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"content": "\u003cp>“Think about it. Today, we still watch videos formatted for a TV on a vertical screen,” Instagram CEO Kevin Systrom said this morning, \u003ca href=\"https://instagram-press.com/blog/2018/06/20/welcome-to-igtv/\" target=\"_blank\" rel=\"noopener\">unveiling IGTV\u003c/a> five years to the day after launching video on Instagram.\u003c/p>\n\u003cp>IGTV is a new, separate app for creating and watching long-form, vertical video—although you’ll also be able to watch from within the Instagram app.\u003c/p>\n\u003cp>Was this a thing you didn’t realize you need? Yes, at least, according to Systrom. “We either have to rotate our phone awkwardly,” she said, “or watch a tiny version, and that doesn’t make much sense, does it?”\u003c/p>\n\u003cp>Call it a legacy issue, so broadly acknowledged you can watch video of rapper Childish Gambino walking up to a fan in the front row recording his show to turn the phone sideways.\u003c/p>\n\u003cp>[youtube https://www.youtube.com/watch?v=WP97zvva98s]\u003c/p>\n\u003cp>Systrom also takes issue with having to search a directory to find what we want to watch … on say, YouTube. In fact, IGTV looks very much like an attempt at direct competition to YouTube, not unlike the way Instagram Stories directly copied one of the most popular features of Snapchat.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>IGTV videos won’t be limited to one minute, but rather, ten—unless you’re a wildly popular creator, in which case, you get a full hour. That’s just at launch. Eventually, the plan is to scale up capacity so that everyone has access to unlimited video.\u003c/p>\n\u003cp>As with all social media, anyone can be a creator, but some are better at it than others. Instagram has made sure to pre-populate IGTV’s offerings with power users on Instagram like \u003ca href=\"https://www.instagram.com/brycexavier/\">Bryce Xavier \u003c/a>(287,000 followers) and \u003ca href=\"https://www.instagram.com/lelepons/\">Lele Pons\u003c/a> (25.1 million followers). Instagram itself now boasts one billion monthly active users.\u003c/p>\n\u003cp>“I’ve been creating comedy skits, dance videos, music with my friends for years. I’ve perfected the one-minute sketch on Instagram, but get ready to see what I have in store for you with IGTV,” Pons said. (For one thing, she’s starting her own cooking show.)\u003c/p>\n\u003cfigure id=\"attachment_13835605\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835605\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-800x539.jpg\" alt=\"Instagram CEO Kevin Systrom unveiling IGTV in San Francisco.\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut.jpg 1496w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instagram CEO Kevin Systrom unveiling IGTV in San Francisco. \u003ccite>(Photo: Courtesy of Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So naturally, with longer video, you’re wondering what/where/when the advertising will show up. Systrom says there are no ads in IGTV because “right now, we’re focused on building engagement,” but “that [ads] is obviously a very reasonable way to end up,” adding that creators want to make a living. By that, Systrom does not mean Instagram directly paying creators. Translation: influencers will make their own brand deals.\u003c/p>\n\u003cp>Nothing stops advertisers from creating their own content, and indeed, within hours of the announcement, at least one advertiser sent out a press release announcing its IGTV channel: Benefit Cosmetics, the San Francisco-based beauty brand.\u003c/p>\n\u003cp>National Geographic has also already announced its plans to engage on IGTV, which raises the question: Is IGTV open to news producers?\u003c/p>\n\u003cp>“Anyone is welcome to become a creator,” said Instagram product manager Ashley Yuki. (There appears to be no kind of partnership or sponsorship with news organizations, which Instagram parent Facebook has experimented with in the past.)\u003c/p>\n\u003cp>Is IGTV the YouTube killer in what is clearly a proxy war between Facebook (which owns Instagram) and Google (which owns YouTube)? Don’t order flowers just yet. With more than 1.9 billion monthly users, YouTube reaches viewers on mobile as well as larger screens.\u003c/p>\n\u003cfigure id=\"attachment_13835614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835614\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-800x677.jpg\" alt=\"Imagine an app that loads @jiffpom straightaway when you launch. There's no need to scroll through options, or tap on the search bar. That's IGTV: more like TV than "legacy" social media.\" width=\"800\" height=\"677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-1020x864.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-1200x1016.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-1180x999.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-960x813.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-240x203.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-375x318.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-520x440.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut.jpg 1396w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Imagine an app that loads @jiffpom straightaway when you launch. There’s no need to scroll through options, or tap on the search bar. That’s IGTV: more like TV than “legacy” social media. \u003ccite>(Photo: Courtesy of Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>But who’s to say viewers will stay stuck on horizontal when they could be watching and creating video that’s vertical and filling the screen—as if that’s just the new natural order of the universe?\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Think about it. Today, we still watch videos formatted for a TV on a vertical screen,” Instagram CEO Kevin Systrom said this morning, \u003ca href=\"https://instagram-press.com/blog/2018/06/20/welcome-to-igtv/\" target=\"_blank\" rel=\"noopener\">unveiling IGTV\u003c/a> five years to the day after launching video on Instagram.\u003c/p>\n\u003cp>IGTV is a new, separate app for creating and watching long-form, vertical video—although you’ll also be able to watch from within the Instagram app.\u003c/p>\n\u003cp>Was this a thing you didn’t realize you need? Yes, at least, according to Systrom. “We either have to rotate our phone awkwardly,” she said, “or watch a tiny version, and that doesn’t make much sense, does it?”\u003c/p>\n\u003cp>Call it a legacy issue, so broadly acknowledged you can watch video of rapper Childish Gambino walking up to a fan in the front row recording his show to turn the phone sideways.\u003c/p>\n\u003cp>\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/WP97zvva98s'\n title='//www.youtube.com/embed/WP97zvva98s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Systrom also takes issue with having to search a directory to find what we want to watch … on say, YouTube. In fact, IGTV looks very much like an attempt at direct competition to YouTube, not unlike the way Instagram Stories directly copied one of the most popular features of Snapchat.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>IGTV videos won’t be limited to one minute, but rather, ten—unless you’re a wildly popular creator, in which case, you get a full hour. That’s just at launch. Eventually, the plan is to scale up capacity so that everyone has access to unlimited video.\u003c/p>\n\u003cp>As with all social media, anyone can be a creator, but some are better at it than others. Instagram has made sure to pre-populate IGTV’s offerings with power users on Instagram like \u003ca href=\"https://www.instagram.com/brycexavier/\">Bryce Xavier \u003c/a>(287,000 followers) and \u003ca href=\"https://www.instagram.com/lelepons/\">Lele Pons\u003c/a> (25.1 million followers). Instagram itself now boasts one billion monthly active users.\u003c/p>\n\u003cp>“I’ve been creating comedy skits, dance videos, music with my friends for years. I’ve perfected the one-minute sketch on Instagram, but get ready to see what I have in store for you with IGTV,” Pons said. (For one thing, she’s starting her own cooking show.)\u003c/p>\n\u003cfigure id=\"attachment_13835605\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835605\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-800x539.jpg\" alt=\"Instagram CEO Kevin Systrom unveiling IGTV in San Francisco.\" width=\"800\" height=\"539\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-800x539.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-1020x687.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-1200x809.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-1180x795.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-960x647.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31522_Screen-Shot-2018-06-20-at-1.05.52-PM-qut.jpg 1496w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Instagram CEO Kevin Systrom unveiling IGTV in San Francisco. \u003ccite>(Photo: Courtesy of Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So naturally, with longer video, you’re wondering what/where/when the advertising will show up. Systrom says there are no ads in IGTV because “right now, we’re focused on building engagement,” but “that [ads] is obviously a very reasonable way to end up,” adding that creators want to make a living. By that, Systrom does not mean Instagram directly paying creators. Translation: influencers will make their own brand deals.\u003c/p>\n\u003cp>Nothing stops advertisers from creating their own content, and indeed, within hours of the announcement, at least one advertiser sent out a press release announcing its IGTV channel: Benefit Cosmetics, the San Francisco-based beauty brand.\u003c/p>\n\u003cp>National Geographic has also already announced its plans to engage on IGTV, which raises the question: Is IGTV open to news producers?\u003c/p>\n\u003cp>“Anyone is welcome to become a creator,” said Instagram product manager Ashley Yuki. (There appears to be no kind of partnership or sponsorship with news organizations, which Instagram parent Facebook has experimented with in the past.)\u003c/p>\n\u003cp>Is IGTV the YouTube killer in what is clearly a proxy war between Facebook (which owns Instagram) and Google (which owns YouTube)? Don’t order flowers just yet. With more than 1.9 billion monthly users, YouTube reaches viewers on mobile as well as larger screens.\u003c/p>\n\u003cfigure id=\"attachment_13835614\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13835614\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-800x677.jpg\" alt=\"Imagine an app that loads @jiffpom straightaway when you launch. There's no need to scroll through options, or tap on the search bar. That's IGTV: more like TV than "legacy" social media.\" width=\"800\" height=\"677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-800x677.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-160x135.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-768x650.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-1020x864.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-1200x1016.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-1180x999.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-960x813.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-240x203.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-375x318.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut-520x440.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/RS31521_Screen-Shot-2018-06-20-at-1.05.35-PM-qut.jpg 1396w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Imagine an app that loads @jiffpom straightaway when you launch. There’s no need to scroll through options, or tap on the search bar. That’s IGTV: more like TV than “legacy” social media. \u003ccite>(Photo: Courtesy of Instagram)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>But who’s to say viewers will stay stuck on horizontal when they could be watching and creating video that’s vertical and filling the screen—as if that’s just the new natural order of the universe?\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "After 80 Years, the Barbershop Harmony Society Will Allow Women to Join",
"headTitle": "After 80 Years, the Barbershop Harmony Society Will Allow Women to Join | KQED",
