \u003ca href=\"https://www.nytimes.com/2020/05/14/opinion/viola-davis-how-to-get-away-with-murder.html\" target=\"_blank\" rel=\"noopener noreferrer\">Annalise Keating\u003c/a>—messy, conniving, and brutal in her quest for survival. Trying to buy time to fix it before Eric finds out, she bribes the older, white lower-level employee who discovered her mistake with an offer to help him move to the front office, in exchange for his keeping quiet for just a few hours more. “You’re offering \u003cem>me\u003c/em> a job?” he scoffs, insulted by her hubris. “Do you even know how long I’ve worked here?”\u003c/p>\n\u003cp>As he begins to walk away, she blurts out, “Just f****** help me!” And then, she switches gears and gets vulnerable, begging him to save a young person who is only four months into her career. He reluctantly agrees to hold off on informing Eric.\u003c/p>\n\u003cp>It’s a brilliantly staged power play on the part of the script, one of many scenes in which Harper oscillates between seemingly internalizing her imposter syndrome and showing off the calculated confidence of \u003cem>Succession\u003c/em>‘s Shiv Roy. She possesses a keen ability to exhaust every possible tactic in order to keep her head above water. She knows how to subvert and manipulate others’ expectations of her, even if the execution is haphazard and erratic.\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/PbM84z4XYgc'\n title='//www.youtube.com/embed/PbM84z4XYgc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Such faux pas and dastardly tactics would in all likelihood be career suicide for a real Black woman at her level within the corporate space; as Harper tells a white colleague in her program, “I’m not allowed to make any mistakes, people like \u003cem>you \u003c/em>are allowed to make mistakes.” Yet curiously, she stays afloat, scolded by whichever boss or mentor uncovers her latest rash act of deception, and then sent on her way to woo the next client. The things she’s able to get away with might require some suspension of disbelief, but this is an office drama set firmly in the present, where the managers and executives tacitly acknowledge the media’s reporting in recent years on hostile work environments for women, people of color and queer people. They are, for the most part, fully aware of optics and afraid of negative press, and this certainly plays a part in their repeatedly giving Harper the benefit of the doubt.\u003c/p>\n\u003cp>This tension lives fascinatingly at the center of Harper’s narrative. With every higher-up she encounters, she asks some version of the same question: “Do you think I deserve to be here?” The responses are telling—in most cases, they evade the question; once, the editing does the evading for them, letting it linger ominously by ending the scene soon after it’s asked.\u003c/p>\n\u003cp>But both the question and non-answers are moot points. “Deserve” is a loaded term, one that’s too easily leveraged against people who look like Harper, to imply that the only reason they’ve made it into these lily-white spaces is because of a hand-out as a diversity hire. It ignores the fact that every other person in Harper’s program got there for a reason other than just talent or hard work; they have connections, they went to top schools, they come from wealth, or some combination of all three.\u003c/p>\n\u003cp>To have a Black woman find her own way there by pluck and deceit, and not necessarily by being the “best” or the “brightest” is a bold move, and challenges the viewer’s allegiance to her. She’s a risk-taker and unrelenting salesperson, the kind of individual who corners clients in the bathroom or in the audience during their niece’s school play in order to show initiative. It’s the kind of behavior usually celebrated and admired in the Old Boys Club corners of business, and the same mindset Eric ascribes to.\u003c/p>\n\u003cp>But in 2020, in a post-#MeToo and so-called racial reckoning era, corporations have to at least seem like they care about changing the culture. Daria (Freya Mavor), the vice president of consumer portfolio sales, just might actually be the real deal on this front, and attempts to take Harper under her wing so as to convince her she can succeed without being underhanded and resorting to “text-book narcissism.”\u003c/p>\n\u003cp>It’s easy to imagine a script where Harper chooses to align herself with Daria and learns to rise in the ranks via more ethical and equitable manners than Eric’s tactics. But Daria’s motivations aren’t so clear-cut, either, and some of her actions done under the pretense of “protecting” Harper seem more self-serving than genuine.\u003c/p>\n\u003cp>Harper can sense this and resists Daria’s tutelage, even as Eric makes her uncomfortable with his abusive language and disturbing outbursts. He gets her in a way Daria never can: together they are two American minority outsiders at a London bank, who both “come from nothing” and have beaten the odds.\u003c/p>\n\u003cp>In episode four, Eric is unfazed upon learning about Harper’s fake transcript. Merely by being at Pierpoint, he boasts, outsiders like them “intimidate people.” “Hunger is not a birthright,” he adds.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Is Harper good at what she does? Well, she’s definitely hungry. And selfish, cagey, enigmatic, precocious, insecure, rash, inexperienced, astute, analytical, strong-willed. She’s a Black female TV character who’s not easy to love or easy to categorize, yet is compelling because each of her actions are at least understandable, if destructive. Annalise Keating would be proud.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=HBO%27s+%27Industry%27+Features+The+Most+Fascinating+Character+On+TV+Right+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Wild Minds' Traces the Origins of Animation—From Blackton and McCay to Disney",
"headTitle": "‘Wild Minds’ Traces the Origins of Animation—From Blackton and McCay to Disney | KQED",
"content": "\u003cp>Everything I needed to know for Junior High School I learned from cartoons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889843 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM.png\" alt=\"\" width=\"276\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM.png 276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM-160x237.png 160w\" sizes=\"(max-width: 276px) 100vw, 276px\">Twice a day, before and after school, my local TV station delivered three Warner Brothers \u003cem>Looney Tunes\u003c/em> shorts. There, Bugs Bunny gave me master classes in the Brooklyn-accented snark and wise-cracking I aspired to. While my teachers might not have appreciated what I was learning, those dazzling 10-minute comedy masterpieces were also my introduction to what happens at the intersection of animation and excellence.\u003c/p>\n\u003cp>While my 12-year-old self came for the antics of Bugs, Daffy Duck and the rest, even then I could sense that something else, something very adult, was happening in those cartoons. That’s why I’ve remained a fan of the form, finding as much to enjoy in new seasons of \u003cem>Rick and Morty\u003c/em> as in the timeless achievement of Disney’s \u003cem>Fantasia\u003c/em>. It is also the reason for my delight with \u003cem>Wild Minds,\u003c/em> the new history of animation by Reid Mitenbuler.\u003c/p>\n\u003cp>Superficially, \u003cem>Wild Minds:The Artists and Rivalries That Inspired the Golden Age of Animation\u003c/em> is about the origins of \u003cem>Mickey Mouse\u003c/em>, \u003cem>Popeye the Sailor\u003c/em> and \u003cem>Bugs Bunny\u003c/em> cartoons. But Mitenbuler’s real target is a quintessentially American story of daring ambition, personal re-invention and the eternal tug-of-war of between art and business.\u003c/p>\n\u003cp>Animation occupies a particular place in the history of motion pictures. At the dawn of the 20th century, the technology emerged for running a chain of still photographs together to create the illusion of motion. While this new medium of “movies” was startling enough to the public, a handful of visionaries and inventors saw that pictures of the real world were just the beginning. Humans had been imagining the impossible for thousands of years through stories and myth populated by flying dragons, magical elves and talking animals. By chaining together drawings of these, rather than just photographs, such dreams of the imagination could finally be given life.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mitenbuler spends the first quarter of the book tracking the history of these pioneers. James Stuart Blackton, a newspaper cartoonist, created the first animated film \u003ca href=\"https://www.youtube.com/watch?v=wGh6maN4l2I\" target=\"_blank\" rel=\"noopener noreferrer\">Humorous Phases of Funny Faces\u003c/a> using nothing more than a blackboard, chalk, an eraser and a camera. Another newspaper cartoonist, Winsor McCay knew Blackton and quickly saw animation’s deeper potential. Looking for an artistic challenge, McCay decided to create a film based on his own highly popular comic strip \u003cem>Little Nemo in Slumberland\u003c/em>. Churning out 4,000 drawings for just a few minutes of animation, McCay’s film \u003ca href=\"https://www.youtube.com/watch?v=2f8tfSHIU_g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Nemo\u003c/em>\u003c/a> was shown in to mesmerized audiences in 1911. The work was so beautiful that decades later Chuck Jones, who created many of my Bugs Bunny favorites, would tell an interviewer: “It was as though the first creature to emerge from the primeval slime was Albert Einstein and the second was an amoeba, because after McCay’s animation it took his followers nearly 20 years to figure out how he did it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=2f8tfSHIU_g\u003c/p>\n\u003cp>McCay, with his masterpieces \u003ca href=\"McCay%20with%20his%20masterpiece%20Gertie%20the%20Dinosaur\" target=\"_blank\" rel=\"noopener noreferrer\">Gertie the Dinosaur\u003c/a> and later \u003ca href=\"https://www.youtube.com/watch?v=wq7hMuiz1mI\" target=\"_blank\" rel=\"noopener noreferrer\">The Sinking of the Lusitania\u003c/a>, had indeed set the bar for artistic excellence very high. But art was not all that was at stake in these early years of animation.\u003c/p>\n\u003cp>Once the owners of movie houses and production companies recognized that audiences liked cartoons, the race was on to produce as many of them as fast as possible. As animation companies began to multiply (mostly around New York City even as California became the home to live-action movie studios), fierce competition and bottom-line pressure made working conditions hell. The early studios were basically artistic sweatshops built to churn out drawing after drawing in cramped, roach-infested offices.\u003c/p>\n\u003cp>Mitenbuler peppers the stories of these hard-scrabble years with well-drawn characters like Essie Fleisher, whom he describes as the 5 ft. 3 in., hot-tempered, broken-nosed wife of Max Fleischer. Max was in the midst of building an animation house that would eventually produce the fantastically popular \u003cem>Popeye the Sailor\u003c/em> cartoons. But when we first meet Max, his attempts to get a business started are flailing. Expecting Essie to explode at the news of his latest failure, Max and his brothers are stunned when she hands them $150. This was money she’d saved from her intense gambling habit. “This is for your crazy idea” she tells them and walks off, Mitenbuler recounts.\u003c/p>\n\u003cp>But not every budding animator headed to New York. Mitenbuler focuses the middle of his story on Walter Elias Disney and his magnificent genius. It’s not Disney’s talent as an animator that matters for this story. He was just OK as an artist. Instead, it’s Disney’s capacities as a storyteller with an ability to organize the skills of others that brought animation to higher levels of both artistic and commercial success. The arc of Walt’s journey from the son of an unsuccessful midwestern businessman to the final, cosmic scale success of his California-based empire that represents one of the strongest narrative lines in Mitenbuler’s book.\u003c/p>\n\u003cp>But as a devotee of the great Bugs Bunny, my favorite part of \u003cem>Wild Minds\u003c/em> was the story of Warner Brothers Studio. The animation house began in 1929 with, as Mitenbuler writes, “no great artistic vision.” Instead, its founder Leon Schlesinger had a more singular goal “Disney can make the chicken salad, I wanna make the chicken s–t.” Schlesinger just wanted to make money. Ironically Schlesinger’s disinterest in animation itself contributed to the greatness of his studio’s product. The artists, musicians and directors held Schlesinger in as low regard as he held them and from that emerged the subversive style that Bugs and company would become so famous for. As Mitenbuler writes:\u003c/p>\n\u003cblockquote>\u003cp>“Whereas the Disney animators worshipped their boss, those at Warner Bros. constantly poked fun at theirs, creating an atmosphere of rebellion that quickly became part of the studio’s DNA. In the end, this turned out to their benefit, giving the animators a sharp edge that would define their style. ‘I’ve always felt that it was a vital factor to have people you fight against,’ animator and director Chuck Jones [one of Warner Bros most talented directors] recalled of the antagonistic relationship with his boss.”\u003c/p>\u003c/blockquote>\n\u003cp>Mitenbuler ends the book at the beginning of the 1960s as many of his heroes are growing old or dying and their cherished medium is being transformed into filler for Saturday morning TV. While animation would rise again to find its place in our own era of the long-running \u003cem>Simpsons\u003c/em> and the glorious works of \u003ca href=\"https://www.youtube.com/watch?v=4OiMOHRDs14\" target=\"_blank\" rel=\"noopener noreferrer\">Hayao Miyazaki\u003c/a>, Mitenbuler’s book is a gem for anyone wanting to understand animation’s origin story.\u003c/p>\n\u003cp>That’s all folks!\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adam Frank is an astrophysics professor at the University of Rochester and author of \u003c/em>\u003ca href=\"https://www.amazon.com/Light-Stars-Alien-Worlds-Earth/dp/0393609014/ref=sr_1_1?s=books&ie=UTF8&qid=1516978619&sr=1-1&keywords=Light+of+the+Stars%3A+Alien+Worlds+and+the+Fate+of+the+Earth\" target=\"_blank\" rel=\"noopener noreferrer\">Light of the Stars: Alien Worlds and the Fate of the Earth\u003c/a>.\u003cem>\u003cem> You can find more from Adam here: \u003c/em>\u003ca href=\"https://twitter.com/adamfrank4\" target=\"_blank\" rel=\"noopener noreferrer\">@adamfrank4\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Wild+Minds%27+Traces+The+Origins+Of+Animation++%E2%80%94+From+Blackton+And+McCay+To+Disney&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Everything I needed to know for Junior High School I learned from cartoons.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889843 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM.png\" alt=\"\" width=\"276\" height=\"409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM.png 276w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/12/Screen-Shot-2020-12-02-at-12.12.41-PM-160x237.png 160w\" sizes=\"(max-width: 276px) 100vw, 276px\">Twice a day, before and after school, my local TV station delivered three Warner Brothers \u003cem>Looney Tunes\u003c/em> shorts. There, Bugs Bunny gave me master classes in the Brooklyn-accented snark and wise-cracking I aspired to. While my teachers might not have appreciated what I was learning, those dazzling 10-minute comedy masterpieces were also my introduction to what happens at the intersection of animation and excellence.\u003c/p>\n\u003cp>While my 12-year-old self came for the antics of Bugs, Daffy Duck and the rest, even then I could sense that something else, something very adult, was happening in those cartoons. That’s why I’ve remained a fan of the form, finding as much to enjoy in new seasons of \u003cem>Rick and Morty\u003c/em> as in the timeless achievement of Disney’s \u003cem>Fantasia\u003c/em>. It is also the reason for my delight with \u003cem>Wild Minds,\u003c/em> the new history of animation by Reid Mitenbuler.\u003c/p>\n\u003cp>Superficially, \u003cem>Wild Minds:The Artists and Rivalries That Inspired the Golden Age of Animation\u003c/em> is about the origins of \u003cem>Mickey Mouse\u003c/em>, \u003cem>Popeye the Sailor\u003c/em> and \u003cem>Bugs Bunny\u003c/em> cartoons. But Mitenbuler’s real target is a quintessentially American story of daring ambition, personal re-invention and the eternal tug-of-war of between art and business.\u003c/p>\n\u003cp>Animation occupies a particular place in the history of motion pictures. At the dawn of the 20th century, the technology emerged for running a chain of still photographs together to create the illusion of motion. While this new medium of “movies” was startling enough to the public, a handful of visionaries and inventors saw that pictures of the real world were just the beginning. Humans had been imagining the impossible for thousands of years through stories and myth populated by flying dragons, magical elves and talking animals. By chaining together drawings of these, rather than just photographs, such dreams of the imagination could finally be given life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mitenbuler spends the first quarter of the book tracking the history of these pioneers. James Stuart Blackton, a newspaper cartoonist, created the first animated film \u003ca href=\"https://www.youtube.com/watch?v=wGh6maN4l2I\" target=\"_blank\" rel=\"noopener noreferrer\">Humorous Phases of Funny Faces\u003c/a> using nothing more than a blackboard, chalk, an eraser and a camera. Another newspaper cartoonist, Winsor McCay knew Blackton and quickly saw animation’s deeper potential. Looking for an artistic challenge, McCay decided to create a film based on his own highly popular comic strip \u003cem>Little Nemo in Slumberland\u003c/em>. Churning out 4,000 drawings for just a few minutes of animation, McCay’s film \u003ca href=\"https://www.youtube.com/watch?v=2f8tfSHIU_g\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>Little Nemo\u003c/em>\u003c/a> was shown in to mesmerized audiences in 1911. The work was so beautiful that decades later Chuck Jones, who created many of my Bugs Bunny favorites, would tell an interviewer: “It was as though the first creature to emerge from the primeval slime was Albert Einstein and the second was an amoeba, because after McCay’s animation it took his followers nearly 20 years to figure out how he did 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/2f8tfSHIU_g'\n title='//www.youtube.com/embed/2f8tfSHIU_g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>McCay, with his masterpieces \u003ca href=\"McCay%20with%20his%20masterpiece%20Gertie%20the%20Dinosaur\" target=\"_blank\" rel=\"noopener noreferrer\">Gertie the Dinosaur\u003c/a> and later \u003ca href=\"https://www.youtube.com/watch?v=wq7hMuiz1mI\" target=\"_blank\" rel=\"noopener noreferrer\">The Sinking of the Lusitania\u003c/a>, had indeed set the bar for artistic excellence very high. But art was not all that was at stake in these early years of animation.\u003c/p>\n\u003cp>Once the owners of movie houses and production companies recognized that audiences liked cartoons, the race was on to produce as many of them as fast as possible. As animation companies began to multiply (mostly around New York City even as California became the home to live-action movie studios), fierce competition and bottom-line pressure made working conditions hell. The early studios were basically artistic sweatshops built to churn out drawing after drawing in cramped, roach-infested offices.\u003c/p>\n\u003cp>Mitenbuler peppers the stories of these hard-scrabble years with well-drawn characters like Essie Fleisher, whom he describes as the 5 ft. 3 in., hot-tempered, broken-nosed wife of Max Fleischer. Max was in the midst of building an animation house that would eventually produce the fantastically popular \u003cem>Popeye the Sailor\u003c/em> cartoons. But when we first meet Max, his attempts to get a business started are flailing. Expecting Essie to explode at the news of his latest failure, Max and his brothers are stunned when she hands them $150. This was money she’d saved from her intense gambling habit. “This is for your crazy idea” she tells them and walks off, Mitenbuler recounts.\u003c/p>\n\u003cp>But not every budding animator headed to New York. Mitenbuler focuses the middle of his story on Walter Elias Disney and his magnificent genius. It’s not Disney’s talent as an animator that matters for this story. He was just OK as an artist. Instead, it’s Disney’s capacities as a storyteller with an ability to organize the skills of others that brought animation to higher levels of both artistic and commercial success. The arc of Walt’s journey from the son of an unsuccessful midwestern businessman to the final, cosmic scale success of his California-based empire that represents one of the strongest narrative lines in Mitenbuler’s book.\u003c/p>\n\u003cp>But as a devotee of the great Bugs Bunny, my favorite part of \u003cem>Wild Minds\u003c/em> was the story of Warner Brothers Studio. The animation house began in 1929 with, as Mitenbuler writes, “no great artistic vision.” Instead, its founder Leon Schlesinger had a more singular goal “Disney can make the chicken salad, I wanna make the chicken s–t.” Schlesinger just wanted to make money. Ironically Schlesinger’s disinterest in animation itself contributed to the greatness of his studio’s product. The artists, musicians and directors held Schlesinger in as low regard as he held them and from that emerged the subversive style that Bugs and company would become so famous for. As Mitenbuler writes:\u003c/p>\n\u003cblockquote>\u003cp>“Whereas the Disney animators worshipped their boss, those at Warner Bros. constantly poked fun at theirs, creating an atmosphere of rebellion that quickly became part of the studio’s DNA. In the end, this turned out to their benefit, giving the animators a sharp edge that would define their style. ‘I’ve always felt that it was a vital factor to have people you fight against,’ animator and director Chuck Jones [one of Warner Bros most talented directors] recalled of the antagonistic relationship with his boss.”\u003c/p>\u003c/blockquote>\n\u003cp>Mitenbuler ends the book at the beginning of the 1960s as many of his heroes are growing old or dying and their cherished medium is being transformed into filler for Saturday morning TV. While animation would rise again to find its place in our own era of the long-running \u003cem>Simpsons\u003c/em> and the glorious works of \u003ca href=\"https://www.youtube.com/watch?v=4OiMOHRDs14\" target=\"_blank\" rel=\"noopener noreferrer\">Hayao Miyazaki\u003c/a>, Mitenbuler’s book is a gem for anyone wanting to understand animation’s origin story.\u003c/p>\n\u003cp>That’s all folks!\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Adam Frank is an astrophysics professor at the University of Rochester and author of \u003c/em>\u003ca href=\"https://www.amazon.com/Light-Stars-Alien-Worlds-Earth/dp/0393609014/ref=sr_1_1?s=books&ie=UTF8&qid=1516978619&sr=1-1&keywords=Light+of+the+Stars%3A+Alien+Worlds+and+the+Fate+of+the+Earth\" target=\"_blank\" rel=\"noopener noreferrer\">Light of the Stars: Alien Worlds and the Fate of the Earth\u003c/a>.\u003cem>\u003cem> You can find more from Adam here: \u003c/em>\u003ca href=\"https://twitter.com/adamfrank4\" target=\"_blank\" rel=\"noopener noreferrer\">@adamfrank4\u003c/a>.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Wild+Minds%27+Traces+The+Origins+Of+Animation++%E2%80%94+From+Blackton+And+McCay+To+Disney&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "On Twitter and TikTok, Biden Grandchildren May Offer Viral View of White House Life",
"headTitle": "On Twitter and TikTok, Biden Grandchildren May Offer Viral View of White House Life | KQED",
"content": "\u003cp>In the days of counting that followed election night, there was plenty of stress in the Biden and Harris families. And the whole world could follow along.\u003c/p>\n\u003cp>The eldest granddaughter of President-elect Joe Biden, Naomi Biden, joked to her 188,000 Twitter followers that she couldn’t stop watching cable news and that she’d “kill to be one of those people who ‘can’t eat when they’re stressed’ right about now.”\u003c/p>\n\u003cp>https://twitter.com/NaomiBiden/status/1324460719132315654\u003c/p>\n\u003cp>In the Harris-Emhoff household, a \u003ca href=\"https://www.tiktok.com/@meena/video/6891148118784478469\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok of Ella Emhoff\u003c/a>, the 21-year-old stepdaughter of Vice President-elect Kamala Harris, was gaining millions of likes. Taken by Harris’ niece, Meena, it showed Emhoff trying her first McDonald’s Filet-O-Fish while watching election returns.\u003c/p>\n\u003cp>And when the race was called for Biden on Nov. 7, his granddaughters Naomi \u003ca href=\"https://www.tiktok.com/foryou?lang=en#/@scoobeydoobey/video/6892462788661366021\" target=\"_blank\" rel=\"noopener noreferrer\">and Maisy\u003c/a> let the world see what it was like as their family finally tasted victory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/NaomiBiden/status/1325190941058113536\u003c/p>\n\u003cp>While the lives of presidential children and grandchildren have historically been kept mostly private, Biden’s four granddaughters—Naomi, Finnegan, Maisy and Natalie Biden—as well as Harris’ stepchildren, Ella and Cole Emhoff, have formed their own public personas.\u003c/p>\n\u003cp>Ranging in age from their late teens to mid-20s, they use Twitter, Instagram and TikTok. They did campaign \u003ca href=\"https://twitter.com/JoeBiden/status/1252334221361848320\" target=\"_blank\" rel=\"noopener noreferrer\">videos\u003c/a> and \u003ca href=\"https://twitter.com/stridinstrider/status/1300833961577504771\" target=\"_blank\" rel=\"noopener noreferrer\">events\u003c/a>, took part in \u003ca href=\"https://www.glamour.com/story/doug-emhoff-cole-and-ella-emhoff-zoom-interview\" target=\"_blank\" rel=\"noopener noreferrer\">magazine interviews\u003c/a> and \u003ca href=\"https://twitter.com/YAFBiden/status/1314721327446712322\" target=\"_blank\" rel=\"noopener noreferrer\">talked\u003c/a> with \u003ca href=\"https://www.youtube.com/watch?v=Rh6ZccgQBS8\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube personalities\u003c/a>, \u003ca href=\"https://www.instagram.com/p/CGIrVpeJsVS/\" target=\"_blank\" rel=\"noopener noreferrer\">comedians\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=aQy-o5OuCtM&ab_channel=TellEVision\" target=\"_blank\" rel=\"noopener noreferrer\">celebrities\u003c/a>.\u003c/p>\n\u003cp>https://www.instagram.com/p/CGIrVpeJsVS/\u003c/p>\n\u003cp>And some, like Naomi Biden, share their political views.\u003c/p>\n\u003cp>Over the past year, her voice has particularly gotten louder over social media. From tweeting \u003ca href=\"https://twitter.com/NaomiBiden/status/1229738553313300480\" target=\"_blank\" rel=\"noopener noreferrer\">supportive messages\u003c/a> about her “pop” to sharing \u003ca href=\"https://twitter.com/NaomiBiden/status/1317481188701933569\" target=\"_blank\" rel=\"noopener noreferrer\">Biden-themed memes\u003c/a>, the 26-year-old’s posts have racked up tens of thousands of likes and provided another personal side to the Biden family.\u003c/p>\n\u003cp>Maisy Biden, who is in her late teens, also has been fairly active on her public TikTok account. The third-eldest grandchild of the president-elect often posts \u003ca href=\"https://www.tiktok.com/@scoobeydoobey/video/6893206912515525894?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">comedic videos\u003c/a> that are less overtly political but have featured \u003ca href=\"https://www.tiktok.com/@scoobeydoobey/video/6889921076499909894?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">cameos\u003c/a> from her family, \u003ca href=\"https://www.tiktok.com/@scoobeydoobey/video/6897716633889000710?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">including her father\u003c/a>, Hunter Biden.\u003c/p>\n\u003cp>“In campaigns, operatives used to say, ‘Is the candidate somebody you could see sitting at your kitchen table and having a meal with?’ ” said Lisa Caputo, the press secretary to Hillary Clinton when she was first lady. “I think the Biden grandchildren’s social media presence, led by Naomi, does just that.”\u003c/p>\n\u003cp>“He’s relatable to begin with,” Caputo added. “But to hear it through the voice and through the eyes of his granddaughter and his other grandchildren I think just puts a whole other lens of relatability onto him.”\u003c/p>\n\u003cp>Presidential historians say that the increased use of social media over the past decade has amplified the voices of the first and second families.