"content": "\u003cp>If you’re at all familiar with the modern perception of barbershop singing, you might have guessed that one of its leading organizations, the Barbershop Harmony Society, was an all-male — and all-white — organization at the time of its founding in 1938. The organization opened to people of color in 1963, as the country was living within the crucible of the civil rights movement. For 80 years, though, it remained closed to women. Until yesterday.\u003c/p>\n\u003cp>“Beginning today,” the BHS’ statement, released June 19, reads, “we welcome women to join the Barbershop Harmony Society as members.” Its membership chapters can, however, “choose to stay exactly the same as you are today” — as a male-only club — or “choose to add a mixed chorus, or a new, distinct women’s chorus. New chapters might form — male, female, or mixed. This is about adding, not subtracting. More people, sharing more harmony, and more joy, in more ways.” Later, its announcement makes it plain that chapters are not required to begin accepting female members. And, further suggesting a controversial core to the announcement, the BHS notes it believes “preserving the experience of men singing together \u003cem>and\u003c/em> welcoming women as members of the barbershop harmony society are compatible ideas.”\u003c/p>\n\u003cp>The announcement is the result of a three-year soul search undertaken by the BHS, during which it conducted membership surveys, studies and research on its aims, which yielded a broad platform: “\u003ca href=\"http://www.barbershop.org/everyoneinharmony/\" target=\"_blank\" rel=\"noopener\">Everyone In Harmony\u003c/a>.”\u003c/p>\n\u003cp>The BHS’ policy shift and the statement accompanying it is notable both for its timing and its tone — “cautious” might be the word. It’s a tiptoe that can be traced with ease to the cultural origins in which barbershop became popular. The Barbershop Harmony Society’s first meeting took place in the spring of 1938 at the Tulsa Club, an all-white, membership-only organization of the time, established to provide southern oil men a place to socialize in private. After a two-decade wane in popularity that began in the ’20s, the establishment of the BHS kicked off a revival of the barbershop sound through the ’40s and helped to define \u003ca href=\"https://www.google.com/search?q=barbershop+quartet&num=20&safe=off&source=lnms&tbm=isch&sa=X&ved=0ahUKEwj-1f2MpuDbAhXNx1kKHb0NBM4Q_AUICygC&biw=1365&bih=619\" target=\"_blank\" rel=\"noopener\">a (not-incorrect) perception\u003c/a> of the genre that has lasted into the present day.\u003c/p>\n\u003cp>“Gentlemen,” the organization’s initial, industrialist-tinged call to song \u003ca href=\"http://www.barbershop.org/about-us/history-of-barbershop/how-it-all-began/\" target=\"_blank\" rel=\"noopener\">began\u003c/a>, “In this age of dictators and government control of everything, about the only privilege guaranteed by the Bill of Rights not in some way supervised and directed, is the art of barber shop \u003cem>[sic]\u003c/em> quartet singing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In that note, from 1938, a plan to head off interlopers and to protect delicate sensibilities was well in place: “We will have a private room and so will not be embarrassed by the curiosity of the vulgar public,” it read, before concluding, “You may bring a fellow singer if you desire.” With that, the bedrock for what was then called the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America was established.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yjnveOPkLq4\u003c/p>\n\u003cp>That plea for harmony was written 80 years ago by Rupert Hall, “Royal Keeper of the Minor Keys,” and Owen Clifton Cash, “Third Assistant Temporary Vice Chairman.” Those self-applied titles were an \u003ca href=\"http://www.barbershop.org/owen-clifton-oc-cash-our-founder/\">apparent\u003c/a> tongue-in-cheek dig at the honorifics going around at the time thanks to the New Deal, as was its ludicrous acronym, SPEBSQSA.\u003c/p>\n\u003cp>But, as the BHS enters the 21st century with its new, admittedly spongy, policy of inclusion, it has stood side-by-side for nearly its whole history with an organization that does much the same thing, but across the formerly impassable line of gender: Sweet Adelines International, a women’s barbershop organization also founded in Tulsa, still under the shadow of World War II at the time.\u003c/p>\n\u003cp>“In 1945, there were several wives of barbershoppers who wanted to do what their husbands were doing. The BHS were all men and they wanted to keep it that way,” Patty Cobb-Baker, president of Sweet Adelines, tells NPR. The men wanted to “keep the wives at home and doing whatever they were doing back in 1945. But a woman by the name of Edna Mae Anderson said ‘Well, we can, and we want to.’ ”\u003c/p>\n\u003cp>Cobb-Baker says Sweet Adelines became a way to foster leadership within (white) female communities — the harmonies gave its members “the opportunity to commune with other women,” Cobb-Baker says, “to become leaders. Kind of like the Girl Scouts, we like to grow leadership skills in women that they never knew they had.”\u003c/p>\n\u003cp>Of the potential competition that BHS’ new policy could present to her organization, Cobb-Baker says she’d “be lying” if the thought didn’t cross her mind. “We have a very strong strategic plan ourselves, our own vision,” she says. “We will always be happy when there are more opportunities for people to sing in the world.”\u003c/p>\n\u003cp>Barbershop’s origins as a genre and a term are more diverse than the image it has accrued over the 80 years since the BHS’ founding, however — wildly so, according to Frédéric Döhl, a musicologist and author of the \u003ca href=\"https://www.jstor.org/stable/10.5406/americanmusic.32.2.0123\" target=\"_blank\" rel=\"noopener\">2014 paper\u003c/a>\u003cem> From Harmonic Style to Genre: The Early History of the Uniquely American Musical Term Barbershop\u003c/em>. Döhl writes that, at least when it comes to use of the word barbershop to describe the musical style, that “no reliable attributions can be made about its origins with regard to race, gender, region, social environment, amateur or professional, impromptu or composed-arranged, highbrow or lowbrow etc.”\u003c/p>\n\u003cp>Despite that, the form has cultivated — on purpose at first, later perhaps by reflex — a palpable and gentry-ish defensive streak among its practitioners. As one singer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=92246274&ft=nprml&f=92246274\" target=\"_blank\" rel=\"noopener\">told NPR in 2008\u003c/a>, commenting on the introduction of more modern pop songs into the form: “I happen to be one of many that has difficulty in telling you what barbershop is, but I can sure tell you when it isn’t.”\u003c/p>\n\u003cp>“We like to think of them as ‘preservationists.’ There is certainly a range of devotion to what is believed to be the ‘pure’ barbershop style,” Brian Lynch, a public relations executive with the BHS, tells NPR. “In my experience, ‘barbershop’ is whatever it was the day you joined.”\u003c/p>\n\u003cp>Of its checkered origins, Lynch is forthright. Asked of its past as an all-white, all-male organization, he says it “is a piece of our history that we’re working hard to acknowledge and understand and move forward from. It’s not something we’re proud of today.” He adds that the BHS has \u003ca href=\"https://issuu.com/theharmonizer/docs/harmonizer_vol77_no6_novdec2017/24\" target=\"_blank\" rel=\"noopener\">established\u003c/a> an endowment fund for persons of color, “all parts of the evolution of any organization to reset and understand what your purpose is.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Our motto,” Cobb-Baker says, “is ‘harmonize the world.’ ” That’s a tall order — always, perhaps more so now than ever. But it’s never too late to try. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+80+Years%2C+The+Barbershop+Harmony+Society+Will+Allow+Women+To+Join&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’re at all familiar with the modern perception of barbershop singing, you might have guessed that one of its leading organizations, the Barbershop Harmony Society, was an all-male — and all-white — organization at the time of its founding in 1938. The organization opened to people of color in 1963, as the country was living within the crucible of the civil rights movement. For 80 years, though, it remained closed to women. Until yesterday.\u003c/p>\n\u003cp>“Beginning today,” the BHS’ statement, released June 19, reads, “we welcome women to join the Barbershop Harmony Society as members.” Its membership chapters can, however, “choose to stay exactly the same as you are today” — as a male-only club — or “choose to add a mixed chorus, or a new, distinct women’s chorus. New chapters might form — male, female, or mixed. This is about adding, not subtracting. More people, sharing more harmony, and more joy, in more ways.” Later, its announcement makes it plain that chapters are not required to begin accepting female members. And, further suggesting a controversial core to the announcement, the BHS notes it believes “preserving the experience of men singing together \u003cem>and\u003c/em> welcoming women as members of the barbershop harmony society are compatible ideas.”\u003c/p>\n\u003cp>The announcement is the result of a three-year soul search undertaken by the BHS, during which it conducted membership surveys, studies and research on its aims, which yielded a broad platform: “\u003ca href=\"http://www.barbershop.org/everyoneinharmony/\" target=\"_blank\" rel=\"noopener\">Everyone In Harmony\u003c/a>.”\u003c/p>\n\u003cp>The BHS’ policy shift and the statement accompanying it is notable both for its timing and its tone — “cautious” might be the word. It’s a tiptoe that can be traced with ease to the cultural origins in which barbershop became popular. The Barbershop Harmony Society’s first meeting took place in the spring of 1938 at the Tulsa Club, an all-white, membership-only organization of the time, established to provide southern oil men a place to socialize in private. After a two-decade wane in popularity that began in the ’20s, the establishment of the BHS kicked off a revival of the barbershop sound through the ’40s and helped to define \u003ca href=\"https://www.google.com/search?q=barbershop+quartet&num=20&safe=off&source=lnms&tbm=isch&sa=X&ved=0ahUKEwj-1f2MpuDbAhXNx1kKHb0NBM4Q_AUICygC&biw=1365&bih=619\" target=\"_blank\" rel=\"noopener\">a (not-incorrect) perception\u003c/a> of the genre that has lasted into the present day.\u003c/p>\n\u003cp>“Gentlemen,” the organization’s initial, industrialist-tinged call to song \u003ca href=\"http://www.barbershop.org/about-us/history-of-barbershop/how-it-all-began/\" target=\"_blank\" rel=\"noopener\">began\u003c/a>, “In this age of dictators and government control of everything, about the only privilege guaranteed by the Bill of Rights not in some way supervised and directed, is the art of barber shop \u003cem>[sic]\u003c/em> quartet singing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In that note, from 1938, a plan to head off interlopers and to protect delicate sensibilities was well in place: “We will have a private room and so will not be embarrassed by the curiosity of the vulgar public,” it read, before concluding, “You may bring a fellow singer if you desire.” With that, the bedrock for what was then called the Society for the Preservation and Encouragement of Barber Shop Quartet Singing in America was established.\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/yjnveOPkLq4'\n title='//www.youtube.com/embed/yjnveOPkLq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That plea for harmony was written 80 years ago by Rupert Hall, “Royal Keeper of the Minor Keys,” and Owen Clifton Cash, “Third Assistant Temporary Vice Chairman.” Those self-applied titles were an \u003ca href=\"http://www.barbershop.org/owen-clifton-oc-cash-our-founder/\">apparent\u003c/a> tongue-in-cheek dig at the honorifics going around at the time thanks to the New Deal, as was its ludicrous acronym, SPEBSQSA.\u003c/p>\n\u003cp>But, as the BHS enters the 21st century with its new, admittedly spongy, policy of inclusion, it has stood side-by-side for nearly its whole history with an organization that does much the same thing, but across the formerly impassable line of gender: Sweet Adelines International, a women’s barbershop organization also founded in Tulsa, still under the shadow of World War II at the time.\u003c/p>\n\u003cp>“In 1945, there were several wives of barbershoppers who wanted to do what their husbands were doing. The BHS were all men and they wanted to keep it that way,” Patty Cobb-Baker, president of Sweet Adelines, tells NPR. The men wanted to “keep the wives at home and doing whatever they were doing back in 1945. But a woman by the name of Edna Mae Anderson said ‘Well, we can, and we want to.’ ”\u003c/p>\n\u003cp>Cobb-Baker says Sweet Adelines became a way to foster leadership within (white) female communities — the harmonies gave its members “the opportunity to commune with other women,” Cobb-Baker says, “to become leaders. Kind of like the Girl Scouts, we like to grow leadership skills in women that they never knew they had.”\u003c/p>\n\u003cp>Of the potential competition that BHS’ new policy could present to her organization, Cobb-Baker says she’d “be lying” if the thought didn’t cross her mind. “We have a very strong strategic plan ourselves, our own vision,” she says. “We will always be happy when there are more opportunities for people to sing in the world.”\u003c/p>\n\u003cp>Barbershop’s origins as a genre and a term are more diverse than the image it has accrued over the 80 years since the BHS’ founding, however — wildly so, according to Frédéric Döhl, a musicologist and author of the \u003ca href=\"https://www.jstor.org/stable/10.5406/americanmusic.32.2.0123\" target=\"_blank\" rel=\"noopener\">2014 paper\u003c/a>\u003cem> From Harmonic Style to Genre: The Early History of the Uniquely American Musical Term Barbershop\u003c/em>. Döhl writes that, at least when it comes to use of the word barbershop to describe the musical style, that “no reliable attributions can be made about its origins with regard to race, gender, region, social environment, amateur or professional, impromptu or composed-arranged, highbrow or lowbrow etc.”\u003c/p>\n\u003cp>Despite that, the form has cultivated — on purpose at first, later perhaps by reflex — a palpable and gentry-ish defensive streak among its practitioners. As one singer \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=92246274&ft=nprml&f=92246274\" target=\"_blank\" rel=\"noopener\">told NPR in 2008\u003c/a>, commenting on the introduction of more modern pop songs into the form: “I happen to be one of many that has difficulty in telling you what barbershop is, but I can sure tell you when it isn’t.”\u003c/p>\n\u003cp>“We like to think of them as ‘preservationists.’ There is certainly a range of devotion to what is believed to be the ‘pure’ barbershop style,” Brian Lynch, a public relations executive with the BHS, tells NPR. “In my experience, ‘barbershop’ is whatever it was the day you joined.”\u003c/p>\n\u003cp>Of its checkered origins, Lynch is forthright. Asked of its past as an all-white, all-male organization, he says it “is a piece of our history that we’re working hard to acknowledge and understand and move forward from. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Our motto,” Cobb-Baker says, “is ‘harmonize the world.’ ” That’s a tall order — always, perhaps more so now than ever. But it’s never too late to try. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+80+Years%2C+The+Barbershop+Harmony+Society+Will+Allow+Women+To+Join&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "empress-of-jeff-rosenstock-to-headline-this-years-20th-street-block-party",
"title": "Empress Of, Jeff Rosenstock to Headline This Year's 20th Street Block Party",
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"content": "\u003cp>Local concert promoters Noise Pop have announced the lineup for the sixth annual \u003ca href=\"http://www.20thstreetblockparty.com/\" rel=\"noopener\" target=\"_blank\">20th Street Block Party\u003c/a>, the free outdoor festival held in the Mission District.\u003c/p>\n\u003cp>Held Aug. 18, this year’s 20th Street Block Party features performances by Empress Of, Jeff Rosenstock, The Marias and other groups, with more to be announced in the near future.\u003c/p>\n\u003cp>Empress Of is the electro-synth-pop project of Latin American-singer songwriter Lorely Rodriguez, who’s currently working on the follow-up to her critically acclaimed debut album \u003ci>Me\u003c/i>; festival-goers should anticipate hearing new tracks.\u003c/p>\n\u003cfigure id=\"attachment_13835557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-800x534.jpg\" alt=\"On stage during the 2017 20th Street Block Party\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On stage during the 2017 20th Street Block Party. \u003ccite>(Paige K Parsons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 2018 20th Block Street Party lineup also includes several local groups, such as San Francisco “\u003ca href=\"https://theshes.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">all female rock and roll quartet\u003c/a>” The She’s, pop punkers \u003ca href=\"https://thetotalbettys.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">The Total Bettys\u003c/a> and \u003ca href=\"https://fantheband.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">FAN\u003c/a>, the new solo project from Meric Long, the singer/guitarist of the Dodos. \u003c/p>\n\u003cp>The final act on the bill will be revealed in the coming weeks, as it will be determined by a contest Noise Pop is holding with DoTheBay. The winner will perform first on the festival’s main stage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The festival, which takes over the 20th Street corridor between Harrison and Bryant Streets, also features numerous food vendors and local artists. Over the past six years, the festival has grown into a massive event, drawing crowds over 20,000 and raising thousands for the Mission Language and Vocational School.\u003c/p>\n\u003cp>“We honestly love throwing on this event every summer, especially because it helps give back to our 20th Street neighborhood—the backyard to Noise Pop’s own offices,” Noise Pop general manager Dawson Ludwig said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To learn more about the festival, visit \u003ca href=\"http://www.20thstreetblockparty.com/\" rel=\"noopener\" target=\"_blank\">20thstreetblockparty.com\u003c/a>. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Local concert promoters Noise Pop have announced the lineup for the sixth annual \u003ca href=\"http://www.20thstreetblockparty.com/\" rel=\"noopener\" target=\"_blank\">20th Street Block Party\u003c/a>, the free outdoor festival held in the Mission District.\u003c/p>\n\u003cp>Held Aug. 18, this year’s 20th Street Block Party features performances by Empress Of, Jeff Rosenstock, The Marias and other groups, with more to be announced in the near future.\u003c/p>\n\u003cp>Empress Of is the electro-synth-pop project of Latin American-singer songwriter Lorely Rodriguez, who’s currently working on the follow-up to her critically acclaimed debut album \u003ci>Me\u003c/i>; festival-goers should anticipate hearing new tracks.\u003c/p>\n\u003cfigure id=\"attachment_13835557\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-800x534.jpg\" alt=\"On stage during the 2017 20th Street Block Party\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13835557\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/20th-Street-Block-Party-2017-Credit-Paige-K-Parsons.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">On stage during the 2017 20th Street Block Party. \u003ccite>(Paige K Parsons)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The 2018 20th Block Street Party lineup also includes several local groups, such as San Francisco “\u003ca href=\"https://theshes.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">all female rock and roll quartet\u003c/a>” The She’s, pop punkers \u003ca href=\"https://thetotalbettys.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">The Total Bettys\u003c/a> and \u003ca href=\"https://fantheband.bandcamp.com/\" rel=\"noopener\" target=\"_blank\">FAN\u003c/a>, the new solo project from Meric Long, the singer/guitarist of the Dodos. \u003c/p>\n\u003cp>The final act on the bill will be revealed in the coming weeks, as it will be determined by a contest Noise Pop is holding with DoTheBay. The winner will perform first on the festival’s main stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The festival, which takes over the 20th Street corridor between Harrison and Bryant Streets, also features numerous food vendors and local artists. Over the past six years, the festival has grown into a massive event, drawing crowds over 20,000 and raising thousands for the Mission Language and Vocational School.\u003c/p>\n\u003cp>“We honestly love throwing on this event every summer, especially because it helps give back to our 20th Street neighborhood—the backyard to Noise Pop’s own offices,” Noise Pop general manager Dawson Ludwig said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To learn more about the festival, visit \u003ca href=\"http://www.20thstreetblockparty.com/\" rel=\"noopener\" target=\"_blank\">20thstreetblockparty.com\u003c/a>. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "it-was-hard-to-take-these-pictures-knowing-what-was-coming-next",
"title": "'It Was Hard to Take These Pictures, Knowing What Was Coming Next'",
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"headTitle": "‘It Was Hard to Take These Pictures, Knowing What Was Coming Next’ | KQED",
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"content": "\u003cp>Sometimes, an image breaks through and captures the essence of a story that we’ve all been hearing about. John Moore made one of those images last week, when he photographed a 2-year-old Honduran girl stopped by the Border Patrol after crossing the U.S.-Mexico border.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/620775153/620775154\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The photo is taken from her vantage point. Adults loom over her in the dark out of frame, and she’s crying as her mother is searched.\u003c/p>\n\u003cp>Moore had been photographing Border Patrol agents in the Rio Grande Valley on June 12. On that moonless night, they encountered a group of people seeking to cross the border, most of them families.\u003c/p>\n\u003cp>“I could see the fear on their faces, in their eyes,” says Moore, an award-winning photographer with Getty Images. “As the Border Patrol took people’s names down, I could see a mother holding a young child.”\u003c/p>\n\u003cfigure id=\"attachment_13835491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-800x515.jpg\" alt=\"A group of young men walk along the Mexican side of the border fence in a remote area of the Sonoran Desert in 2010 on the Tohono O'odham Reservation in Arizona\" width=\"800\" height=\"515\" class=\"size-medium wp-image-13835491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1200x772.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1920x1235.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1180x759.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of young men walk along the Mexican side of the border fence in a remote area of the Sonoran Desert in 2010 on the Tohono O’odham Reservation in Arizona \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, it was time for the undocumented immigrants to be searched before being transported to a processing center. The Border Patrol asked the mother to set down her daughter.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“At that moment, the young child broke into tears, and she started wailing,” Moore says. “I took a knee and had very few frames of that moment before it was over.”\u003c/p>\n\u003cp>Moore, who speaks Spanish, was able to talk with them briefly. The mother told him they were from Honduras and had been on the road for a month.\u003c/p>\n\u003cfigure id=\"attachment_13835505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Looking-through-fence-800x532.jpg\" alt=\"A man looks through the U.S.-Mexico border fence into the United States from Tijuana, Mexico, in 2016. Friendship Park on the border is one of the few places on the 2,000-mile border where separated families are allowed to meet.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13835505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man looks through the U.S.-Mexico border fence into the United States from Tijuana, Mexico, in 2016. Friendship Park on the border is one of the few places on the 2,000-mile border where separated families are allowed to meet. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And I knew at that moment that this point in their journey, which was very emotional for me to see them being detained, for them was just part of a very, very long journey,” says Moore, who has covered the U.S.-Mexico border for a decade.\u003c/p>\n\u003cp>After that, he says, the mother picked up her daughter. They got in a van and were taken away.\u003c/p>\n\u003cp>“I do not know what happened to them. I would very much like to know,” he says. “Ever since I took those pictures, I think about that moment often. And it’s emotional for me every time.”\u003c/p>\n\u003cfigure id=\"attachment_13835494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-800x533.jpe\" alt=\"Families attend a memorial service for two boys who were kidnapped and killed on Feb. 14, 2017, in San Juan Sacatepequez, Guatemala. Such crimes have driven emigration from Guatemala to the United States, as families seek refuge from the violence.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13835494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-800x533.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-768x511.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1020x679.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1200x799.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1920x1279.