\u003c/p>\n\u003cp>“The first children have been mentioned in the past, but they didn’t really have the opportunity to broadcast their own opinions in the same way. And so now social media gives the Biden family an opportunity to do that,” said historian Tevi Troy, who has studied presidential usage of popular culture.\u003c/p>\n\u003cp>Troy says that while Twitter was around during the Obama administration, the 44th president’s children were too young and social media was less accessible.\u003c/p>\n\u003cp>“The time seems to be right to have a president who has a bunch of family members who are active on social media, and social media is not a weird or elite thing,” Troy added. “It’s a kind of common thing today.”\u003c/p>\n\u003cp>\u003cstrong>Unprecedented individualism\u003c/strong>\u003c/p>\n\u003cp>Presidential families have played public roles before. Historian and journalist Kate Brower pointed to the support President Richard Nixon received from \u003ca href=\"https://www.youtube.com/watch?v=ymmUBjkWOFk\" target=\"_blank\" rel=\"noopener noreferrer\">his daughter Julie\u003c/a> during the Watergate scandal and the young adult children of President Jimmy Carter campaigning for him, but Brower added that the Biden and Emhoff young adults stand out because of their ability to form their own public identities.\u003c/p>\n\u003cp>“I think that this is really a first, where we’re seeing this kind of individualism and the support of the family,” she said.\u003c/p>\n\u003cp>Brower said she was particularly struck by Ella Emhoff’s presence on Instagram. Emhoff is an art student at the Parsons School of Design, often posting photos of her visual art and clothing she has made.\u003c/p>\n\u003cp>https://www.instagram.com/p/CDZQ02jFEJw/\u003c/p>\n\u003cp>Emhoff recently\u003ca href=\"https://www.instagram.com/p/CHdI-NdlepT/\" target=\"_blank\" rel=\"noopener noreferrer\"> raffled off\u003c/a> some of her clothing over Instagram, and the proceeds went to an organization supporting Black transgender people.\u003c/p>\n\u003cp>“She’s capturing that individualism,” Brower explained, “and I think there’s been this sense of uniformity for the past four years in Washington with Ivanka and the Trump kids looking a certain way and being a certain way. And now you have this blended family representing different cultures.”\u003c/p>\n\u003cp>Nearly two years ago, when Biden was deciding whether to run for president again, he \u003ca href=\"https://www.npr.org/2019/02/26/698409206/joe-biden-very-close-to-2020-decision-as-his-family-gives-its-blessing\" target=\"_blank\" rel=\"noopener noreferrer\">spoke about the importance\u003c/a> of his family, a factor that prevented him from running four years earlier after his eldest son, Beau Biden, died of brain cancer.\u003c/p>\n\u003cp>But his granddaughters explained in a \u003ca href=\"https://www.youtube.com/watch?v=No51xhtuA3w\" target=\"_blank\" rel=\"noopener noreferrer\">video\u003c/a> for the Democratic National Convention how they had all encouraged their grandfather to run for president this time around.\u003c/p>\n\u003cp>“He thought we were calling a meeting sort of to like discuss, you know, whether or not we wanted him to [run,]” Naomi said, sitting on a white couch squished between Maisy, Finnegan and Natalie. “But really we were calling it to be like, ‘Get in that race. Hurry up.’ ”\u003c/p>\n\u003cp>That said, Biden’s run for president has put an added spotlight on his younger son, Hunter Biden, who was repeatedly criticized by Republicans throughout the campaign over his foreign business dealings.\u003c/p>\n\u003cp>In September, Senate Republicans released a report that characterized his work as “problematic.” The report largely had no repercussions, much like \u003ca href=\"https://www.npr.org/2019/09/24/763502822/what-were-the-bidens-doing-in-ukraine-5-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">previous information\u003c/a> on the topic. In response, the Biden campaign put out a statement and fact sheet.\u003c/p>\n\u003cp>Naomi Biden, Hunter’s eldest child, took to Twitter.\u003c/p>\n\u003cp>“Though the whole world knows his name, no one knows who he is,” she wrote. “Here’s a thread on my dad, Hunter Biden – free of charge to the taxpayers and free of the corrosive influence of power-at-all-costs politics. The truth of a man filled with love, integrity, and human struggles.”\u003c/p>\n\u003cp>https://twitter.com/NaomiBiden/status/1308823998415933440\u003c/p>\n\u003cp>In a series of tweets, Naomi cast her father in an emotional and intimate light, detailing his struggle to get into Yale Law School and his commitment to his older brother, Beau, when Beau got sick.\u003c/p>\n\u003cp>“The pain [Hunter] has endured would be enough to make a lesser man give up on life all together. But despite the best efforts of [a] cruel few to destroy a private man, he is sober, happy, and as at peace as ever today because as long [as] his family needs him, he has not lost his purpose,” she wrote.\u003c/p>\n\u003cp>Tens of thousands of people retweeted Naomi’s thread, with the first post alone getting 55,700 likes and over 17,000 retweets.\u003c/p>\n\u003cp>“I think it really did cut through a lot of the noise, to see and to read this heartfelt testament to her father,” said Caputo. “I found that to be incredibly effective, incredibly thoughtful and incredibly loving.”\u003c/p>\n\u003cp>As Inauguration Day approaches, it remains unclear if some of the young adult members of the incoming first and second families will continue to be so public.\u003c/p>\n\u003cp>As far as presidential history goes, Brower explained that some younger members of past first families have taken a step back after their family’s campaign ends.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“They tend to disappear,” she said. “I’m curious to see if the Biden grandchildren in particular really take this public-facing role once he’s in office,” Brower added.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=On+Twitter+And+TikTok%2C+Biden+Grandchildren+May+Offer+Viral+View+Of+White+House+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the days of counting that followed election night, there was plenty of stress in the Biden and Harris families. And the whole world could follow along.\u003c/p>\n\u003cp>The eldest granddaughter of President-elect Joe Biden, Naomi Biden, joked to her 188,000 Twitter followers that she couldn’t stop watching cable news and that she’d “kill to be one of those people who ‘can’t eat when they’re stressed’ right about now.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In the Harris-Emhoff household, a \u003ca href=\"https://www.tiktok.com/@meena/video/6891148118784478469\" target=\"_blank\" rel=\"noopener noreferrer\">TikTok of Ella Emhoff\u003c/a>, the 21-year-old stepdaughter of Vice President-elect Kamala Harris, was gaining millions of likes. Taken by Harris’ niece, Meena, it showed Emhoff trying her first McDonald’s Filet-O-Fish while watching election returns.\u003c/p>\n\u003cp>And when the race was called for Biden on Nov. 7, his granddaughters Naomi \u003ca href=\"https://www.tiktok.com/foryou?lang=en#/@scoobeydoobey/video/6892462788661366021\" target=\"_blank\" rel=\"noopener noreferrer\">and Maisy\u003c/a> let the world see what it was like as their family finally tasted victory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>While the lives of presidential children and grandchildren have historically been kept mostly private, Biden’s four granddaughters—Naomi, Finnegan, Maisy and Natalie Biden—as well as Harris’ stepchildren, Ella and Cole Emhoff, have formed their own public personas.\u003c/p>\n\u003cp>Ranging in age from their late teens to mid-20s, they use Twitter, Instagram and TikTok. They did campaign \u003ca href=\"https://twitter.com/JoeBiden/status/1252334221361848320\" target=\"_blank\" rel=\"noopener noreferrer\">videos\u003c/a> and \u003ca href=\"https://twitter.com/stridinstrider/status/1300833961577504771\" target=\"_blank\" rel=\"noopener noreferrer\">events\u003c/a>, took part in \u003ca href=\"https://www.glamour.com/story/doug-emhoff-cole-and-ella-emhoff-zoom-interview\" target=\"_blank\" rel=\"noopener noreferrer\">magazine interviews\u003c/a> and \u003ca href=\"https://twitter.com/YAFBiden/status/1314721327446712322\" target=\"_blank\" rel=\"noopener noreferrer\">talked\u003c/a> with \u003ca href=\"https://www.youtube.com/watch?v=Rh6ZccgQBS8\" target=\"_blank\" rel=\"noopener noreferrer\">YouTube personalities\u003c/a>, \u003ca href=\"https://www.instagram.com/p/CGIrVpeJsVS/\" target=\"_blank\" rel=\"noopener noreferrer\">comedians\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=aQy-o5OuCtM&ab_channel=TellEVision\" target=\"_blank\" rel=\"noopener noreferrer\">celebrities\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>And some, like Naomi Biden, share their political views.\u003c/p>\n\u003cp>Over the past year, her voice has particularly gotten louder over social media. From tweeting \u003ca href=\"https://twitter.com/NaomiBiden/status/1229738553313300480\" target=\"_blank\" rel=\"noopener noreferrer\">supportive messages\u003c/a> about her “pop” to sharing \u003ca href=\"https://twitter.com/NaomiBiden/status/1317481188701933569\" target=\"_blank\" rel=\"noopener noreferrer\">Biden-themed memes\u003c/a>, the 26-year-old’s posts have racked up tens of thousands of likes and provided another personal side to the Biden family.\u003c/p>\n\u003cp>Maisy Biden, who is in her late teens, also has been fairly active on her public TikTok account. The third-eldest grandchild of the president-elect often posts \u003ca href=\"https://www.tiktok.com/@scoobeydoobey/video/6893206912515525894?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">comedic videos\u003c/a> that are less overtly political but have featured \u003ca href=\"https://www.tiktok.com/@scoobeydoobey/video/6889921076499909894?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">cameos\u003c/a> from her family, \u003ca href=\"https://www.tiktok.com/@scoobeydoobey/video/6897716633889000710?lang=en\" target=\"_blank\" rel=\"noopener noreferrer\">including her father\u003c/a>, Hunter Biden.\u003c/p>\n\u003cp>“In campaigns, operatives used to say, ‘Is the candidate somebody you could see sitting at your kitchen table and having a meal with?’ ” said Lisa Caputo, the press secretary to Hillary Clinton when she was first lady. “I think the Biden grandchildren’s social media presence, led by Naomi, does just that.”\u003c/p>\n\u003cp>“He’s relatable to begin with,” Caputo added. “But to hear it through the voice and through the eyes of his granddaughter and his other grandchildren I think just puts a whole other lens of relatability onto him.”\u003c/p>\n\u003cp>Presidential historians say that the increased use of social media over the past decade has amplified the voices of the first and second families.\u003c/p>\n\u003cp>“The first children have been mentioned in the past, but they didn’t really have the opportunity to broadcast their own opinions in the same way. And so now social media gives the Biden family an opportunity to do that,” said historian Tevi Troy, who has studied presidential usage of popular culture.\u003c/p>\n\u003cp>Troy says that while Twitter was around during the Obama administration, the 44th president’s children were too young and social media was less accessible.\u003c/p>\n\u003cp>“The time seems to be right to have a president who has a bunch of family members who are active on social media, and social media is not a weird or elite thing,” Troy added. “It’s a kind of common thing today.”\u003c/p>\n\u003cp>\u003cstrong>Unprecedented individualism\u003c/strong>\u003c/p>\n\u003cp>Presidential families have played public roles before. Historian and journalist Kate Brower pointed to the support President Richard Nixon received from \u003ca href=\"https://www.youtube.com/watch?v=ymmUBjkWOFk\" target=\"_blank\" rel=\"noopener noreferrer\">his daughter Julie\u003c/a> during the Watergate scandal and the young adult children of President Jimmy Carter campaigning for him, but Brower added that the Biden and Emhoff young adults stand out because of their ability to form their own public identities.\u003c/p>\n\u003cp>“I think that this is really a first, where we’re seeing this kind of individualism and the support of the family,” she said.\u003c/p>\n\u003cp>Brower said she was particularly struck by Ella Emhoff’s presence on Instagram. Emhoff is an art student at the Parsons School of Design, often posting photos of her visual art and clothing she has made.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Emhoff recently\u003ca href=\"https://www.instagram.com/p/CHdI-NdlepT/\" target=\"_blank\" rel=\"noopener noreferrer\"> raffled off\u003c/a> some of her clothing over Instagram, and the proceeds went to an organization supporting Black transgender people.\u003c/p>\n\u003cp>“She’s capturing that individualism,” Brower explained, “and I think there’s been this sense of uniformity for the past four years in Washington with Ivanka and the Trump kids looking a certain way and being a certain way. And now you have this blended family representing different cultures.”\u003c/p>\n\u003cp>Nearly two years ago, when Biden was deciding whether to run for president again, he \u003ca href=\"https://www.npr.org/2019/02/26/698409206/joe-biden-very-close-to-2020-decision-as-his-family-gives-its-blessing\" target=\"_blank\" rel=\"noopener noreferrer\">spoke about the importance\u003c/a> of his family, a factor that prevented him from running four years earlier after his eldest son, Beau Biden, died of brain cancer.\u003c/p>\n\u003cp>But his granddaughters explained in a \u003ca href=\"https://www.youtube.com/watch?v=No51xhtuA3w\" target=\"_blank\" rel=\"noopener noreferrer\">video\u003c/a> for the Democratic National Convention how they had all encouraged their grandfather to run for president this time around.\u003c/p>\n\u003cp>“He thought we were calling a meeting sort of to like discuss, you know, whether or not we wanted him to [run,]” Naomi said, sitting on a white couch squished between Maisy, Finnegan and Natalie. “But really we were calling it to be like, ‘Get in that race. Hurry up.’ ”\u003c/p>\n\u003cp>That said, Biden’s run for president has put an added spotlight on his younger son, Hunter Biden, who was repeatedly criticized by Republicans throughout the campaign over his foreign business dealings.\u003c/p>\n\u003cp>In September, Senate Republicans released a report that characterized his work as “problematic.” The report largely had no repercussions, much like \u003ca href=\"https://www.npr.org/2019/09/24/763502822/what-were-the-bidens-doing-in-ukraine-5-questions-answered\" target=\"_blank\" rel=\"noopener noreferrer\">previous information\u003c/a> on the topic. In response, the Biden campaign put out a statement and fact sheet.\u003c/p>\n\u003cp>Naomi Biden, Hunter’s eldest child, took to Twitter.\u003c/p>\n\u003cp>“Though the whole world knows his name, no one knows who he is,” she wrote. “Here’s a thread on my dad, Hunter Biden – free of charge to the taxpayers and free of the corrosive influence of power-at-all-costs politics. The truth of a man filled with love, integrity, and human struggles.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cp>Actor Elliot Page, who received an \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2008\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar nomination\u003c/a> for his performance in the 2007 film \u003cem>Juno\u003c/em>, announced Tuesday that he is transgender. He posted a public letter on Twitter and Instagram:\u003c/p>\n\u003cblockquote>\u003cp>“Hi friends, I want to share with you that I am trans, my pronouns are he/they and my name is Elliot. I feel lucky to be writing this. To be here. To have arrived in this place in my life.”\u003c/p>\u003c/blockquote>\n\u003cp>The posts received expressions of support from hundreds of thousands of followers, on both platforms, within hours of publication.\u003c/p>\n\u003cp>“I can’t begin to express how remarkable it feels to finally love who I am enough to pursue my authentic self,” Page wrote. “I’ve been endlessly inspired by so many in the trans community. Thank you for your courage, your generosity and ceaselessly working to make this world a more inclusive and compassionate place.”\u003c/p>\n\u003cp>In Page’s post, he asked “for patience. My joy is real, but it is also fragile.”\u003c/p>\n\u003cp>“I am also scared,” Page acknowledged. “The discrimination towards trans people is rife, insidious and cruel, resulting in horrific consequences.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/TheElliotPage/status/1333820783655837701\u003c/p>\n\u003cp>His worries are not unfounded. Last month, the Human Rights Campaign reported that 37 transgender and gender non-conforming people were \u003ca href=\"https://www.hrc.org/press-releases/marking-the-deadliest-year-on-record-hrc-releases-report-on-violence-against-transgender-and-gender-non-conforming-people\" target=\"_blank\" rel=\"noopener noreferrer\">violently killed in 2020\u003c/a>. More than any other year since the organization began monitoring data in 2013.\u003c/p>\n\u003cp>Page is one of an estimated \u003ca href=\"https://williamsinstitute.law.ucla.edu/wp-content/uploads/LGBT-Adult-US-Pop-Jul-2020.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">1.4 million transgender people\u003c/a> in the United States. In his post, he promised to do his best in making the world a better place for the trans community.\u003c/p>\n\u003cp>“To all trans people who deal with harassment, self-loathing, abuse and the threat of violence every day: I see you,” Page wrote. “I love you and I will do everything I can to change this world for the better.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dustin Jones is an intern on NPR’s News Desk.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Oscar+Nominee+Elliot+Page+Announces+He+Is+Transgender&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Elliot Page, who received an \u003ca href=\"https://www.oscars.org/oscars/ceremonies/2008\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar nomination\u003c/a> for his performance in the 2007 film \u003cem>Juno\u003c/em>, announced Tuesday that he is transgender. He posted a public letter on Twitter and Instagram:\u003c/p>\n\u003cblockquote>\u003cp>“Hi friends, I want to share with you that I am trans, my pronouns are he/they and my name is Elliot. I feel lucky to be writing this. To be here. To have arrived in this place in my life.”\u003c/p>\u003c/blockquote>\n\u003cp>The posts received expressions of support from hundreds of thousands of followers, on both platforms, within hours of publication.\u003c/p>\n\u003cp>“I can’t begin to express how remarkable it feels to finally love who I am enough to pursue my authentic self,” Page wrote. “I’ve been endlessly inspired by so many in the trans community. Thank you for your courage, your generosity and ceaselessly working to make this world a more inclusive and compassionate place.”\u003c/p>\n\u003cp>In Page’s post, he asked “for patience. My joy is real, but it is also fragile.”\u003c/p>\n\u003cp>“I am also scared,” Page acknowledged. “The discrimination towards trans people is rife, insidious and cruel, resulting in horrific consequences.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>His worries are not unfounded. Last month, the Human Rights Campaign reported that 37 transgender and gender non-conforming people were \u003ca href=\"https://www.hrc.org/press-releases/marking-the-deadliest-year-on-record-hrc-releases-report-on-violence-against-transgender-and-gender-non-conforming-people\" target=\"_blank\" rel=\"noopener noreferrer\">violently killed in 2020\u003c/a>. More than any other year since the organization began monitoring data in 2013.\u003c/p>\n\u003cp>Page is one of an estimated \u003ca href=\"https://williamsinstitute.law.ucla.edu/wp-content/uploads/LGBT-Adult-US-Pop-Jul-2020.pdf\" target=\"_blank\" rel=\"noopener noreferrer\">1.4 million transgender people\u003c/a> in the United States. In his post, he promised to do his best in making the world a better place for the trans community.\u003c/p>\n\u003cp>“To all trans people who deal with harassment, self-loathing, abuse and the threat of violence every day: I see you,” Page wrote. “I love you and I will do everything I can to change this world for the better.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Dustin Jones is an intern on NPR’s News Desk.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Oscar+Nominee+Elliot+Page+Announces+He+Is+Transgender&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Who wants to play with toys that poop?\u003c/p>\n\u003cp>Seven year old Jack Reynolds does. The second grader in Denver, Colo., enthusiastically showed off his collection via video to a reporter. It includes an adorable pooping stuffed animal, a bathtub game called Fishin’ For Floaters and fuzzy brown poop emoji bed slippers. When asked why he likes such toys, Jack was unequivocal.\u003c/p>\n\u003cp>“Because poop is stinky!” he announced. “Gross! Smooshy!”\u003c/p>\n\u003cp>It’s also ubiquitous. Candidates for your 2020 holiday gift list might (or might never) include the Gotta Go Flamingo, the Poopsie Slime Surprise unicorn doll, which cleverly combines toy trends by pooping sparkling slime, or the Hot Wheels Ultimate Garage dinosaur, which eats little cars and poops them out.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=C-St1REyjxM\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“This is some incredible marketing here,” marvels Susan Livingston. She’s an academic and artist who teaches ceramics classes to small children. Pretending to play with poop is normal, she says, as well as developmentally healthy, and not necessarily as expensive as the toy industry would have you think. Her young students do it whenever she shows them how to make clay pots.\u003c/p>\n\u003cp>“You roll these coils,” she says—and you can imagine what she has to say next: “We all know this looks like poop. Let’s get this out of our systems.”\u003c/p>\n\u003cp>https://www.instagram.com/p/CHYD0VbrYCV/\u003c/p>\n\u003cp>For her Ph.D. in art education, Livingston \u003ca href=\"https://www.ideals.illinois.edu/handle/2142/90506\" target=\"_blank\" rel=\"noopener noreferrer\">wrote a dissertation called \u003cem>The Gooey, the Bloody and the Just Plain Gross\u003c/em>\u003c/a>. So her discourse upon toys that poop is uncommonly elevated, with references to such French philosophers as Julia Kristeva and Georges Bataille. “Toys teach us to manage our disgust,” Livingston explains. “They help us understand who we are. Poop is part of you, but it’s not. It’s something that’s transformed inside of you, and that’s fascinating. It’s a sign of a well-regulated system, but it’s gross.”\u003c/p>\n\u003cp>“It’s a very light taboo,” agrees Mary Higbe, the good-humored director of marketing for \u003ca href=\"https://www.goliathgames.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Goliath Games\u003c/a>, the third largest toy manufacturer in the U.S. One of its top sellers is a game called Doggie Doo. Higbe is quick to point out its prosocial messages of good citizenship.\u003c/p>\n\u003cp>“You have a farting, pooping dog,” she concedes. “But you’ve also got the lessons learned because you have to clean up after the dog.”\u003c/p>\n\u003cp>This trend may have something to do with the proliferation of children’s books such as \u003cem>Everyone Poops\u003c/em> and the “Captain Underpants” series, as well as the popular poop emoji. Not only can you buy any number of poop emoji toys and wearables for the special children in your life, there’s poop emoji air freshener and poop emoji wine for adults.) In 2017’s \u003cem>The Emoji Movie\u003c/em>, the poop emoji character was voiced by Sir Patrick Stewart.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tma8Yf3BvgQ\u003c/p>\n\u003cp>More evidence of civilization’s decline? Jack Reynolds in Denver would beg to differ. For him, poop emojis provide an opportunity for ontological reflection. “I think poop emojis poop out poop emojis,” he says. “And that just keeps going on forever.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even toys that poop, it seems, can be flush with meaning.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Who+Cares+About+The+No.+1+Toy+When+You+Could+Have+No.+2%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For her Ph.D. in art education, Livingston \u003ca href=\"https://www.ideals.illinois.edu/handle/2142/90506\" target=\"_blank\" rel=\"noopener noreferrer\">wrote a dissertation called \u003cem>The Gooey, the Bloody and the Just Plain Gross\u003c/em>\u003c/a>. So her discourse upon toys that poop is uncommonly elevated, with references to such French philosophers as Julia Kristeva and Georges Bataille. “Toys teach us to manage our disgust,” Livingston explains. “They help us understand who we are. Poop is part of you, but it’s not. It’s something that’s transformed inside of you, and that’s fascinating. It’s a sign of a well-regulated system, but it’s gross.”\u003c/p>\n\u003cp>“It’s a very light taboo,” agrees Mary Higbe, the good-humored director of marketing for \u003ca href=\"https://www.goliathgames.us/\" target=\"_blank\" rel=\"noopener noreferrer\">Goliath Games\u003c/a>, the third largest toy manufacturer in the U.S. One of its top sellers is a game called Doggie Doo. Higbe is quick to point out its prosocial messages of good citizenship.\u003c/p>\n\u003cp>“You have a farting, pooping dog,” she concedes. “But you’ve also got the lessons learned because you have to clean up after the dog.”\u003c/p>\n\u003cp>This trend may have something to do with the proliferation of children’s books such as \u003cem>Everyone Poops\u003c/em> and the “Captain Underpants” series, as well as the popular poop emoji. Not only can you buy any number of poop emoji toys and wearables for the special children in your life, there’s poop emoji air freshener and poop emoji wine for adults.) In 2017’s \u003cem>The Emoji Movie\u003c/em>, the poop emoji character was voiced by Sir Patrick Stewart.\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/tma8Yf3BvgQ'\n title='//www.youtube.com/embed/tma8Yf3BvgQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>More evidence of civilization’s decline? Jack Reynolds in Denver would beg to differ. For him, poop emojis provide an opportunity for ontological reflection. “I think poop emojis poop out poop emojis,” he says. “And that just keeps going on forever.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even toys that poop, it seems, can be flush with meaning.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Who+Cares+About+The+No.+1+Toy+When+You+Could+Have+No.+2%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Happiest Season' is a Holiday Family Romcom With a Very Merry Cast",