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1180x786.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-960x639.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-240x160.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-375x250.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-520x346.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Families attend a memorial service for two boys who were kidnapped and killed on Feb. 14, 2017, in San Juan Sacatepequez, Guatemala. Such crimes have driven emigration from Guatemala to the United States, as families seek refuge from the violence. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how recent political developments have changed the story at the border\u003c/strong>\u003c/p>\n\u003cp>Having covered this story for the last 10 years, I’ve seen a lot along the way. But in this case, this last week, it was different because I knew that what happened after these pictures were taken was going to be something very different. Most of us here had heard the news that the [Trump] administration had planned to separate families. And these people [coming across the border] really had no idea about this news. And it was hard to take these pictures, knowing what was coming next.\u003c/p>\n\u003cfigure id=\"attachment_13835492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-800x542.jpe\" alt=\"Undocumented immigrants comfort each other after being caught by Border Patrol agents near the U.S.-Mexico border in 2016 in Weslaco, Texas.\" width=\"800\" height=\"542\" class=\"size-medium wp-image-13835492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-800x542.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-160x108.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-768x521.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1020x692.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1200x814.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1920x1302.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1180x800.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-960x651.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-240x163.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-375x254.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-520x353.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Undocumented immigrants comfort each other after being caught by Border Patrol agents near the U.S.-Mexico border in 2016 in Weslaco, Texas. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On what Border Patrol officials say about this new policy\u003c/strong>\u003c/p>\n\u003cp>I think with Border Patrol agents, it’s all on an individual basis. Some of them are very supportive of President Trump’s policies and others probably a little bit less so.\u003c/p>\n\u003cp>And I think it’s important to note that the laws have not changed since President Trump came into office. It’s really \u003ca href=\"https://www.npr.org/2018/05/29/615211215/fact-check-are-democrats-responsible-for-dhs-separating-children-from-their-pare\">the administration’s policies that have changed\u003c/a>. In the past, most families who sought political asylum would be processed and then released, pending a court date in the future. And, of course, that policy has changed in recent months, and we’re seeing the results of that now.\u003c/p>\n\u003cfigure id=\"attachment_13835493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-800x547.jpe\" alt=\"A boy from Honduras watches a movie at a detention facility run by the U.S. Border Patrol in McAllen, Texas, in 2014. The Border Patrol opened the holding center to temporarily house the children after tens of thousands of families and unaccompanied minors from Central America crossed the border illegally into the United States during the spring and summer.\" width=\"800\" height=\"547\" class=\"size-medium wp-image-13835493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-800x547.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-160x109.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-768x525.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1020x697.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1200x820.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1920x1312.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1180x806.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-960x656.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-240x164.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-375x256.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-520x355.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A boy from Honduras watches a movie at a detention facility run by the U.S. Border Patrol in McAllen, Texas, in 2014. The Border Patrol opened the holding center to temporarily house the children after tens of thousands of families and unaccompanied minors from Central America crossed the border illegally into the United States during the spring and summer. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how this story has affected him \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a photojournalist, it’s my role to keep going, even when it’s hard. But as a father — and I have a toddler myself — it was very difficult to see what was happening in front of my lens and thinking what it would be like for my kids to be separated from me. \u003c/p>\n\u003cfigure id=\"attachment_13835507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-800x532.jpeg\" alt=\"U.S. Border Patrol agent Sal De Leon stands near a section of the U.S.- Mexico border fence while stopping on patrol in 2013 in La Joya, Texas.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13835507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1020x679.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1200x798.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1180x785.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-960x639.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-520x346.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore.jpeg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">U.S. Border Patrol agent Sal De Leon stands near a section of the U.S.- Mexico border fence while stopping on patrol in 2013 in La Joya, Texas. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It+Was+Hard+To+Take+These+Pictures%2C+Knowing+What+Was+Coming+Next%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "John Moore describes photographing the distressed Honduran toddler, whose mother was being searched by U.S. Border Patrol. That moment, he says, \"was just part of a very, very long journey\" for them.",
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"title": "'It Was Hard to Take These Pictures, Knowing What Was Coming Next' | KQED",
"description": "John Moore describes photographing the distressed Honduran toddler, whose mother was being searched by U.S. Border Patrol. That moment, he says, "was just part of a very, very long journey" for them.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes, an image breaks through and captures the essence of a story that we’ve all been hearing about. John Moore made one of those images last week, when he photographed a 2-year-old Honduran girl stopped by the Border Patrol after crossing the U.S.-Mexico border.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/620775153/620775154\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The photo is taken from her vantage point. Adults loom over her in the dark out of frame, and she’s crying as her mother is searched.\u003c/p>\n\u003cp>Moore had been photographing Border Patrol agents in the Rio Grande Valley on June 12. On that moonless night, they encountered a group of people seeking to cross the border, most of them families.\u003c/p>\n\u003cp>“I could see the fear on their faces, in their eyes,” says Moore, an award-winning photographer with Getty Images. “As the Border Patrol took people’s names down, I could see a mother holding a young child.”\u003c/p>\n\u003cfigure id=\"attachment_13835491\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-800x515.jpg\" alt=\"A group of young men walk along the Mexican side of the border fence in a remote area of the Sonoran Desert in 2010 on the Tohono O'odham Reservation in Arizona\" width=\"800\" height=\"515\" class=\"size-medium wp-image-13835491\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-800x515.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-160x103.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-768x494.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1020x656.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1200x772.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1920x1235.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-1180x759.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-960x618.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-240x154.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-375x241.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3-520x335.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-107497219_custom-52190bdf156069dd96bada913b5267cee3e35dc3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A group of young men walk along the Mexican side of the border fence in a remote area of the Sonoran Desert in 2010 on the Tohono O’odham Reservation in Arizona \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then, it was time for the undocumented immigrants to be searched before being transported to a processing center. The Border Patrol asked the mother to set down her daughter.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“At that moment, the young child broke into tears, and she started wailing,” Moore says. “I took a knee and had very few frames of that moment before it was over.”\u003c/p>\n\u003cp>Moore, who speaks Spanish, was able to talk with them briefly. The mother told him they were from Honduras and had been on the road for a month.\u003c/p>\n\u003cfigure id=\"attachment_13835505\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Looking-through-fence-800x532.jpg\" alt=\"A man looks through the U.S.-Mexico border fence into the United States from Tijuana, Mexico, in 2016. Friendship Park on the border is one of the few places on the 2,000-mile border where separated families are allowed to meet.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13835505\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1200x798.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Looking-through-fence.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A man looks through the U.S.-Mexico border fence into the United States from Tijuana, Mexico, in 2016. Friendship Park on the border is one of the few places on the 2,000-mile border where separated families are allowed to meet. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“And I knew at that moment that this point in their journey, which was very emotional for me to see them being detained, for them was just part of a very, very long journey,” says Moore, who has covered the U.S.-Mexico border for a decade.\u003c/p>\n\u003cp>After that, he says, the mother picked up her daughter. They got in a van and were taken away.\u003c/p>\n\u003cp>“I do not know what happened to them. I would very much like to know,” he says. “Ever since I took those pictures, I think about that moment often. And it’s emotional for me every time.”\u003c/p>\n\u003cfigure id=\"attachment_13835494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-800x533.jpe\" alt=\"Families attend a memorial service for two boys who were kidnapped and killed on Feb. 14, 2017, in San Juan Sacatepequez, Guatemala. Such crimes have driven emigration from Guatemala to the United States, as families seek refuge from the violence.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13835494\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-800x533.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-160x107.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-768x511.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1020x679.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1200x799.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1920x1279.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-1180x786.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-960x639.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-240x160.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-375x250.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655-520x346.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-635353292_custom-055a100f60aa30f9d16e876793de25039b36e655.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Families attend a memorial service for two boys who were kidnapped and killed on Feb. 14, 2017, in San Juan Sacatepequez, Guatemala. Such crimes have driven emigration from Guatemala to the United States, as families seek refuge from the violence. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how recent political developments have changed the story at the border\u003c/strong>\u003c/p>\n\u003cp>Having covered this story for the last 10 years, I’ve seen a lot along the way. But in this case, this last week, it was different because I knew that what happened after these pictures were taken was going to be something very different. Most of us here had heard the news that the [Trump] administration had planned to separate families. And these people [coming across the border] really had no idea about this news. And it was hard to take these pictures, knowing what was coming next.\u003c/p>\n\u003cfigure id=\"attachment_13835492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-800x542.jpe\" alt=\"Undocumented immigrants comfort each other after being caught by Border Patrol agents near the U.S.-Mexico border in 2016 in Weslaco, Texas.\" width=\"800\" height=\"542\" class=\"size-medium wp-image-13835492\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-800x542.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-160x108.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-768x521.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1020x692.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1200x814.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1920x1302.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-1180x800.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-960x651.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-240x163.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-375x254.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae-520x353.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-521334010_custom-6d936fd10f6b093fd71bf997cf0fb4c6091ba0ae.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Undocumented immigrants comfort each other after being caught by Border Patrol agents near the U.S.-Mexico border in 2016 in Weslaco, Texas. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On what Border Patrol officials say about this new policy\u003c/strong>\u003c/p>\n\u003cp>I think with Border Patrol agents, it’s all on an individual basis. Some of them are very supportive of President Trump’s policies and others probably a little bit less so.\u003c/p>\n\u003cp>And I think it’s important to note that the laws have not changed since President Trump came into office. It’s really \u003ca href=\"https://www.npr.org/2018/05/29/615211215/fact-check-are-democrats-responsible-for-dhs-separating-children-from-their-pare\">the administration’s policies that have changed\u003c/a>. In the past, most families who sought political asylum would be processed and then released, pending a court date in the future. And, of course, that policy has changed in recent months, and we’re seeing the results of that now.\u003c/p>\n\u003cfigure id=\"attachment_13835493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-800x547.jpe\" alt=\"A boy from Honduras watches a movie at a detention facility run by the U.S. Border Patrol in McAllen, Texas, in 2014. The Border Patrol opened the holding center to temporarily house the children after tens of thousands of families and unaccompanied minors from Central America crossed the border illegally into the United States during the spring and summer.\" width=\"800\" height=\"547\" class=\"size-medium wp-image-13835493\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-800x547.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-160x109.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-768x525.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1020x697.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1200x820.jpe 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1920x1312.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-1180x806.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-960x656.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-240x164.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-375x256.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2-520x355.jpe 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/gettyimages-458329272_custom-2bb2cd09823b9723598ccde7a6f3ab5fecb896c2.jpe 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A boy from Honduras watches a movie at a detention facility run by the U.S. Border Patrol in McAllen, Texas, in 2014. The Border Patrol opened the holding center to temporarily house the children after tens of thousands of families and unaccompanied minors from Central America crossed the border illegally into the United States during the spring and summer. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how this story has affected him \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a photojournalist, it’s my role to keep going, even when it’s hard. But as a father — and I have a toddler myself — it was very difficult to see what was happening in front of my lens and thinking what it would be like for my kids to be separated from me. \u003c/p>\n\u003cfigure id=\"attachment_13835507\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-800x532.jpeg\" alt=\"U.S. Border Patrol agent Sal De Leon stands near a section of the U.S.- Mexico border fence while stopping on patrol in 2013 in La Joya, Texas.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13835507\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-800x532.jpeg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-160x106.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-768x511.jpeg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1020x679.jpeg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1200x798.jpeg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-1180x785.jpeg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-960x639.jpeg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-240x160.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-375x250.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore-520x346.jpeg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Border-Wall-Moore.jpeg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">U.S. Border Patrol agent Sal De Leon stands near a section of the U.S.- Mexico border fence while stopping on patrol in 2013 in La Joya, Texas. \u003ccite>(John Moore/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27It+Was+Hard+To+Take+These+Pictures%2C+Knowing+What+Was+Coming+Next%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Massachusetts Institute of Technology investigation cleared Pulitzer Prize-winning author and creative writing professor Junot Diaz to return to the classroom this fall.\u003c/p>\n\u003cp>The inquiry into Diaz’s actions toward female students and staff yielded no information that would lead to restrictions on Diaz’s role as a faculty member at the university in Cambridge.\u003c/p>\n\u003cp>Melissa Nobles, dean of MIT’s School of Humanities, Arts and Social Sciences, and Edward Schiappa, section head for Comparative Media Studies/Writing, where Diaz is based, were involved in the internal investigation. They reached out to current students he had taught and had extensive conversations with Diaz and other professors.\u003c/p>\n\u003cp>“To date, MIT has not found or received information that would lead us to take any action to restrict Professor Diaz in his role as an MIT faculty member, and we expect him to teach next academic year, as scheduled,” said Kimberly Allen, director of media relations.\u003c/p>\n\u003cp>Author Zinzi Clemmons and other female writers recently shared stories of Diaz’s behavior. Clemmons said Diaz forcibly kissed her several years ago; others cited instances when they felt he had verbally attacked them. Diaz has said he takes responsibility for his past actions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Diaz has not commented on MIT’s decision, but his agent said she is pleased with the outcome.\u003cbr>\n___\u003cbr>\nInformation from: The Boston Globe, http://www.bostonglobe.com\u003c/p>\n\n",
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"content": "\u003cp>Florida rapper XXXTentacion was shot in his car in Miami on Monday, and died from the gunshot wounds. Broward County police confirmed the 20-year-old’s death at 5:39pm Eastern Time.\u003c/p>\n\u003cp>https://twitter.com/browardsheriff/status/1008826651222986752\u003c/p>\n\u003cp>Born Jahseh Dwayne Onfroy in 1998, XXXTentacion was beset by public controversies as well as open about his struggles with depression. He reached a large audience of mostly young listeners, outgrowing the “Soundcloud rapper” tag to release a hit album, \u003cem>17\u003c/em>, on San Francisco’s EMPIRE imprint which reached No. 2 on the Billboard 200. Its follow-up, \u003cem>?\u003c/em>, reached No. 1 on the Billboard 200. \u003c/p>\n\u003cp>[contextly_sidebar id=”GT0kUyb01UDjM5INh1xbprRCcsmTIhoO”]\u003c/p>\n\u003cp>In 2016, XXXTentacion was charged with \u003ca href=\"https://pitchfork.com/thepitch/xxxtentacions-reported-victim-details-grim-pattern-of-abuse-in-testimony/\" rel=\"noopener\" target=\"_blank\">aggravated battery of a pregnant woman, domestic battery by strangulation, false imprisonment, and witness-tampering\u003c/a>, which led to \u003ca href=\"https://www.kqed.org/arts/13808533/the-music-industry-needs-to-hold-alleged-abusers-like-xxxtentacion-accountable\" rel=\"noopener\" target=\"_blank\">many commentators calling for his being held accountable\u003c/a> amidst widespread silence from the music industry. The charges were among many \u003ca href=\"https://en.wikipedia.org/wiki/XXXTentacion#Legal_issues\" rel=\"noopener\" target=\"_blank\">legal issues\u003c/a> in the rapper’s life. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>According to reports, XXXTentacion was leaving a motorcycle dealership in Miami when he was shot by a man who fled on foot. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://twitter.com/IanMargol/status/1008816083724316673\u003c/p>\n\n",
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"content": "\u003cp>A Pennsylvania judge said Monday she’ll rule in “due time” after an evidence hearing to determine whether rapper Meek Mill should get a new trial in his decade-old gun and drug convictions.\u003c/p>\n\u003cp>Mill’s attorneys have asked for a new trial based on credibility issues with former Philadelphia police officer Reginald Graham, who was pivotal in his arrest in 2007 and who testified at his trial. The Philadelphia district attorney’s office supported the request for a new trial, agreeing before Monday’s hearing that the “Commonwealth does not have confidence in the credibility of Reginald Graham’s testimony in this case.”\u003c/p>\n\u003cp>The attorneys also agreed that another officer who was part of Mill’s original arrest had given credible sworn testimony that contradicted Graham’s. The district attorney’s office also said it had information as early as 2014 related to Graham’s misconduct that was not shared with Mill’s attorneys until this year.\u003c/p>\n\u003cp>Despite the agreement, Judge Genece Brinkley scheduled an evidence hearing and said Monday she needed more time to review evidence that Graham had credibility issues in this case before ruling whether to allow a new trial.\u003c/p>\n\u003cp>A different Philadelphia judge has agreed to overturn convictions in at least three other cases in which Graham gave testimony, all without evidentiary hearings. The district attorney’s office decided not to retry those cases.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mill’s attorneys said after the two-hour hearing Monday that the interactions with Brinkley were confrontational. One said Brinkley laughed at testimony from an expert witness, and another said her language during the hearing suggested that she had already decided to rule against Mill’s request.\u003c/p>\n\u003cp>The state Supreme Court recently split on a request by Mill’s attorneys to remove Brinkley from his case earlier this month. Three justices said they would grant the request to remove his case from Brinkley, while three others said they would deny it or they had not heard enough to grant the request.\u003c/p>\n\u003cp>Brinkley sentenced Mill in November to two to four years in prison for violating probation related to two charges that were dismissed. She found him in technical violation of probation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mill served almost five months of the sentence before the state Supreme Court ordered his release on bond.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Pennsylvania judge said Monday she’ll rule in “due time” after an evidence hearing to determine whether rapper Meek Mill should get a new trial in his decade-old gun and drug convictions.