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"content": "\u003cp>The holiday family romcom tends to go a certain way. The loving parents are having some kind of troubles (medical? financial? marital?) that they haven’t fully shared. The kids come home for the holidays, and they have their own things going on: they’re not ready to reveal a breakup, or they’re not happy about running into an ex, or they’re looking to introduce a new partner for the first time.\u003c/p>\n\u003cp>\u003cem>Happiest Season \u003c/em>on Hulu is a variation on this oft-used theme, not that there’s anything wrong with that. Harper (Mackenzie Davis) is bringing her girlfriend Abby (Kristen Stewart) home to meet the family: father (Victor Garber), mother (Mary Steenburgen), nasty striver sister (Alison Brie), and needy middle sister (Mary Holland). The family will have to find some way to welcome Abby and ring in the holidays, right? And the sisters will all have to figure out a way to love each other? And we’ll learn that all these people have their own sadnesses? Sure. The complication is this: Not only has Harper’s family not met Abby, but they don’t know that Harper is gay, so when she brings Abby home, it’s on the pretext that Abby is just her roommate and pal.\u003c/p>\n\u003cp>Now, the film goes to some lengths to try to create circumstances under which this could happen (because … why would you bring your girlfriend home if you weren’t out, and why would she go?), and they’re not terribly convincing, but that’s okay. Everybody is different, after all, and a little bit of going with the flow is very much expected in holiday movies and romcoms and especially in holiday romcoms. Once Abby gets there and understands the situation, she starts explaining it on the phone to her friend John (played by \u003cem>Schitt’s Creek\u003c/em>‘s Dan Levy), who coaches her about how to handle it, much like Lil Rel coached Daniel Kaluuya in \u003cem>Get Out\u003c/em>. There are some comedic set pieces, there’s some warm family business, and there’s Aubrey Plaza playing Harper’s ex, Riley, who plays a significant role in revealing how Harper got into this situation in the first place.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=h58HkQV1gHY\u003c/p>\n\u003cp>The biggest challenge is that the character of Harper is … opaque, for lack of a better word. Her motives are a little hard to understand some of the time. That’s emphatically not because she’s not out to her parents—the film, directed by Clea Duvall, is sensitive about explaining explicitly that people not being out to their families doesn’t reflect poorly on them, and it doesn’t mean they don’t love their partners. But the particular ways Harper treats Abby, and the situations she puts Abby in, strain the necessary part of this story in which you root for this couple. Nobody wants to follow a romance that you sense will end with a couple together while increasingly thinking that … maybe they should break up? I never reached that point with \u003cem>Happiest Season\u003c/em>, but I wobbled a few times.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And it wasn’t because the characters were complex and flawed (though they are). It was because Harper isn’t nearly as well-rounded as Abby as a character. An early scene with the two sitting on a roof is asked to do too much work establishing Harper as a loving partner and explaining why they’re happy together. By the time Abby considers getting out of the family house (again, like in \u003cem>Get Out\u003c/em>), I wasn’t fully invested in whether she came back. In fairness, those delicate balances are really hard, and I think ultimately, the film gets away with the incomplete development of Harper because of the terrific cast. That means the leads, but also MVP drop-ins that I don’t want to spoil, and the presence of people like Mary Holland, who is one of the most indispensable comic actresses we have. Her every line reading kills, and she manages to make her character deeply funny but never pitiful; she might be the most decent person in the whole family.\u003c/p>\n\u003cp>It’s particularly satisfying to see Kristen Stewart getting, and enjoying, this kind of work. She’s done plenty of good things that have established her acting chops, but this is a laid-back, charming, funny performance that makes Abby the clear hero of the movie, and the one with the most successfully excavated feelings. In an interesting bend to the formula, it’s Abby who winds up befriending Riley, and seeing the two women—Harper’s ex-partner and current partner—talk about what it’s like to be with her turns out to be perhaps more fun than seeing Abby and Harper together.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This kind of dissection might make it sound like I didn’t enjoy the film, and I emphatically did. It’s funny, it’s charming, it’s warm, and it’s got a bunch of really good performances. It’s so good to see queer creators and characters given their own space in this kind of popular genre entertainment. Stewart is just terrific in it, and I don’t think the issue with Harper is Davis, considering how many things she’s also been terrific in. I think getting absolutely everything in balance with this kind of story is almost impossible, and to their credit, they come pretty close.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Happiest+Season%27+Is+A+Holiday+Family+Romcom+With+A+Very+Merry+Cast&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The holiday family romcom tends to go a certain way. The loving parents are having some kind of troubles (medical? financial? marital?) that they haven’t fully shared. The kids come home for the holidays, and they have their own things going on: they’re not ready to reveal a breakup, or they’re not happy about running into an ex, or they’re looking to introduce a new partner for the first time.\u003c/p>\n\u003cp>\u003cem>Happiest Season \u003c/em>on Hulu is a variation on this oft-used theme, not that there’s anything wrong with that. Harper (Mackenzie Davis) is bringing her girlfriend Abby (Kristen Stewart) home to meet the family: father (Victor Garber), mother (Mary Steenburgen), nasty striver sister (Alison Brie), and needy middle sister (Mary Holland). The family will have to find some way to welcome Abby and ring in the holidays, right? And the sisters will all have to figure out a way to love each other? And we’ll learn that all these people have their own sadnesses? Sure. The complication is this: Not only has Harper’s family not met Abby, but they don’t know that Harper is gay, so when she brings Abby home, it’s on the pretext that Abby is just her roommate and pal.\u003c/p>\n\u003cp>Now, the film goes to some lengths to try to create circumstances under which this could happen (because … why would you bring your girlfriend home if you weren’t out, and why would she go?), and they’re not terribly convincing, but that’s okay. Everybody is different, after all, and a little bit of going with the flow is very much expected in holiday movies and romcoms and especially in holiday romcoms. Once Abby gets there and understands the situation, she starts explaining it on the phone to her friend John (played by \u003cem>Schitt’s Creek\u003c/em>‘s Dan Levy), who coaches her about how to handle it, much like Lil Rel coached Daniel Kaluuya in \u003cem>Get Out\u003c/em>. There are some comedic set pieces, there’s some warm family business, and there’s Aubrey Plaza playing Harper’s ex, Riley, who plays a significant role in revealing how Harper got into this situation in the first place.\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/h58HkQV1gHY'\n title='//www.youtube.com/embed/h58HkQV1gHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The biggest challenge is that the character of Harper is … opaque, for lack of a better word. Her motives are a little hard to understand some of the time. That’s emphatically not because she’s not out to her parents—the film, directed by Clea Duvall, is sensitive about explaining explicitly that people not being out to their families doesn’t reflect poorly on them, and it doesn’t mean they don’t love their partners. But the particular ways Harper treats Abby, and the situations she puts Abby in, strain the necessary part of this story in which you root for this couple. Nobody wants to follow a romance that you sense will end with a couple together while increasingly thinking that … maybe they should break up? I never reached that point with \u003cem>Happiest Season\u003c/em>, but I wobbled a few times.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And it wasn’t because the characters were complex and flawed (though they are). It was because Harper isn’t nearly as well-rounded as Abby as a character. An early scene with the two sitting on a roof is asked to do too much work establishing Harper as a loving partner and explaining why they’re happy together. By the time Abby considers getting out of the family house (again, like in \u003cem>Get Out\u003c/em>), I wasn’t fully invested in whether she came back. In fairness, those delicate balances are really hard, and I think ultimately, the film gets away with the incomplete development of Harper because of the terrific cast. That means the leads, but also MVP drop-ins that I don’t want to spoil, and the presence of people like Mary Holland, who is one of the most indispensable comic actresses we have. Her every line reading kills, and she manages to make her character deeply funny but never pitiful; she might be the most decent person in the whole family.\u003c/p>\n\u003cp>It’s particularly satisfying to see Kristen Stewart getting, and enjoying, this kind of work. She’s done plenty of good things that have established her acting chops, but this is a laid-back, charming, funny performance that makes Abby the clear hero of the movie, and the one with the most successfully excavated feelings. In an interesting bend to the formula, it’s Abby who winds up befriending Riley, and seeing the two women—Harper’s ex-partner and current partner—talk about what it’s like to be with her turns out to be perhaps more fun than seeing Abby and Harper together.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This kind of dissection might make it sound like I didn’t enjoy the film, and I emphatically did. It’s funny, it’s charming, it’s warm, and it’s got a bunch of really good performances. It’s so good to see queer creators and characters given their own space in this kind of popular genre entertainment. Stewart is just terrific in it, and I don’t think the issue with Harper is Davis, considering how many things she’s also been terrific in. I think getting absolutely everything in balance with this kind of story is almost impossible, and to their credit, they come pretty close.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=%27Happiest+Season%27+Is+A+Holiday+Family+Romcom+With+A+Very+Merry+Cast&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Netflix Removes 'Chappelle's Show' at Dave Chappelle's Request",
"headTitle": "Netflix Removes ‘Chappelle’s Show’ at Dave Chappelle’s Request | KQED",
"content": "\u003cp>Comedian Dave Chappelle had a strange request for his fans. Don’t stream his show.\u003c/p>\n\u003cp>“I’m begging you. If you ever liked me,” he said in a video of a standup routine he \u003ca href=\"https://www.instagram.com/p/CH-rR9znT3g/\" target=\"_blank\" rel=\"noopener noreferrer\">shared\u003c/a> on Tuesday. “Boycott \u003cem>Chappelle’s Show\u003c/em>. Do not watch it unless they pay me.”\u003c/p>\n\u003cp>Chappelle was calling out the network Comedy Central, which first aired \u003cem>Chappelle’s Show\u003c/em> from 2003 to 2006. He said in the video the company licensed the show to Netflix and HBO Max without paying him or informing him about the deal.\u003c/p>\n\u003cp>Chappelle said Comedy Central was able to do so because as a young man he had been snared in an unfair contract, which allows the network to continue profiting from his show and prevents Chappelle from using its name.\u003c/p>\n\u003cp>Chappelle famously walked out on the show in 2005 before finishing the third season, forgoing what could’ve been a \u003ca href=\"https://www.npr.org/2019/05/07/721017931/dave-chappelle-to-be-awarded-mark-twain-prize-for-american-humor\" target=\"_blank\" rel=\"noopener noreferrer\">$50 million deal.\u003c/a> He had served as the series’ creator, executive producer and star. Comedy Central aired the three episodes for that season already recorded.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As he recounted on Instagram, when Chappelle found out \u003cem>Chappelle’s\u003c/em> \u003cem>Show \u003c/em>was going to be streamed on Netflix, he called the streaming service to express his misgivings.\u003c/p>\n\u003cp>https://twitter.com/nohipstersblog2/status/1331314602538377219\u003c/p>\n\u003cp>A Netflix spokesperson confirmed the company removed the show early Tuesday morning at the comedian’s request after airing it for less than a month but declined to comment further. The streaming service has a robust business relationship with the comedian, \u003ca href=\"https://pagesix.com/2016/11/21/dave-chappelle-will-make-60m-from-netflix-specials/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly\u003c/a> paying Chappelle up to $60 million for five stand-up specials in 2016.\u003c/p>\n\u003cp>“That’s why I f–k with Netflix, because they pay me my money, they do what they say they’re gonna do,” Chappelle said in the video. “And they went above and beyond what you could expect from a businessman.”\u003c/p>\n\u003cp>Chappelle’s quarrel is not a legal one—he acknowledges he signed the contract with Comedy Central. But Chappelle said he was then 28, broke and expecting a child.\u003c/p>\n\u003cp>“Perfectly legal,” he said. “But is that right? I didn’t think so either.”\u003c/p>\n\u003cp>Chappelle’s strategy is to call on his fans to stop watching the show. It is still on HBO Max, as well as CBS All Access.\u003c/p>\n\u003cp>Neither Viacom, which owns Comedy Central, nor HBO Max responded to requests for comment by publication time.\u003c/p>\n\u003cp>While Chappelle targeted Comedy Central in what he described as “publicly flogging a network,” he said the mistreatment of artists is an industrywide problem.\u003c/p>\n\u003cp>Chappelle drew comparisons of financial mistreatment to the abuses and sexual harassment brought to light by the #MeToo movement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m not up here trying to tell you guys that I believe that Comedy Central gave me a raw deal just because I’m Black,” he said. “I believe that they gave me a raw deal, because this f–king industry is a monster.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Netflix+Removes+%27Chappelle%27s+Show%27+At+Dave+Chappelle%27s+Request&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Dave Chappelle had a strange request for his fans. Don’t stream his show.\u003c/p>\n\u003cp>“I’m begging you. If you ever liked me,” he said in a video of a standup routine he \u003ca href=\"https://www.instagram.com/p/CH-rR9znT3g/\" target=\"_blank\" rel=\"noopener noreferrer\">shared\u003c/a> on Tuesday. “Boycott \u003cem>Chappelle’s Show\u003c/em>. Do not watch it unless they pay me.”\u003c/p>\n\u003cp>Chappelle was calling out the network Comedy Central, which first aired \u003cem>Chappelle’s Show\u003c/em> from 2003 to 2006. He said in the video the company licensed the show to Netflix and HBO Max without paying him or informing him about the deal.\u003c/p>\n\u003cp>Chappelle said Comedy Central was able to do so because as a young man he had been snared in an unfair contract, which allows the network to continue profiting from his show and prevents Chappelle from using its name.\u003c/p>\n\u003cp>Chappelle famously walked out on the show in 2005 before finishing the third season, forgoing what could’ve been a \u003ca href=\"https://www.npr.org/2019/05/07/721017931/dave-chappelle-to-be-awarded-mark-twain-prize-for-american-humor\" target=\"_blank\" rel=\"noopener noreferrer\">$50 million deal.\u003c/a> He had served as the series’ creator, executive producer and star. Comedy Central aired the three episodes for that season already recorded.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As he recounted on Instagram, when Chappelle found out \u003cem>Chappelle’s\u003c/em> \u003cem>Show \u003c/em>was going to be streamed on Netflix, he called the streaming service to express his misgivings.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>A Netflix spokesperson confirmed the company removed the show early Tuesday morning at the comedian’s request after airing it for less than a month but declined to comment further. The streaming service has a robust business relationship with the comedian, \u003ca href=\"https://pagesix.com/2016/11/21/dave-chappelle-will-make-60m-from-netflix-specials/\" target=\"_blank\" rel=\"noopener noreferrer\">reportedly\u003c/a> paying Chappelle up to $60 million for five stand-up specials in 2016.\u003c/p>\n\u003cp>“That’s why I f–k with Netflix, because they pay me my money, they do what they say they’re gonna do,” Chappelle said in the video. “And they went above and beyond what you could expect from a businessman.”\u003c/p>\n\u003cp>Chappelle’s quarrel is not a legal one—he acknowledges he signed the contract with Comedy Central. But Chappelle said he was then 28, broke and expecting a child.\u003c/p>\n\u003cp>“Perfectly legal,” he said. “But is that right? I didn’t think so either.”\u003c/p>\n\u003cp>Chappelle’s strategy is to call on his fans to stop watching the show. It is still on HBO Max, as well as CBS All Access.\u003c/p>\n\u003cp>Neither Viacom, which owns Comedy Central, nor HBO Max responded to requests for comment by publication time.\u003c/p>\n\u003cp>While Chappelle targeted Comedy Central in what he described as “publicly flogging a network,” he said the mistreatment of artists is an industrywide problem.\u003c/p>\n\u003cp>Chappelle drew comparisons of financial mistreatment to the abuses and sexual harassment brought to light by the #MeToo movement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’m not up here trying to tell you guys that I believe that Comedy Central gave me a raw deal just because I’m Black,” he said. “I believe that they gave me a raw deal, because this f–king industry is a monster.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Netflix+Removes+%27Chappelle%27s+Show%27+At+Dave+Chappelle%27s+Request&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "3 Recipes For Cooking Up a Scaled-Down, Low-Key Thanksgiving Meal",
"headTitle": "3 Recipes For Cooking Up a Scaled-Down, Low-Key Thanksgiving Meal | KQED",
"content": "\u003cp>Thanksgiving is going to look different for many Americans this year. As the coronavirus pandemic rages, \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/11/19/936715870/dont-travel-for-thanksgiving-cdc-warns\" target=\"_blank\" rel=\"noopener noreferrer\">the Centers for Disease Control is warning\u003c/a> against traveling to see friends or family, or even gathering with people who do not live with you.\u003c/p>\n\u003cp>Thanksgiving is a holiday most people associate with sitting around a table that is groaning under large platters of food—a big turkey, heaping bowls of mashed potatoes and gravy, stuffing and pies galore—which is simply too much food and effort for one or two or four people.\u003c/p>\n\u003cp>But that isn’t a reason to forego a delicious, sit-down meal.\u003c/p>\n\u003cp>\u003ca id=\"#turkey\" class=\"anchor\">\u003c/a> With that in mind, three chefs share scaled-down Thanksgiving recipes. These dishes—\u003ca href=\"#turkey\" target=\"_blank\" rel=\"noopener noreferrer\">Anita Lo’s turkey roulade\u003c/a>, Aarón Sánchez’s \u003ca href=\"#sprouts\" target=\"_blank\" rel=\"noopener noreferrer\">brussels sprouts with roasted jalapeño vinaigrette\u003c/a> and Sohla El-Waylly’s \u003ca href=\"#pie\" target=\"_blank\" rel=\"noopener noreferrer\">apple (hand) pies\u003c/a>—are meant to serve up to four people.\u003c/p>\n\u003chr>\n\u003ch3>\u003ca id=\"turkey\" class=\"anchor\">\u003c/a> Chef Anita Lo’s Turkey Roulade\u003c/h3>\n\u003cp>A turkey roulade is the kind of thing that looks and sounds fancy, but isn’t much harder than making a stuffing and a roast turkey, says Chef Anita Lo. “You’re essentially making some sautéed mushrooms with some [extra things] in it and rolling it up in a breast and cooking it,” she says. Fresh herbs like thyme and tarragon add a bit of that traditional Thanksgiving flavor, and the butter and olive oil in the stuffing helps keep the turkey moist and flavorful.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Ingredients\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>1 skin on, 2.5 lb. boneless turkey breast\u003c/li>\n\u003cli>salt and pepper\u003c/li>\n\u003cli>10 ounce maitake mushrooms (also called hen of the woods), cleaned and cut into small dice\u003c/li>\n\u003cli>3 tbsp olive oil\u003c/li>\n\u003cli>1 small shallot, minced\u003c/li>\n\u003cli>2 large cloves garlic, minced\u003c/li>\n\u003cli>3 tbsp butter\u003c/li>\n\u003cli>4 ounce sunchokes, cleaned and cut into small dice\u003c/li>\n\u003cli>3 to 4 tbsp fine breadcrumbs\u003c/li>\n\u003cli>1 tbsp fresh thyme leaves, chopped\u003c/li>\n\u003cli>2 tbsp fresh chives, chopped\u003c/li>\n\u003cli>1 tbsp fresh parsley, chopped\u003c/li>\n\u003cli>1/2 tbsp fresh tarragon, chopped\u003c/li>\n\u003cli>zest of one lemon, grated on a Microplane\u003c/li>\n\u003cli>1 tsp lemon juice\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Directions\u003c/strong>\u003c/p>\n\u003cp>Preheat an oven to 375° F (190° C)\u003c/p>\n\u003cp>Heat a large sauté pan on high. When hot, add the olive oil. When just smoking, add the mushrooms in one layer and allow to brown. Stir. Add the shallot, garlic and butter and stir. Cook for another minute, then season to taste with salt and pepper. Remove to a bowl. You may have to do this a few times depending on the size of your pan. Add the sunchokes, bread crumbs, herbs, lemon and lemon zest. Stir. The mixture should form lumps. Use the last tablespoon of breadcrumbs if it doesn’t stick together a bit. Taste and adjust seasonings. Set aside to cool. [aside postid='food_1337226']\u003c/p>\n\u003cp>Dry the turkey breast with a clean paper towel, and place on a board skin side down. Butterfly the thick portion of the breast so that you have a mostly even thickness and so you have a rough rectangle of meat that when rolled, will be covered by the skin. Season with salt and pepper on both sides. With the skin side down, spread the mushroom mixture evenly on the meat, leaving a 1-2 inch border at the farthest side where you will end the rolling. Starting from the side closest to you, roll the meat into a cylinder. Tie with a butcher string along the length of the roll to hold it all together. This may be done up to a day before cooking if desired. Just take the roll out of the refrigerator at least 30 minutes before cooking to come to room temp.\u003c/p>\n\u003cp>Place the roll, seam side down on a rack elevated over a roasting pan filled with a thin layer of water. Roast until the internal temperature at its thickest point is 150, about 50 minutes to an hour. Allow to rest at least 10 minutes before slicing.\u003c/p>\n\u003cp>You can make a quick pan gravy with some flour and chicken stock from the drippings if desired.\u003c/p>\n\u003chr>\n\u003ch3>\u003ca id=\"sprouts\" class=\"anchor\">\u003c/a> \u003cstrong> Chef Aarón Sánchez’s Brussels Sprouts With Roasted Jalapeño Vinaigrette\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_13889696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/brussels_wide-a27275f98ac4e0d1432b5de565aa64c0232c9c8a-800x450.jpg\" alt=\"Chef Aarón Sánchez's Brussels sprouts with roasted jalapeño vinaigrette.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/brussels_wide-a27275f98ac4e0d1432b5de565aa64c0232c9c8a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/brussels_wide-a27275f98ac4e0d1432b5de565aa64c0232c9c8a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/brussels_wide-a27275f98ac4e0d1432b5de565aa64c0232c9c8a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/brussels_wide-a27275f98ac4e0d1432b5de565aa64c0232c9c8a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/brussels_wide-a27275f98ac4e0d1432b5de565aa64c0232c9c8a.jpg 1278w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chef Aarón Sánchez’s Brussels sprouts with roasted jalapeño vinaigrette. \u003ccite>(Randy Schmidt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This dish comes from Johnny Sánchez, chef Aarón Sánchez’s New Orleans restaurant. It features fried brussels sprouts, sweet butternut squash and tart pomegranate seeds dressed in a bracing roasted jalapeño vinaigrette. Feel free to roast the sprouts instead of frying them. And if all that peeling and dicing and chopping feels overwhelming, Sanchez understands. “I’m all about convenience,” he says. “You know the chef’s saying: ‘work smarter, not harder.’ ” Buy the vegetables pre-chopped, and you’ll save a lot of time.\u003c/p>\n\u003cp>\u003cstrong>Ingredients\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>1 large butternut squash\u003c/li>\n\u003cli>1 tbsp extra-virgin olive oil\u003c/li>\n\u003cli>2 tsp kosher salt, plus more for seasoning\u003c/li>\n\u003cli>1 tsp chili powder\u003c/li>\n\u003cli>½ tsp dried Mexican oregano\u003c/li>\n\u003cli>¼ tsp ground cumin\u003c/li>\n\u003cli>¼ tsp ground coriander\u003c/li>\n\u003cli>¼ tsp ground fennel\u003c/li>\n\u003cli>¼ tsp ground yellow mustard\u003c/li>\n\u003cli>¼ tsp sweet paprika\u003c/li>\n\u003cli>1/8 tsp onion powder\u003c/li>\n\u003cli>1/8 tsp garlic powder\u003c/li>\n\u003cli>8 cups (about 790 g) Brussels sprouts\u003c/li>\n\u003cli>2 quarts (2 liters) canola or vegetable oil for frying\u003c/li>\n\u003cli>1 cup (120 ml) Roasted Jalapeño Vinaigrette (recipe follows)\u003c/li>\n\u003cli>½ cup (15 g) cilantro, chopped, plus more for serving\u003c/li>\n\u003cli>1 serrano pepper, thinly sliced\u003c/li>\n\u003cli>½ cup (60 g) crumbled cotija cheese\u003c/li>\n\u003cli>¼ cup (45 g) pomegranate seeds\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Directions \u003c/strong>\u003c/p>\n\u003cp>Preheat the oven to 375°F (190°C) and line a baking sheet with cooking parchment. Peel and seed the squash, then cut it into 1-inch (2.5 cm) pieces. Toss with the olive oil, salt, and all the spices, then spread on the sheet in a single layer. Roast until tender with lightly browned edges, 20 to 30 minutes. [aside postid='bayareabites_102926']\u003c/p>\n\u003cp>Meanwhile, halve the Brussels sprouts and trim their tough outer leaves. (If you prefer to roast the Brussels sprouts instead of deep-frying them, see \u003ca href=\"#note\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Note\u003c/strong>\u003c/a>.) Pour the canola oil into a large heavy-bottomed pot and clip a thermometer to the side. Line a plate or wire rack with paper towels.\u003c/p>\n\u003cp>Bring the canola oil to 375°F (190°C) over medium-high heat and fry the sprouts in batches until golden brown, about 2 minutes per batch. Use a spider or slotted spoon to transfer them to the lined plate, season with salt, and continue with the rest.\u003c/p>\n\u003cp>Pour the vinaigrette into a large mixing bowl, then gently fold in the squash, Brussels sprouts, cilantro, and serrano pepper to coat. Scatter the cheese and a handful of pomegranate seeds over the top for serving.\u003c/p>\n\u003cp>\u003ca id=\"note\" class=\"anchor\">\u003c/a>\u003cstrong>Note: \u003c/strong>To roast the Brussels sprouts, line another baking sheet with cooking parchment and adjust the oven to 400°F (205°C). Prep the sprouts as described in Step 2, then toss them in 2 tablespoons of olive oil, season with salt, and roast until deeply golden, 20 to 25 minutes.\u003c/p>\n\u003cp>\u003cstrong>Roasted Jalapeño Vinaigrette\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ingredients \u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>1 to 2 jalapeños\u003c/li>\n\u003cli>2 green onions\u003c/li>\n\u003cli>2 cloves garlic, peeled\u003c/li>\n\u003cli>1 cup (200 ml) grapeseed or vegetable oil\u003c/li>\n\u003cli>¼ cup (60 ml) rice vinegar\u003c/li>\n\u003cli>1 tbsp orange juice\u003c/li>\n\u003cli>1 tbsp lime juice\u003c/li>\n\u003cli>1 tbsp agave nectar\u003c/li>\n\u003cli>1 cup (40 g) fresh cilantro\u003c/li>\n\u003cli>Salt and freshly ground black pepper\u003c/li>\n\u003c/ul>\n\u003cp>Preheat your grill to medium-high or place a metal grate directly atop a gas burner on medium-high heat. Set the jalapeños and green onions over the flame and roast, turning occasionally, until they’re soft and charred all over. When they’re cool enough to handle, peel any papery char from the jalapeño, then remove its stem, seeds, and membranes.\u003c/p>\n\u003cp>Confit the garlic by covering the cloves with the oil in a small saucepan or skillet and gently warming over medium-low heat for 20 to 30 minutes, until it’s soft but hasn’t built too much color. Remove the garlic when cooked and reserve the oil.\u003c/p>\n\u003cp>Chop the roasted jalapeños and green onions and puree in a blender with the confit garlic, rice vinegar, orange juice, lime juice, agave nectar and cilantro. With the blender still going, stream in the reserved garlic oil and blend until smooth. Season with salt and pepper. Use right away or store in refrigerator up to 1 week.\u003c/p>\n\u003cp>Makes about 1½ cups (360 ml)\u003c/p>\n\u003chr>\n\u003ch3>\u003ca id=\"pie\" class=\"anchor\">\u003c/a> \u003cstrong> Chef Sohla El-Waylly’s Apple (Hand) Pie\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_13889697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/pies2-f08913a0e8e5a7cca3337ff6446a8197e9078996-800x600.jpe\" alt=\"Chef Sohla El-Waylly's apple (hand) pie.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/pies2-f08913a0e8e5a7cca3337ff6446a8197e9078996-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/pies2-f08913a0e8e5a7cca3337ff6446a8197e9078996-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/pies2-f08913a0e8e5a7cca3337ff6446a8197e9078996-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/pies2-f08913a0e8e5a7cca3337ff6446a8197e9078996-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/pies2-f08913a0e8e5a7cca3337ff6446a8197e9078996-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/pies2-f08913a0e8e5a7cca3337ff6446a8197e9078996-2048x1536.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/pies2-f08913a0e8e5a7cca3337ff6446a8197e9078996-1920x1440.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chef Sohla El-Waylly’s apple (hand) pie. \u003ccite>(Sohla El-Waylly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beauty of these apple hand pies from recipe developer Sohla El-Waylly is how easy they are, especially because they call for pre-made pie dough. El-Waylly says it’s best to use Granny Smith apples, which cook down into a thick and jammy compote without the need for too much starch. You’ll need to let the filling cool completely or the uncooked crust will melt, so you can make the filling ahead of time before forming your pies.