\u003c/p>\n\u003cp>Mill’s attorneys have asked for a new trial based on credibility issues with former Philadelphia police officer Reginald Graham, who was pivotal in his arrest in 2007 and who testified at his trial. The Philadelphia district attorney’s office supported the request for a new trial, agreeing before Monday’s hearing that the “Commonwealth does not have confidence in the credibility of Reginald Graham’s testimony in this case.”\u003c/p>\n\u003cp>The attorneys also agreed that another officer who was part of Mill’s original arrest had given credible sworn testimony that contradicted Graham’s. The district attorney’s office also said it had information as early as 2014 related to Graham’s misconduct that was not shared with Mill’s attorneys until this year.\u003c/p>\n\u003cp>Despite the agreement, Judge Genece Brinkley scheduled an evidence hearing and said Monday she needed more time to review evidence that Graham had credibility issues in this case before ruling whether to allow a new trial.\u003c/p>\n\u003cp>A different Philadelphia judge has agreed to overturn convictions in at least three other cases in which Graham gave testimony, all without evidentiary hearings. The district attorney’s office decided not to retry those cases.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mill’s attorneys said after the two-hour hearing Monday that the interactions with Brinkley were confrontational. One said Brinkley laughed at testimony from an expert witness, and another said her language during the hearing suggested that she had already decided to rule against Mill’s request.\u003c/p>\n\u003cp>The state Supreme Court recently split on a request by Mill’s attorneys to remove Brinkley from his case earlier this month. Three justices said they would grant the request to remove his case from Brinkley, while three others said they would deny it or they had not heard enough to grant the request.\u003c/p>\n\u003cp>Brinkley sentenced Mill in November to two to four years in prison for violating probation related to two charges that were dismissed. She found him in technical violation of probation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Mill served almost five months of the sentence before the state Supreme Court ordered his release on bond.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé Drops Surprise Album, 'Everything is Love,' with Jay-Z",
"headTitle": "Beyoncé Drops Surprise Album, ‘Everything is Love,’ with Jay-Z | KQED",
"content": "\u003cp>Beyoncé released a joint album with Jay-Z on Saturday, titled \u003cem>Everything is Love\u003c/em> and credited to “The Carters.” In addition to the album, the couple released a bonus single “SALUD” and a video for album track “APESHIT,” filmed at the Louvre in Paris. \u003c/p>\n\u003cfigure id=\"attachment_13835217\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/everything.jpg\" alt=\"'Everything is Love' album cover.\" width=\"640\" height=\"640\" class=\"size-full wp-image-13835217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Everything is Love’ album cover.\u003c/figcaption>\u003c/figure>\n\u003cp>Rumors of a collaborative album have swirled for months, especially after the couple announced a joint tour together. The release of \u003cem>Everything is Love\u003c/em> comes at the end of that tour’s leg in England; an announcement was broadcast at Beyoncé and Jay-Z’s London show. \u003c/p>\n\u003cp>https://twitter.com/deborahh_v/status/1008109092802646019\u003c/p>\n\u003cp>The album features Migos, Pharrell and others, including a guest appearance by Blue Ivy Carter, shouting out her new siblings. The album finds Jay-Z dissing the NFL and the Grammys, and a swipe at Spotify. (Notably, the album comes in the middle of Kanye West’s \u003ca href=\"https://www.spin.com/2018/05/kanye-tweets-tracklists-good-music-albums/\" rel=\"noopener\" target=\"_blank\">blitz of weekly albums\u003c/a> from his associated artists.)\u003c/p>\n\u003cp>\u003cdel datetime=\"2018-06-18T16:23:11+00:00\">At post time, the album is only available on Tidal\u003c/del>. UPDATE: It’s \u003ca href=\"https://twitter.com/nprmusic/status/1008666725661986816\" rel=\"noopener\" target=\"_blank\">now on Spotify\u003c/a>. Beyoncé and Jay-Z are on the On The Run Tour II through the fall, which hits the Bay Area in September.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beyoncé released a joint album with Jay-Z on Saturday, titled \u003cem>Everything is Love\u003c/em> and credited to “The Carters.” In addition to the album, the couple released a bonus single “SALUD” and a video for album track “APESHIT,” filmed at the Louvre in Paris. \u003c/p>\n\u003cfigure id=\"attachment_13835217\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/everything.jpg\" alt=\"'Everything is Love' album cover.\" width=\"640\" height=\"640\" class=\"size-full wp-image-13835217\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything.jpg 640w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/everything-150x150.jpg 150w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">‘Everything is Love’ album cover.\u003c/figcaption>\u003c/figure>\n\u003cp>Rumors of a collaborative album have swirled for months, especially after the couple announced a joint tour together. The release of \u003cem>Everything is Love\u003c/em> comes at the end of that tour’s leg in England; an announcement was broadcast at Beyoncé and Jay-Z’s London show. \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The album features Migos, Pharrell and others, including a guest appearance by Blue Ivy Carter, shouting out her new siblings. The album finds Jay-Z dissing the NFL and the Grammys, and a swipe at Spotify. (Notably, the album comes in the middle of Kanye West’s \u003ca href=\"https://www.spin.com/2018/05/kanye-tweets-tracklists-good-music-albums/\" rel=\"noopener\" target=\"_blank\">blitz of weekly albums\u003c/a> from his associated artists.)\u003c/p>\n\u003cp>\u003cdel datetime=\"2018-06-18T16:23:11+00:00\">At post time, the album is only available on Tidal\u003c/del>. UPDATE: It’s \u003ca href=\"https://twitter.com/nprmusic/status/1008666725661986816\" rel=\"noopener\" target=\"_blank\">now on Spotify\u003c/a>. Beyoncé and Jay-Z are on the On The Run Tour II through the fall, which hits the Bay Area in September.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Unidentified Thief Caught on Camera Stealing $45,000 Banksy Print from Exhibit",
"headTitle": "Unidentified Thief Caught on Camera Stealing $45,000 Banksy Print from Exhibit | KQED",
"content": "\u003cp>Right around dawn Sunday, an unidentified person stole into an art exhibition space in Toronto. Encased in a sweatshirt, with hands in armpits and face obscured by a camouflage cap, the dark-dressed lurker slinked into a room lined with works by Banksy.\u003c/p>\n\u003cp>Then, in the surveillance video \u003ca href=\"https://youtu.be/P4zBPo1L-gw\" blank=\"_blank\">released Thursday\u003c/a> by Toronto police, the person ducks into the camera’s blind spot and emerges with artwork in hand. The thief then quickly carries it out the door.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=P4zBPo1L-gw\u003c/p>\n\u003cp>The apparently burgled work is a print of a piece known as \u003cem>Trolley Hunters\u003c/em>, which had been featured in \u003ca href=\"https://www.banksyexhibit.com/\" blank=\"_blank\">The Art of Banksy\u003c/a>, an unauthorized exhibit of the street artist’s work.\u003c/p>\n\u003cp>Now, law enforcement is \u003ca href=\"http://www.torontopolice.on.ca/newsreleases/41343\" target=\"_blank\" rel=\"noopener\">seeking assistance\u003c/a> in finding a man “described as wearing glasses, black jacket, green camouflage baseball hat, blue jeans rolled at the cuff, grey running shoes, glasses.” They say the stolen work is worth about $45,000. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It bears mentioning that this isn’t the first time the Toronto exhibit — billed as “the largest Banksy exhibit ever assembled!” — has drawn widespread attention of the less-than-positive variety.\u003c/p>\n\u003cp>The show features privately owned art curated by Banksy’s former agent and collectively valued at over $35 million, according to organizers. It displays more than 80 works.\u003c/p>\n\u003cp>The originals tend to be graffiti on building facades, seen for free by passers-by, rather than pictures hung from studio walls. Meanwhile, a general-admission ticket to attend the exhibit costs about $25.\u003c/p>\n\u003cp>And that discrepancy was \u003ca href=\"https://twitter.com/i/moments/1007235669658398720\" target=\"_blank\" rel=\"noopener\">not lost\u003c/a> on \u003ca href=\"https://nowtoronto.com/culture/art-and-design/art-of-banksy-exhibit-toronto/\" target=\"_blank\" rel=\"noopener\">some skeptics\u003c/a>, many of whom have pointed out that one of the artist’s prevailing themes — seen most vividly in the 2010 Banksy film \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=126037446\" target=\"_blank\" rel=\"noopener\">Exit Through the Gift Shop\u003c/a> — has been the lambasting of the art world’s commercialization and cults of celebrity.\u003c/p>\n\u003cp>Just this week, in fact, Banksy spoke on this point, talking about submitting work to a Royal Academy exhibition under an anagrammed pseudonym and getting refused.\u003c/p>\n\u003cp>“Then a month later I got a mail from the co-ordinator Grayson Perry asking me to submit something so I sent it again,” Banksy said \u003ca href=\"https://www.instagram.com/p/Bj47OxbBUNj/?hl=en&taken-by=banksy\" target=\"_blank\" rel=\"noopener\">on Instagram\u003c/a>. “It’s now hanging in gallery 3.”\u003c/p>\n\u003cp>Partly for that reason, perhaps, and partly \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=UgwZUK02qHWKOoGadUB4AaABAg\" target=\"_blank\" rel=\"noopener\">out of a paranoia\u003c/a> that seems suitable when speaking of Banksy, \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=Ugxym6xoLPE7wHEqiTR4AaABAg\" target=\"_blank\" rel=\"noopener\">several commenters\u003c/a> on the police video and \u003ca href=\"https://twitter.com/alexbierk/status/1007080492548677633\" target=\"_blank\" rel=\"noopener\">elsewhere\u003c/a> on social media \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=Ugz4ciClDf0UXVZ9_m94AaABAg\" target=\"_blank\" rel=\"noopener\">appear to have agreed\u003c/a> on a \u003ca href=\"https://twitter.com/laurenonizzle/status/1007378965399515141\" target=\"_blank\" rel=\"noopener\">single culprit\u003c/a> for the \u003c/p>\n\u003cp>https://twitter.com/laurenonizzle/status/1007378965399515141theft: Banksy himself.\u003c/p>\n\u003cp>\u003ca href=\"http://www.cbc.ca/news/canada/toronto/banksy-art-reported-stolen-1.4706015\" target=\"_blank\" rel=\"noopener\">According to the Canadian Broadcasting Corp.\u003c/a>, though, the show’s publicist has “denied any suggestion the surveillance video was fake or a publicity stunt. She said the thief may have taken only one Banksy piece out of fear of discovery.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Toronto police are taking the matter very seriously and are looking for suspects. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Unidentified+Thief+Caught+On+Camera+Stealing+%2445%2C000+Banksy+Print+From+Exhibit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It bears mentioning that this isn’t the first time the Toronto exhibit — billed as “the largest Banksy exhibit ever assembled!” — has drawn widespread attention of the less-than-positive variety.\u003c/p>\n\u003cp>The show features privately owned art curated by Banksy’s former agent and collectively valued at over $35 million, according to organizers. It displays more than 80 works.\u003c/p>\n\u003cp>The originals tend to be graffiti on building facades, seen for free by passers-by, rather than pictures hung from studio walls. Meanwhile, a general-admission ticket to attend the exhibit costs about $25.\u003c/p>\n\u003cp>And that discrepancy was \u003ca href=\"https://twitter.com/i/moments/1007235669658398720\" target=\"_blank\" rel=\"noopener\">not lost\u003c/a> on \u003ca href=\"https://nowtoronto.com/culture/art-and-design/art-of-banksy-exhibit-toronto/\" target=\"_blank\" rel=\"noopener\">some skeptics\u003c/a>, many of whom have pointed out that one of the artist’s prevailing themes — seen most vividly in the 2010 Banksy film \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=126037446\" target=\"_blank\" rel=\"noopener\">Exit Through the Gift Shop\u003c/a> — has been the lambasting of the art world’s commercialization and cults of celebrity.\u003c/p>\n\u003cp>Just this week, in fact, Banksy spoke on this point, talking about submitting work to a Royal Academy exhibition under an anagrammed pseudonym and getting refused.\u003c/p>\n\u003cp>“Then a month later I got a mail from the co-ordinator Grayson Perry asking me to submit something so I sent it again,” Banksy said \u003ca href=\"https://www.instagram.com/p/Bj47OxbBUNj/?hl=en&taken-by=banksy\" target=\"_blank\" rel=\"noopener\">on Instagram\u003c/a>. “It’s now hanging in gallery 3.”