\u003cbr>\n\u003cstrong>\u003cbr>\nFor the filling:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>1 pound Granny Smith apples (about 2 medium)\u003c/li>\n\u003cli>1 cup apple cider\u003c/li>\n\u003cli>6 tbsp light brown sugar\u003c/li>\n\u003cli>2 tsp tapioca starch or cornstarch\u003c/li>\n\u003cli>½ tsp ground cinnamon\u003c/li>\n\u003cli>pinch ground nutmeg\u003c/li>\n\u003cli>pinch kosher salt\u003c/li>\n\u003cli>1 tablespoon butter\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>For the pies:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>flour for dusting\u003c/li>\n\u003cli>1 ready-to-bake pie crust, thawed\u003c/li>\n\u003cli>1 egg\u003c/li>\n\u003cli>1 tbsp sugar\u003c/li>\n\u003cli>¼ tsp cinnamon\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Make the filling:\u003c/strong>\u003c/p>\n\u003cp>Peel apples and cut around the core to remove the flesh in large cheeks. Dice the apple flesh into rough ½-inch pieces and transfer to a medium saucepan. Add apple cider and sugar, and bring to a boil over high heat. Continue simmering the apples, stirring occasionally, until the apples are tender and translucent, the liquid has cooked down enough to coat the back of the spoon, and the mixture looks darkened in color, 12 to 14 minutes. [aside postid='bayareabites_74069']\u003c/p>\n\u003cp>In a small bowl, stir together the starch with a few spoonfuls of the apple mixture to dissolve then stir it back into the pot. While stirring constantly, simmer the mixture for a full minute to cook the starch.\u003c/p>\n\u003cp>Remove from heat and stir in the cinnamon, nutmeg, salt and butter. Transfer to a bowl to cool completely. (The filling can be made 3 days in advance and kept chilled.)\u003c/p>\n\u003cp>\u003cstrong>Make the pies:\u003c/strong>\u003c/p>\n\u003cp>Preheat oven to 375° F (190° C).\u003c/p>\n\u003cp>Lightly dust a clean and dry surface with flour and unroll the prepared pie crust, gently warming it up with your hands if it feels stiff. If needed, use a rolling pin to gently roll it out into an even 11-inch circle. Using a sharp paring knife, cut the crust into quarters.\u003c/p>\n\u003cp>Divide the chilled apple compote evenly between the four pie crust wedges, leaving a 1-inch border all around. Working with one piece at a time, brush the edges with egg wash and fold the sides over the filling to overlap in the middle and form a cone, taking care to press the tip closed.\u003c/p>\n\u003cp>Transfer the hand pie to a baking sheet lined with parchment and place seam side down. Use the side of your hand to gently press the wide end of the cone to seal. Fold over the edge and crimp with your fingers or a fork, just like you would for a full pie. Using the tip of a paring knife, cut a couple of slits into the hand pie to release steam as it bakes. Repeat with remaining dough and filling. and freeze for at least 20 minutes before baking. (Alternatively, freeze overnight before individually wrapping and storing for up to 2 months.)\u003c/p>\n\u003cp>In a small bowl, whisk the egg with 1 tablespoon of water and a pinch of salt. In another small bowl, stir together the sugar and cinnamon. Brush the hand pies evenly with egg wash and sprinkle with cinnamon.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Bake in the preheated oven until golden brown, about 18 to 20 minutes. Cool for 10 minutes before eating.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=3+Recipes+For+Cooking+Up+A+Scaled-Down%2C+Low-Key+Thanksgiving+Meal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thanksgiving is going to look different for many Americans this year. As the coronavirus pandemic rages, \u003ca href=\"https://www.npr.org/sections/coronavirus-live-updates/2020/11/19/936715870/dont-travel-for-thanksgiving-cdc-warns\" target=\"_blank\" rel=\"noopener noreferrer\">the Centers for Disease Control is warning\u003c/a> against traveling to see friends or family, or even gathering with people who do not live with you.\u003c/p>\n\u003cp>Thanksgiving is a holiday most people associate with sitting around a table that is groaning under large platters of food—a big turkey, heaping bowls of mashed potatoes and gravy, stuffing and pies galore—which is simply too much food and effort for one or two or four people.\u003c/p>\n\u003cp>But that isn’t a reason to forego a delicious, sit-down meal.\u003c/p>\n\u003cp>\u003ca id=\"#turkey\" class=\"anchor\">\u003c/a> With that in mind, three chefs share scaled-down Thanksgiving recipes. These dishes—\u003ca href=\"#turkey\" target=\"_blank\" rel=\"noopener noreferrer\">Anita Lo’s turkey roulade\u003c/a>, Aarón Sánchez’s \u003ca href=\"#sprouts\" target=\"_blank\" rel=\"noopener noreferrer\">brussels sprouts with roasted jalapeño vinaigrette\u003c/a> and Sohla El-Waylly’s \u003ca href=\"#pie\" target=\"_blank\" rel=\"noopener noreferrer\">apple (hand) pies\u003c/a>—are meant to serve up to four people.\u003c/p>\n\u003chr>\n\u003ch3>\u003ca id=\"turkey\" class=\"anchor\">\u003c/a> Chef Anita Lo’s Turkey Roulade\u003c/h3>\n\u003cp>A turkey roulade is the kind of thing that looks and sounds fancy, but isn’t much harder than making a stuffing and a roast turkey, says Chef Anita Lo. “You’re essentially making some sautéed mushrooms with some [extra things] in it and rolling it up in a breast and cooking it,” she says. Fresh herbs like thyme and tarragon add a bit of that traditional Thanksgiving flavor, and the butter and olive oil in the stuffing helps keep the turkey moist and flavorful.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Ingredients\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>1 skin on, 2.5 lb. boneless turkey breast\u003c/li>\n\u003cli>salt and pepper\u003c/li>\n\u003cli>10 ounce maitake mushrooms (also called hen of the woods), cleaned and cut into small dice\u003c/li>\n\u003cli>3 tbsp olive oil\u003c/li>\n\u003cli>1 small shallot, minced\u003c/li>\n\u003cli>2 large cloves garlic, minced\u003c/li>\n\u003cli>3 tbsp butter\u003c/li>\n\u003cli>4 ounce sunchokes, cleaned and cut into small dice\u003c/li>\n\u003cli>3 to 4 tbsp fine breadcrumbs\u003c/li>\n\u003cli>1 tbsp fresh thyme leaves, chopped\u003c/li>\n\u003cli>2 tbsp fresh chives, chopped\u003c/li>\n\u003cli>1 tbsp fresh parsley, chopped\u003c/li>\n\u003cli>1/2 tbsp fresh tarragon, chopped\u003c/li>\n\u003cli>zest of one lemon, grated on a Microplane\u003c/li>\n\u003cli>1 tsp lemon juice\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Directions\u003c/strong>\u003c/p>\n\u003cp>Preheat an oven to 375° F (190° C)\u003c/p>\n\u003cp>Heat a large sauté pan on high. When hot, add the olive oil. When just smoking, add the mushrooms in one layer and allow to brown. Stir. Add the shallot, garlic and butter and stir. Cook for another minute, then season to taste with salt and pepper. Remove to a bowl. You may have to do this a few times depending on the size of your pan. Add the sunchokes, bread crumbs, herbs, lemon and lemon zest. Stir. The mixture should form lumps. Use the last tablespoon of breadcrumbs if it doesn’t stick together a bit. Taste and adjust seasonings. Set aside to cool. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dry the turkey breast with a clean paper towel, and place on a board skin side down. Butterfly the thick portion of the breast so that you have a mostly even thickness and so you have a rough rectangle of meat that when rolled, will be covered by the skin. Season with salt and pepper on both sides. With the skin side down, spread the mushroom mixture evenly on the meat, leaving a 1-2 inch border at the farthest side where you will end the rolling. Starting from the side closest to you, roll the meat into a cylinder. Tie with a butcher string along the length of the roll to hold it all together. This may be done up to a day before cooking if desired. Just take the roll out of the refrigerator at least 30 minutes before cooking to come to room temp.\u003c/p>\n\u003cp>Place the roll, seam side down on a rack elevated over a roasting pan filled with a thin layer of water. Roast until the internal temperature at its thickest point is 150, about 50 minutes to an hour. Allow to rest at least 10 minutes before slicing.\u003c/p>\n\u003cp>You can make a quick pan gravy with some flour and chicken stock from the drippings if desired.\u003c/p>\n\u003chr>\n\u003ch3>\u003ca id=\"sprouts\" class=\"anchor\">\u003c/a> \u003cstrong> Chef Aarón Sánchez’s Brussels Sprouts With Roasted Jalapeño Vinaigrette\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_13889696\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889696\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/brussels_wide-a27275f98ac4e0d1432b5de565aa64c0232c9c8a-800x450.jpg\" alt=\"Chef Aarón Sánchez's Brussels sprouts with roasted jalapeño vinaigrette.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/brussels_wide-a27275f98ac4e0d1432b5de565aa64c0232c9c8a-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/brussels_wide-a27275f98ac4e0d1432b5de565aa64c0232c9c8a-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/brussels_wide-a27275f98ac4e0d1432b5de565aa64c0232c9c8a-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/brussels_wide-a27275f98ac4e0d1432b5de565aa64c0232c9c8a-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/brussels_wide-a27275f98ac4e0d1432b5de565aa64c0232c9c8a.jpg 1278w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chef Aarón Sánchez’s Brussels sprouts with roasted jalapeño vinaigrette. \u003ccite>(Randy Schmidt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This dish comes from Johnny Sánchez, chef Aarón Sánchez’s New Orleans restaurant. It features fried brussels sprouts, sweet butternut squash and tart pomegranate seeds dressed in a bracing roasted jalapeño vinaigrette. Feel free to roast the sprouts instead of frying them. And if all that peeling and dicing and chopping feels overwhelming, Sanchez understands. “I’m all about convenience,” he says. “You know the chef’s saying: ‘work smarter, not harder.’ ” Buy the vegetables pre-chopped, and you’ll save a lot of time.\u003c/p>\n\u003cp>\u003cstrong>Ingredients\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>1 large butternut squash\u003c/li>\n\u003cli>1 tbsp extra-virgin olive oil\u003c/li>\n\u003cli>2 tsp kosher salt, plus more for seasoning\u003c/li>\n\u003cli>1 tsp chili powder\u003c/li>\n\u003cli>½ tsp dried Mexican oregano\u003c/li>\n\u003cli>¼ tsp ground cumin\u003c/li>\n\u003cli>¼ tsp ground coriander\u003c/li>\n\u003cli>¼ tsp ground fennel\u003c/li>\n\u003cli>¼ tsp ground yellow mustard\u003c/li>\n\u003cli>¼ tsp sweet paprika\u003c/li>\n\u003cli>1/8 tsp onion powder\u003c/li>\n\u003cli>1/8 tsp garlic powder\u003c/li>\n\u003cli>8 cups (about 790 g) Brussels sprouts\u003c/li>\n\u003cli>2 quarts (2 liters) canola or vegetable oil for frying\u003c/li>\n\u003cli>1 cup (120 ml) Roasted Jalapeño Vinaigrette (recipe follows)\u003c/li>\n\u003cli>½ cup (15 g) cilantro, chopped, plus more for serving\u003c/li>\n\u003cli>1 serrano pepper, thinly sliced\u003c/li>\n\u003cli>½ cup (60 g) crumbled cotija cheese\u003c/li>\n\u003cli>¼ cup (45 g) pomegranate seeds\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Directions \u003c/strong>\u003c/p>\n\u003cp>Preheat the oven to 375°F (190°C) and line a baking sheet with cooking parchment. Peel and seed the squash, then cut it into 1-inch (2.5 cm) pieces. Toss with the olive oil, salt, and all the spices, then spread on the sheet in a single layer. Roast until tender with lightly browned edges, 20 to 30 minutes. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, halve the Brussels sprouts and trim their tough outer leaves. (If you prefer to roast the Brussels sprouts instead of deep-frying them, see \u003ca href=\"#note\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cstrong>Note\u003c/strong>\u003c/a>.) Pour the canola oil into a large heavy-bottomed pot and clip a thermometer to the side. Line a plate or wire rack with paper towels.\u003c/p>\n\u003cp>Bring the canola oil to 375°F (190°C) over medium-high heat and fry the sprouts in batches until golden brown, about 2 minutes per batch. Use a spider or slotted spoon to transfer them to the lined plate, season with salt, and continue with the rest.\u003c/p>\n\u003cp>Pour the vinaigrette into a large mixing bowl, then gently fold in the squash, Brussels sprouts, cilantro, and serrano pepper to coat. Scatter the cheese and a handful of pomegranate seeds over the top for serving.\u003c/p>\n\u003cp>\u003ca id=\"note\" class=\"anchor\">\u003c/a>\u003cstrong>Note: \u003c/strong>To roast the Brussels sprouts, line another baking sheet with cooking parchment and adjust the oven to 400°F (205°C). Prep the sprouts as described in Step 2, then toss them in 2 tablespoons of olive oil, season with salt, and roast until deeply golden, 20 to 25 minutes.\u003c/p>\n\u003cp>\u003cstrong>Roasted Jalapeño Vinaigrette\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Ingredients \u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>1 to 2 jalapeños\u003c/li>\n\u003cli>2 green onions\u003c/li>\n\u003cli>2 cloves garlic, peeled\u003c/li>\n\u003cli>1 cup (200 ml) grapeseed or vegetable oil\u003c/li>\n\u003cli>¼ cup (60 ml) rice vinegar\u003c/li>\n\u003cli>1 tbsp orange juice\u003c/li>\n\u003cli>1 tbsp lime juice\u003c/li>\n\u003cli>1 tbsp agave nectar\u003c/li>\n\u003cli>1 cup (40 g) fresh cilantro\u003c/li>\n\u003cli>Salt and freshly ground black pepper\u003c/li>\n\u003c/ul>\n\u003cp>Preheat your grill to medium-high or place a metal grate directly atop a gas burner on medium-high heat. Set the jalapeños and green onions over the flame and roast, turning occasionally, until they’re soft and charred all over. When they’re cool enough to handle, peel any papery char from the jalapeño, then remove its stem, seeds, and membranes.\u003c/p>\n\u003cp>Confit the garlic by covering the cloves with the oil in a small saucepan or skillet and gently warming over medium-low heat for 20 to 30 minutes, until it’s soft but hasn’t built too much color. Remove the garlic when cooked and reserve the oil.\u003c/p>\n\u003cp>Chop the roasted jalapeños and green onions and puree in a blender with the confit garlic, rice vinegar, orange juice, lime juice, agave nectar and cilantro. With the blender still going, stream in the reserved garlic oil and blend until smooth. Season with salt and pepper. Use right away or store in refrigerator up to 1 week.