\u003c/p>\n\u003cp>Partly for that reason, perhaps, and partly \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=UgwZUK02qHWKOoGadUB4AaABAg\" target=\"_blank\" rel=\"noopener\">out of a paranoia\u003c/a> that seems suitable when speaking of Banksy, \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=Ugxym6xoLPE7wHEqiTR4AaABAg\" target=\"_blank\" rel=\"noopener\">several commenters\u003c/a> on the police video and \u003ca href=\"https://twitter.com/alexbierk/status/1007080492548677633\" target=\"_blank\" rel=\"noopener\">elsewhere\u003c/a> on social media \u003ca href=\"https://www.youtube.com/watch?v=P4zBPo1L-gw&lc=Ugz4ciClDf0UXVZ9_m94AaABAg\" target=\"_blank\" rel=\"noopener\">appear to have agreed\u003c/a> on a \u003ca href=\"https://twitter.com/laurenonizzle/status/1007378965399515141\" target=\"_blank\" rel=\"noopener\">single culprit\u003c/a> for the \u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>theft: Banksy himself.\u003c/p>\n\u003cp>\u003ca href=\"http://www.cbc.ca/news/canada/toronto/banksy-art-reported-stolen-1.4706015\" target=\"_blank\" rel=\"noopener\">According to the Canadian Broadcasting Corp.\u003c/a>, though, the show’s publicist has “denied any suggestion the surveillance video was fake or a publicity stunt. She said the thief may have taken only one Banksy piece out of fear of discovery.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Toronto police are taking the matter very seriously and are looking for suspects. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Unidentified+Thief+Caught+On+Camera+Stealing+%2445%2C000+Banksy+Print+From+Exhibit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Moviegoers sitting down to see \u003cem>Incredibles 2\u003c/em> are in for a tasty treat in the form of an animated short called \u003cem>Bao\u003c/em>. It tells the story of an empty nester who discovers joy — and sorrow — when a steamed bun she makes comes to life. \u003c/p>\n\u003cp>The story is pulled from the childhood of Domee Shi, who wrote and directed the Pixar film. Shi was born in China and raised in Toronto. She started working at Pixar as an intern in 2011, and now she’s the first woman to direct a Pixar short. \u003c/p>\n\u003cp>Pixar and the larger animation industry have been criticized for shutting female animators out of top jobs, but Shi says that culture is changing. \u003c/p>\n\u003cp>“You’re just seeing this gradual shift in the industry because, before, animation was predominantly white and male, but now in animation schools all over the country enrollment is now over 50 percent female. … I think just more and more girls are just getting into animation. And I hope that we’re going to see those numbers be reflected in the industry and not just in the animation schools.”\u003c/p>\n\u003cp>(NPR interviewed Shi before the announcement that Pixar’s co-founder, John Lasseter, would be \u003ca href=\"https://www.nytimes.com/2018/06/08/business/media/john-lasseter-leaves-disney.html\">leaving the company\u003c/a>. Lasseter had been absent \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/21/565801354/pixars-john-lasseter-takes-leave-of-absence-after-harassment-allegations\">since November\u003c/a>, when allegations of sexual harrassment surfaced.)\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On going from an intern to a writer-director in just seven years\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>I feel so honored and humbled to be in this position, for Pixar to have liked this weird idea I pitched to them and to get behind it. Yeah, I just think it was a combination of just timing and really awesome support from really cool people, and embracing my weirdness and not being afraid to show it. Because at first I was kind of hesitant to pitch this idea, but then [Pixar veteran] Pete Docter — who has been kind of my mentor figure this whole time, I worked with him on \u003cem>Inside Out\u003c/em> — he was really an early supporter of the short, and he encouraged me to stick to my guns to pitch the original version of the short. And I’m so glad I did because that was the reason why Pixar chose that idea.\u003c/p>\n\u003cp>\u003cstrong>On how she came up with the idea for \u003c/strong>\u003cstrong>\u003cem>Bao\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I think I was probably really hungry one night, and I’ve always been a huge fan of classic fairy tales. And I wanted to do like a Chinese twist on “The Little Gingerbread Man” with a Chinese dumpling, instead of a little cookie, that comes to life. And I drew a lot of inspiration also from my own personal life. I’m an only child, and I feel like ever since I was little my Chinese mom and dad have always treated me like their precious little dumpling.\u003c/p>\n\u003cp>\u003cstrong>On the short’s rather extreme ending (which we won’t give away)\u003c/strong>\u003c/p>\n\u003cp>I feel like any time you look at something really cute — like, even if it’s like a baby or a puppy or a kitten — you think it’s so cute, and it’s almost awakened something violent and animalistic in you. Like, you want to eat it up or you just want to consume it or just squeeze it to death or something. …\u003c/p>\n\u003cp>And also, growing up, my mom would often hold me close and be like, “Oh, I wish I could put you back in my stomach so I knew exactly where you were at all times.” And like, “Oh, mom, that’s creepy, but sweet.” … I just want to explore that feeling more — like, why does she want to do that to me?\u003c/p>\n\u003cp>\u003cstrong>On how her mom helped Pixar animators with their research\u003c/strong>\u003c/p>\n\u003cp>We brought her in twice to do dumpling-making classes for the whole crew. Yeah, and it was great. Like, we got the animators and effects artists right in there, and they studied my mom’s techniques and they poked the dough and smelled the pork filling. … It was really important for us to get every single detail right … so we can put it on screen.\u003c/p>\n\u003cp>\u003cstrong>On what her mom thought of \u003c/strong>\u003cstrong>\u003cem>Bao\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>She saw it … for the first time at the wrap party and she really liked it. I think she got emotional. She’s like me, she is very like subtle with her emotions. But I definitely took a peek to my left during the short and I think I saw her eyes getting misty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Danny Hajek and Melisa Goh produced and edited this interview for broadcast. Nicole Cohen adapted it for the Web.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Pixar%27s+First+Female-Directed+Short%2C+A+Dumpling+Child+Fills+An+Empty+Nest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Moviegoers sitting down to see \u003cem>Incredibles 2\u003c/em> are in for a tasty treat in the form of an animated short called \u003cem>Bao\u003c/em>. It tells the story of an empty nester who discovers joy — and sorrow — when a steamed bun she makes comes to life. \u003c/p>\n\u003cp>The story is pulled from the childhood of Domee Shi, who wrote and directed the Pixar film. Shi was born in China and raised in Toronto. She started working at Pixar as an intern in 2011, and now she’s the first woman to direct a Pixar short. \u003c/p>\n\u003cp>Pixar and the larger animation industry have been criticized for shutting female animators out of top jobs, but Shi says that culture is changing. \u003c/p>\n\u003cp>“You’re just seeing this gradual shift in the industry because, before, animation was predominantly white and male, but now in animation schools all over the country enrollment is now over 50 percent female. … I think just more and more girls are just getting into animation. And I hope that we’re going to see those numbers be reflected in the industry and not just in the animation schools.”\u003c/p>\n\u003cp>(NPR interviewed Shi before the announcement that Pixar’s co-founder, John Lasseter, would be \u003ca href=\"https://www.nytimes.com/2018/06/08/business/media/john-lasseter-leaves-disney.html\">leaving the company\u003c/a>. Lasseter had been absent \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/21/565801354/pixars-john-lasseter-takes-leave-of-absence-after-harassment-allegations\">since November\u003c/a>, when allegations of sexual harrassment surfaced.)\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On going from an intern to a writer-director in just seven years\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I feel so honored and humbled to be in this position, for Pixar to have liked this weird idea I pitched to them and to get behind it. Yeah, I just think it was a combination of just timing and really awesome support from really cool people, and embracing my weirdness and not being afraid to show it. Because at first I was kind of hesitant to pitch this idea, but then [Pixar veteran] Pete Docter — who has been kind of my mentor figure this whole time, I worked with him on \u003cem>Inside Out\u003c/em> — he was really an early supporter of the short, and he encouraged me to stick to my guns to pitch the original version of the short. And I’m so glad I did because that was the reason why Pixar chose that idea.\u003c/p>\n\u003cp>\u003cstrong>On how she came up with the idea for \u003c/strong>\u003cstrong>\u003cem>Bao\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>I think I was probably really hungry one night, and I’ve always been a huge fan of classic fairy tales. And I wanted to do like a Chinese twist on “The Little Gingerbread Man” with a Chinese dumpling, instead of a little cookie, that comes to life. And I drew a lot of inspiration also from my own personal life. I’m an only child, and I feel like ever since I was little my Chinese mom and dad have always treated me like their precious little dumpling.\u003c/p>\n\u003cp>\u003cstrong>On the short’s rather extreme ending (which we won’t give away)\u003c/strong>\u003c/p>\n\u003cp>I feel like any time you look at something really cute — like, even if it’s like a baby or a puppy or a kitten — you think it’s so cute, and it’s almost awakened something violent and animalistic in you. Like, you want to eat it up or you just want to consume it or just squeeze it to death or something. …\u003c/p>\n\u003cp>And also, growing up, my mom would often hold me close and be like, “Oh, I wish I could put you back in my stomach so I knew exactly where you were at all times.” And like, “Oh, mom, that’s creepy, but sweet.” … I just want to explore that feeling more — like, why does she want to do that to me?\u003c/p>\n\u003cp>\u003cstrong>On how her mom helped Pixar animators with their research\u003c/strong>\u003c/p>\n\u003cp>We brought her in twice to do dumpling-making classes for the whole crew. Yeah, and it was great. Like, we got the animators and effects artists right in there, and they studied my mom’s techniques and they poked the dough and smelled the pork filling. … It was really important for us to get every single detail right … so we can put it on screen.\u003c/p>\n\u003cp>\u003cstrong>On what her mom thought of \u003c/strong>\u003cstrong>\u003cem>Bao\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>She saw it … for the first time at the wrap party and she really liked it. I think she got emotional. She’s like me, she is very like subtle with her emotions. But I definitely took a peek to my left during the short and I think I saw her eyes getting misty.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Danny Hajek and Melisa Goh produced and edited this interview for broadcast. Nicole Cohen adapted it for the Web.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Pixar%27s+First+Female-Directed+Short%2C+A+Dumpling+Child+Fills+An+Empty+Nest&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://telltale.com/\" rel=\"noopener\" target=\"_blank\">Telltale Games\u003c/a>, an independent game developer based in San Rafael, announced Wednesday that it has made a deal with Netflix to produce a video game based on the hit show, \u003ci>Stranger Things.\u003c/i>\u003c/p>\n\u003cp>Telltale Games revealed few details about the game, announcing the news while also announcing that Netflix would be streaming an interactive version of Telltale’s game \u003ci>Minecraft: Story Mode.\u003c/i> Telltale had little to say about either project.\u003c/p>\n\u003cp>“Our partnership with Netflix is something we’re incredibly proud of, and while we don’t have anything more to share right now, we’re excited to reveal details on these projects later in the year,” Telltale \u003ca href=\"https://twitter.com/telltalegames/status/1006996305082630144\" rel=\"noopener\" target=\"_blank\">posted on Twitter \u003c/a>Wednesday.\u003c/p>\n\u003cp>Three former LucasArts employees — Dan Connors, Kevin Bruner and Troy Molander — founded Telltale in 2004, following LucasArts’s cancellation of a game they worked on together called \u003ci>Sam & Max Hit the Road.