\u003c/p>\n\u003cp>Makes about 1½ cups (360 ml)\u003c/p>\n\u003chr>\n\u003ch3>\u003ca id=\"pie\" class=\"anchor\">\u003c/a> \u003cstrong> Chef Sohla El-Waylly’s Apple (Hand) Pie\u003c/strong>\u003c/h3>\n\u003cfigure id=\"attachment_13889697\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13889697\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/pies2-f08913a0e8e5a7cca3337ff6446a8197e9078996-800x600.jpe\" alt=\"Chef Sohla El-Waylly's apple (hand) pie.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/pies2-f08913a0e8e5a7cca3337ff6446a8197e9078996-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/pies2-f08913a0e8e5a7cca3337ff6446a8197e9078996-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/pies2-f08913a0e8e5a7cca3337ff6446a8197e9078996-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/pies2-f08913a0e8e5a7cca3337ff6446a8197e9078996-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/pies2-f08913a0e8e5a7cca3337ff6446a8197e9078996-1536x1152.jpe 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/pies2-f08913a0e8e5a7cca3337ff6446a8197e9078996-2048x1536.jpe 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/pies2-f08913a0e8e5a7cca3337ff6446a8197e9078996-1920x1440.jpe 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chef Sohla El-Waylly’s apple (hand) pie. \u003ccite>(Sohla El-Waylly)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The beauty of these apple hand pies from recipe developer Sohla El-Waylly is how easy they are, especially because they call for pre-made pie dough. El-Waylly says it’s best to use Granny Smith apples, which cook down into a thick and jammy compote without the need for too much starch. You’ll need to let the filling cool completely or the uncooked crust will melt, so you can make the filling ahead of time before forming your pies.\u003cbr>\n\u003cstrong>\u003cbr>\nFor the filling:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>1 pound Granny Smith apples (about 2 medium)\u003c/li>\n\u003cli>1 cup apple cider\u003c/li>\n\u003cli>6 tbsp light brown sugar\u003c/li>\n\u003cli>2 tsp tapioca starch or cornstarch\u003c/li>\n\u003cli>½ tsp ground cinnamon\u003c/li>\n\u003cli>pinch ground nutmeg\u003c/li>\n\u003cli>pinch kosher salt\u003c/li>\n\u003cli>1 tablespoon butter\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>For the pies:\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>flour for dusting\u003c/li>\n\u003cli>1 ready-to-bake pie crust, thawed\u003c/li>\n\u003cli>1 egg\u003c/li>\n\u003cli>1 tbsp sugar\u003c/li>\n\u003cli>¼ tsp cinnamon\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Make the filling:\u003c/strong>\u003c/p>\n\u003cp>Peel apples and cut around the core to remove the flesh in large cheeks. Dice the apple flesh into rough ½-inch pieces and transfer to a medium saucepan. Add apple cider and sugar, and bring to a boil over high heat. Continue simmering the apples, stirring occasionally, until the apples are tender and translucent, the liquid has cooked down enough to coat the back of the spoon, and the mixture looks darkened in color, 12 to 14 minutes. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a small bowl, stir together the starch with a few spoonfuls of the apple mixture to dissolve then stir it back into the pot. While stirring constantly, simmer the mixture for a full minute to cook the starch.\u003c/p>\n\u003cp>Remove from heat and stir in the cinnamon, nutmeg, salt and butter. Transfer to a bowl to cool completely. (The filling can be made 3 days in advance and kept chilled.)\u003c/p>\n\u003cp>\u003cstrong>Make the pies:\u003c/strong>\u003c/p>\n\u003cp>Preheat oven to 375° F (190° C).\u003c/p>\n\u003cp>Lightly dust a clean and dry surface with flour and unroll the prepared pie crust, gently warming it up with your hands if it feels stiff. If needed, use a rolling pin to gently roll it out into an even 11-inch circle. Using a sharp paring knife, cut the crust into quarters.\u003c/p>\n\u003cp>Divide the chilled apple compote evenly between the four pie crust wedges, leaving a 1-inch border all around. Working with one piece at a time, brush the edges with egg wash and fold the sides over the filling to overlap in the middle and form a cone, taking care to press the tip closed.\u003c/p>\n\u003cp>Transfer the hand pie to a baking sheet lined with parchment and place seam side down. Use the side of your hand to gently press the wide end of the cone to seal. Fold over the edge and crimp with your fingers or a fork, just like you would for a full pie. Using the tip of a paring knife, cut a couple of slits into the hand pie to release steam as it bakes. Repeat with remaining dough and filling. and freeze for at least 20 minutes before baking. (Alternatively, freeze overnight before individually wrapping and storing for up to 2 months.)\u003c/p>\n\u003cp>In a small bowl, whisk the egg with 1 tablespoon of water and a pinch of salt. In another small bowl, stir together the sugar and cinnamon. Brush the hand pies evenly with egg wash and sprinkle with cinnamon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bake in the preheated oven until golden brown, about 18 to 20 minutes. Cool for 10 minutes before eating.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=3+Recipes+For+Cooking+Up+A+Scaled-Down%2C+Low-Key+Thanksgiving+Meal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Kwame Alexander Offers New Poems on Race and Hope as 'Psalms and Balms'",
"headTitle": "Kwame Alexander Offers New Poems on Race and Hope as ‘Psalms and Balms’ | KQED",
"content": "\u003cp>With his new book of poetry about race in America, \u003cem>Morning Edition\u003c/em> poet-in-residence Kwame Alexander hopes to “shine a little light for the world.”\u003c/p>\n\u003cp>In the book, \u003cem>Light For The World To See: A Thousand Words On Race And Hope, \u003c/em>Alexander writes three poems on three events: the murder of George Floyd at the hands of police officers in Minneapolis, Colin Kaepernick’s kneeling protests before NFL games, and the election of Barack Obama as president.\u003c/p>\n\u003cp>“I think that through the listening of a poem or the reading of a poem about the woes of the world—and we’ve got a lot of woes right now—we can be inspired to find the wonderful in ourselves and in each other,” he tells NPR.\u003c/p>\n\u003cp>[\u003cem>You can hear Alexander read the poem “The Undefeated” from the book in the audio version of the interview or watch a \u003ca href=\"https://theundefeated.com/videos/this-one-is-for-us/\" target=\"_blank\" rel=\"noopener noreferrer\">video of the poem here\u003c/a>. He also created a community poem, “Running For Your Life,” based on submissions to NPR about what it means to be Black and safe in America today that you can \u003ca href=\"https://www.npr.org/2020/05/27/862339935/running-for-your-life-a-community-poem-for-ahmaud-arbery\" target=\"_blank\" rel=\"noopener noreferrer\">read here\u003c/a>.\u003c/em>]\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On why he wrote this book of poems \u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889659 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/9780358539414_hres_custom-7c03c2ad34a13039a6258643769b8626e925c1eb.jpg\" alt=\"\" width=\"200\" height=\"285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/9780358539414_hres_custom-7c03c2ad34a13039a6258643769b8626e925c1eb.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/9780358539414_hres_custom-7c03c2ad34a13039a6258643769b8626e925c1eb-160x228.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">I think the weight of being Black was too much to carry for me for a long time. I didn’t know how to find answers to assert myself to do something. And then a friend of mine sent me a quote by Toni Morrison that said this is precisely the time when artists go to work. There’s no time for despair. No place for self pity. No need for silence. No room for fear. We speak, we write, we do language, that is how civilizations heal. And so I wrote. I used my words to scream, to shout, to sort of lift up my voice to shine a little light for the world.\u003c/p>\n\u003cp>I wanted to write this as a reminder to Black children and families to remember their humanity. I wanted to write it as sort of a wake-up call to white Americans to acknowledge and know the truth, to fight against a proclivity to maintain the hierarchy, whether conscious or not. I think of these poems as sort of negro spirituals in a way—which are timeless in their comfort and their guidance and their roots in praise houses and ring shouts and other informal gatherings of enslaved Africans who needed to express their sorrows and their hopes, wading in the water. \u003cem>Nobody knows the trouble I’ve seen\u003c/em>. \u003cem>Steal away to Jesus\u003c/em>. That’s what these poems are for me. They are psalms and balms for my soul and hopefully for our souls so that we can get on with the business of making the world a better place.\u003c/p>\n\u003cp>\u003cstrong>On the parallels he sees in James Baldwin’s \u003c/strong>\u003cstrong>\u003cem>A Report From Occupied Territory, \u003c/em>\u003c/strong>\u003cstrong>\u003ca href=\"https://www.thenation.com/article/archive/report-occupied-territory/\" target=\"_blank\" rel=\"noopener noreferrer\">an essay written in 1966 about police brutality\u003c/a>, and what the nation is going through today—and on his own writing in this tradition\u003c/strong>\u003c/p>\n\u003cp>I think [it’s] in the sense that Baldwin was crying out. It was a plea for our humanity, for the humanity of Black people in particular, of oppressed people in general, to be recognized. I don’t know if I’m writing a plea more so that I’m making a demand and that I’m saying we’ve got to reclaim our own humanity and cannot allow ourselves to be defined by other people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The wound, the wound has been here. The wound has been here since Africans first arrived on these shores. These episodes of police killings and brutality—they’ve existed for 400 years. I wrote this to remind us of the tragedy, while also showcasing the triumph. The only way for us to do things better in the future is to understand what we did wrong in the past. I do think that we are at a critical boiling point of resistance in America and you see whites and Blacks and all Americans coming together to stand up for what’s right. We’ve got to all say that we are fired up and we can’t take no more and I think that’s what’s happening.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Kwame+Alexander+Offers+New+Poems+On+Race+And+Hope+As+%27Psalms+And+Balms%27+For+The+Soul&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>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13889659 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/11/9780358539414_hres_custom-7c03c2ad34a13039a6258643769b8626e925c1eb.jpg\" alt=\"\" width=\"200\" height=\"285\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/9780358539414_hres_custom-7c03c2ad34a13039a6258643769b8626e925c1eb.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/11/9780358539414_hres_custom-7c03c2ad34a13039a6258643769b8626e925c1eb-160x228.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">I think the weight of being Black was too much to carry for me for a long time. I didn’t know how to find answers to assert myself to do something. And then a friend of mine sent me a quote by Toni Morrison that said this is precisely the time when artists go to work. There’s no time for despair. No place for self pity. No need for silence. No room for fear. We speak, we write, we do language, that is how civilizations heal. And so I wrote. I used my words to scream, to shout, to sort of lift up my voice to shine a little light for the world.\u003c/p>\n\u003cp>I wanted to write this as a reminder to Black children and families to remember their humanity. I wanted to write it as sort of a wake-up call to white Americans to acknowledge and know the truth, to fight against a proclivity to maintain the hierarchy, whether conscious or not. I think of these poems as sort of negro spirituals in a way—which are timeless in their comfort and their guidance and their roots in praise houses and ring shouts and other informal gatherings of enslaved Africans who needed to express their sorrows and their hopes, wading in the water. \u003cem>Nobody knows the trouble I’ve seen\u003c/em>. \u003cem>Steal away to Jesus\u003c/em>. That’s what these poems are for me. They are psalms and balms for my soul and hopefully for our souls so that we can get on with the business of making the world a better place.\u003c/p>\n\u003cp>\u003cstrong>On the parallels he sees in James Baldwin’s \u003c/strong>\u003cstrong>\u003cem>A Report From Occupied Territory, \u003c/em>\u003c/strong>\u003cstrong>\u003ca href=\"https://www.thenation.com/article/archive/report-occupied-territory/\" target=\"_blank\" rel=\"noopener noreferrer\">an essay written in 1966 about police brutality\u003c/a>, and what the nation is going through today—and on his own writing in this tradition\u003c/strong>\u003c/p>\n\u003cp>I think [it’s] in the sense that Baldwin was crying out. It was a plea for our humanity, for the humanity of Black people in particular, of oppressed people in general, to be recognized. I don’t know if I’m writing a plea more so that I’m making a demand and that I’m saying we’ve got to reclaim our own humanity and cannot allow ourselves to be defined by other people.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The wound, the wound has been here. The wound has been here since Africans first arrived on these shores. These episodes of police killings and brutality—they’ve existed for 400 years. I wrote this to remind us of the tragedy, while also showcasing the triumph. The only way for us to do things better in the future is to understand what we did wrong in the past. I do think that we are at a critical boiling point of resistance in America and you see whites and Blacks and all Americans coming together to stand up for what’s right. We’ve got to all say that we are fired up and we can’t take no more and I think that’s what’s happening.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 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=Kwame+Alexander+Offers+New+Poems+On+Race+And+Hope+As+%27Psalms+And+Balms%27+For+The+Soul&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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