\u003c/i> The company went on to create games for movies such as \u003cem>Back to the Future\u003c/em> and \u003cem>Jurassic Park\u003c/em>. But Telltale saw its first big success with the episodic game it created based on \u003ci>The Walking Dead\u003c/i> comic and television series. Upon its release in 2012, the game sold a million copies in 20 days. Telltale went on to develop four more games in the series.\u003c/p>\n\u003cfigure id=\"attachment_13835104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-800x450.jpg\" alt=\"Screenshot from 'Minecraft: Story Mode'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Screenshot from ‘Minecraft: Story Mode.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Building on its cinematic, episodic style developed for the \u003ci>The Walking Dead\u003c/i> games, it then produced games for notable properties such as \u003ci>Game of Thrones\u003c/i> and \u003ci>Guardians of the Galaxy.\u003c/i> Continuing successes led the company to grow to 400 employees, but the company couldn’t sustain the staffing level and it \u003ca href=\"https://www.usgamer.net/articles/exclusive-how-a-culture-of-crunch-brought-telltale-from-critical-darlings-to-layoffs\" rel=\"noopener\" target=\"_blank\">laid off 90 employees\u003c/a> — 25 percent of its staff — last year.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The deal Telltale inked with Netflix means two different products for the two licensed properties, \u003ci> Minecraft\u003c/i> and \u003ci>Stranger Things.\u003c/i>\u003ca href=\"https://www.techradar.com/news/netflix-to-add-games-to-its-service-including-stranger-things-and-minecraft\" rel=\"noopener\" target=\"_blank\"> TechRadar reports\u003c/a> that \u003cem>Minecraft: Story Mode\u003c/em> is a five-part interactive story series similar to other Netflix properties. \u003c/p>\n\u003cp>“It’s an extension of our other interactive stories we have on our service like \u003cem>Stretch Armstrong: The Breakout\u003c/em>, \u003cem>Puss in Book: Trapped in an Epic Tale\u003c/em> and \u003cem>Buddy Thunderstruck: The Maybe Pile\u003c/em>,” a Netflix representative \u003ca href=\"https://www.polygon.com/tv/2018/6/13/17460834/netflix-telltale-minecraft-story-mode-stranger-things-game\" rel=\"noopener\" target=\"_blank\">told Polygon\u003c/a>. \u003c/p>\n\u003cp>However, the \u003ci>Stranger Things\u003c/i> game will not be available for streaming on Netflix, as it is just a part of the streaming service’s marketing strategy.\u003c/p>\n\u003cp>“We don’t have any plans to get into gaming,” Netflix told TechRadar. “There’s a broad spectrum of entertainment available today. Games have become increasingly cinematic, but we view this as interactive narrative storytelling on our service.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Stranger Things,\u003c/i> a sci-fi horror series steeped in ’80s nostalgia, premiered on Netflix in 2016, becoming a sensation practically overnight. The third season of the show is currently in production.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://telltale.com/\" rel=\"noopener\" target=\"_blank\">Telltale Games\u003c/a>, an independent game developer based in San Rafael, announced Wednesday that it has made a deal with Netflix to produce a video game based on the hit show, \u003ci>Stranger Things.\u003c/i>\u003c/p>\n\u003cp>Telltale Games revealed few details about the game, announcing the news while also announcing that Netflix would be streaming an interactive version of Telltale’s game \u003ci>Minecraft: Story Mode.\u003c/i> Telltale had little to say about either project.\u003c/p>\n\u003cp>“Our partnership with Netflix is something we’re incredibly proud of, and while we don’t have anything more to share right now, we’re excited to reveal details on these projects later in the year,” Telltale \u003ca href=\"https://twitter.com/telltalegames/status/1006996305082630144\" rel=\"noopener\" target=\"_blank\">posted on Twitter \u003c/a>Wednesday.\u003c/p>\n\u003cp>Three former LucasArts employees — Dan Connors, Kevin Bruner and Troy Molander — founded Telltale in 2004, following LucasArts’s cancellation of a game they worked on together called \u003ci>Sam & Max Hit the Road.\u003c/i> The company went on to create games for movies such as \u003cem>Back to the Future\u003c/em> and \u003cem>Jurassic Park\u003c/em>. But Telltale saw its first big success with the episodic game it created based on \u003ci>The Walking Dead\u003c/i> comic and television series. Upon its release in 2012, the game sold a million copies in 20 days. Telltale went on to develop four more games in the series.\u003c/p>\n\u003cfigure id=\"attachment_13835104\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-800x450.jpg\" alt=\"Screenshot from 'Minecraft: Story Mode'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13835104\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Minecraft-screenshot-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Screenshot from ‘Minecraft: Story Mode.’ \u003ccite>(Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Building on its cinematic, episodic style developed for the \u003ci>The Walking Dead\u003c/i> games, it then produced games for notable properties such as \u003ci>Game of Thrones\u003c/i> and \u003ci>Guardians of the Galaxy.\u003c/i> Continuing successes led the company to grow to 400 employees, but the company couldn’t sustain the staffing level and it \u003ca href=\"https://www.usgamer.net/articles/exclusive-how-a-culture-of-crunch-brought-telltale-from-critical-darlings-to-layoffs\" rel=\"noopener\" target=\"_blank\">laid off 90 employees\u003c/a> — 25 percent of its staff — last year.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The deal Telltale inked with Netflix means two different products for the two licensed properties, \u003ci> Minecraft\u003c/i> and \u003ci>Stranger Things.\u003c/i>\u003ca href=\"https://www.techradar.com/news/netflix-to-add-games-to-its-service-including-stranger-things-and-minecraft\" rel=\"noopener\" target=\"_blank\"> TechRadar reports\u003c/a> that \u003cem>Minecraft: Story Mode\u003c/em> is a five-part interactive story series similar to other Netflix properties. \u003c/p>\n\u003cp>“It’s an extension of our other interactive stories we have on our service like \u003cem>Stretch Armstrong: The Breakout\u003c/em>, \u003cem>Puss in Book: Trapped in an Epic Tale\u003c/em> and \u003cem>Buddy Thunderstruck: The Maybe Pile\u003c/em>,” a Netflix representative \u003ca href=\"https://www.polygon.com/tv/2018/6/13/17460834/netflix-telltale-minecraft-story-mode-stranger-things-game\" rel=\"noopener\" target=\"_blank\">told Polygon\u003c/a>. \u003c/p>\n\u003cp>However, the \u003ci>Stranger Things\u003c/i> game will not be available for streaming on Netflix, as it is just a part of the streaming service’s marketing strategy.\u003c/p>\n\u003cp>“We don’t have any plans to get into gaming,” Netflix told TechRadar. “There’s a broad spectrum of entertainment available today. Games have become increasingly cinematic, but we view this as interactive narrative storytelling on our service.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Stranger Things,\u003c/i> a sci-fi horror series steeped in ’80s nostalgia, premiered on Netflix in 2016, becoming a sensation practically overnight. The third season of the show is currently in production.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Summer hasn’t even officially begun yet, and it’s already been a disorienting season. The president is \u003ca href=\"http://www.foxnews.com/politics/2018/06/12/trump-praises-kim-jong-un-as-strong-funny-smart-and-great-negotiator-in-hannity-interview.html\" target=\"_blank\" rel=\"noopener\">complimenting a North Korean leader\u003c/a> and \u003ca href=\"https://www.cnn.com/2018/06/09/politics/trump-justin-trudeau-g7-communique/index.html\" target=\"_blank\" rel=\"noopener\">lambasting one from Canada\u003c/a>. Raccoons are \u003ca href=\"https://www.npr.org/2018/06/12/619245875/its-a-bird-it-s-a-plane-or-a-raccoon-climbing-a-st-paul-skyscraper\" target=\"_blank\" rel=\"noopener\">scaling 25-story buildings\u003c/a>, ostensibly for our amusement. And apparently \u003ca href=\"https://www.npr.org/artists/14953534/ryan-adams\" target=\"_blank\" rel=\"noopener\">Ryan Adams\u003c/a>, no longer content to serve as one of America’s most celebrated singer-songwriters, is doing the local weather on a Denver TV station, fulfilling what he says is a longtime dream.\u003c/p>\n\u003cp>While in Denver to play a show at the Red Rocks Amphitheater, Adams cooked up an arrangement with a local TV station wherein he’d give Wednesday’s weather report and write and record a song to be played on air. First, watch the animated video that accompanies the new original composition “Denver7 (Piece of Heaven),” which… okay, fair warning, this isn’t the \u003cem>best\u003c/em> song Adams has ever written.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cDuWxOeseXw\u003c/p>\n\u003cp>Naturally, Denver7 was only too happy to live up to its end of the bargain, so Adams donned a Batman T-shirt and some flannel, appeared in a short interview, shouted out the movie \u003cem>Twister\u003c/em> (for inspiring his love of the weather), and gave the station’s Wednesday-evening weather report in front of a green screen.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=REAXSEtqDNg\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For a first-timer with no formal meteorological training, Adams fared reasonably well, ad-libbing a bit about 10-15 mph winds (“For anybody that’s super into the wind, there you go”) and only occasionally wandering out of the frame entirely. So, yeah, there you go! In the America of June 2018, our enemies are our friends, our friends are our enemies, raccoons are our heroes and Ryan Adams is our weatherman.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Best of luck to us all! \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=So+It%27s+Come+To+This%3A+Apparently+Ryan+Adams+Is+A+Weatherman+Now&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Summer hasn’t even officially begun yet, and it’s already been a disorienting season. The president is \u003ca href=\"http://www.foxnews.com/politics/2018/06/12/trump-praises-kim-jong-un-as-strong-funny-smart-and-great-negotiator-in-hannity-interview.html\" target=\"_blank\" rel=\"noopener\">complimenting a North Korean leader\u003c/a> and \u003ca href=\"https://www.cnn.com/2018/06/09/politics/trump-justin-trudeau-g7-communique/index.html\" target=\"_blank\" rel=\"noopener\">lambasting one from Canada\u003c/a>. Raccoons are \u003ca href=\"https://www.npr.org/2018/06/12/619245875/its-a-bird-it-s-a-plane-or-a-raccoon-climbing-a-st-paul-skyscraper\" target=\"_blank\" rel=\"noopener\">scaling 25-story buildings\u003c/a>, ostensibly for our amusement. And apparently \u003ca href=\"https://www.npr.org/artists/14953534/ryan-adams\" target=\"_blank\" rel=\"noopener\">Ryan Adams\u003c/a>, no longer content to serve as one of America’s most celebrated singer-songwriters, is doing the local weather on a Denver TV station, fulfilling what he says is a longtime dream.\u003c/p>\n\u003cp>While in Denver to play a show at the Red Rocks Amphitheater, Adams cooked up an arrangement with a local TV station wherein he’d give Wednesday’s weather report and write and record a song to be played on air. First, watch the animated video that accompanies the new original composition “Denver7 (Piece of Heaven),” which… okay, fair warning, this isn’t the \u003cem>best\u003c/em> song Adams has ever written.\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/cDuWxOeseXw'\n title='//www.youtube.com/embed/cDuWxOeseXw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Naturally, Denver7 was only too happy to live up to its end of the bargain, so Adams donned a Batman T-shirt and some flannel, appeared in a short interview, shouted out the movie \u003cem>Twister\u003c/em> (for inspiring his love of the weather), and gave the station’s Wednesday-evening weather report in front of a green screen.\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/REAXSEtqDNg'\n title='//www.youtube.com/embed/REAXSEtqDNg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"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. ",
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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"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",
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"source": "American Public Media"
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"masters-of-scale": {
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"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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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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