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Christopher Nolan’s World War II epic \u003cem>Dunkirk\u003c/em> landed three awards, all for its technical craft: editing, sound editing and sound design.\u003c/p>\n\u003cp>Things went expected in the acting categories, where Frances McDormand won her second Oscar for her performance in \u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>. McDormand asked all the attending female nominees stand up in the theater.\u003c/p>\n\u003cp>“Look around, ladies and gentlemen, because we all have stories to tell and projects that need financing,” declared McDormand. “I have two words to leave with you tonight, ladies and gentlemen, Inclusion Rider.”\u003c/p>\n\u003cp>Subbing for last year’s best-actor winner, Casey Affleck, in presenting the best-actress award were Jodie Foster and Jennifer Lawrence. “It’s a new day in Hollywood,” said Lawrence.\u003c/p>\n\u003cp>Three widely admired veteran actors won their first Oscars. Gary Oldman won for his Winston Churchill in \u003cem>Darkest Hour\u003c/em>, Allison Janney (\u003cem>I, Tonya\u003c/em>) took best supporting actress, and Sam Rockwell (\u003cem>Three Billboards\u003c/em>) won best supporting actor. Oldman thanked his “99-years young” mother. “Put the kettle on,” he told her. “I’m bringing Oscar home.”\u003c/p>\n\u003cfigure id=\"attachment_13826256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-800x450.jpg\" alt='Mexican director Guillermo del Toro (4thL) and producer J. Miles Dale (3rdL) accept the Oscar for Best Film for \"The Shape of Water\" from US actors Faye Dunaway and Warren Beatty next to US actresses Octavia Spencer (L) and Sally Hawkins (2ndL) during the 90th Annual Academy Awards show on March 4, 2018 in Hollywood, California. ' width=\"800\" height=\"450\" class=\"size-medium wp-image-13826256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mexican director Guillermo del Toro (4thL) and producer J. Miles Dale (3rdL) accept the Oscar for Best Film for “The Shape of Water” from US actors Faye Dunaway and Warren Beatty next to US actresses Octavia Spencer (L) and Sally Hawkins (2ndL) during the 90th Annual Academy Awards show on March 4, 2018 in Hollywood, California. \u003ccite>(Mark Ralston/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But many of the show’s most powerful moments came in between the awards. Ashley Judd, Anabella Sciorra and Salma Hayek — who all made allegations of sexual misconduct against Weinstein — together assembled for a mid-show segment dedicated to the #MeToo movement that has followed the downfall of Weinstein, long an Oscar heavyweight. They were met by a standing ovation.\u003c/p>\n\u003cp>“We work together to make sure the next 90 years empower these limitless possibilities of equality, diversity, inclusion and intersectionality,” said Judd. “That’s what this year has promised us.”\u003c/p>\n\u003cp>Host Jimmy Kimmel opened with a monologue that mixed Weinstein punchlines with earnest comments about reforming gender equality in Hollywood. And of course, Kimmel — returning to the scene of the flub — dove straight into material about last year’s infamous best-picture mix-up.\u003c/p>\n\u003cp>“I do want to mention, this year, when you hear your name called, don’t get up right away,” said Kimmel. “Give us a minute.”\u003c/p>\n\u003cp>But while Kimmel spent a few moments on the fiasco known as Envelopegate, he expended far more minutes frankly and soberly discussing the parade of sexual harassment allegations in the wake of the revelations regarding Weinstein. Kimmel cited the industry’s poor record for female directors and equal pay.\u003c/p>\n\u003cp>“We can’t let bad behavior slide anymore,” said Kimmel. “The world is watching us.”\u003cbr>\nGesturing to a giant statue on the stage, he praised Oscar, himself for keeping “his hands where you can see them” and for having “no penis at all.” But Kimmel introduced the broadcast as “a night for positivity,” and cited, among other things, the box-office success of \u003cem>Black Panther\u003c/em> and \u003cem>Wonder Woman\u003c/em>.\u003c/p>\n\u003cp>“I remember a time when the major studios didn’t believe a woman or a minority could open a superhero movie — and the reason I remember that time is because it was March of last year,” said Kimmel.\u003c/p>\n\u003cp>Several cinema legends won their first Oscar. James Ivory, 89, won best adapted screenplay for his script to the coming-of-age drama \u003cem>Call Me By Your Name\u003c/em>, becoming the oldest winner ever. After 14 nominations, revered cinematographer Roger Deakins finally won for his photography on \u003cem>Blade Runner 2049\u003c/em>. In the category, Rachel Morrison (\u003cem>Mudbound\u003c/em>) became the first woman nominated for best cinematography.\u003c/p>\n\u003cp>Pakistan-born comedian Kumail Nanjiani joined Kenyan-born Lupita Nyong’o to salute the so-called Dreamers — immigrants brought to the U.S. illegally as children and here without permanent protection from deportation. “Dreams are the foundation of Hollywood and dreams are the foundation of America. And, so, to all the Dreamers out there, we stand with you,” Nanjiani said.\u003c/p>\n\u003cp>Later, Pixar’s colorful ode to Mexican culture \u003cem>Coco\u003c/em> won best animated film as well as best song for “Remember Me.” Best foreign language film went to Chile’s \u003cem>A Fantastic Woman\u003c/em>, Sebastian Lelio’s drama starring transgender actress Daniela Vega.\u003c/p>\n\u003cp>“The biggest thank you of all to the people of Mexico,” said director Lee Unkrich to loud applause. “Marginalized people deserve to feel like they belong. Representation matters.”\u003c/p>\n\u003cp>Netflix scored its first feature-film Oscar, with best documentary going to \u003cem>Icarus\u003c/em>, Bryan Fogel’s investigation into doping in sports, aided by the assistance of Grigory Rodchenkov, the head of the Russian anti-doping laboratory who candidly discussed the doping scheme under Vladimir Putin. Fogel dedicated the award to Rodchenkov, “our fearless whistleblower who now lives in grave danger.”\u003c/p>\n\u003cfigure id=\"attachment_13826255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-800x450.jpg\" alt=\"(L-R) Actor Sam Rockwell, winner of the Best Supporting Actor award for 'Three Billboards Outside Ebbing, Missouri;' actor Frances McDormand, winner of the Best Actress award for 'Three Billboards Outside Ebbing, Missouri;' actor Allison Janney, winner of the Best Supporting Actress award for 'I, Tonya;' and actor Gary Oldman, winner of the Best Actor award for 'Darkest Hour,' poses in the press room during the 90th Annual Academy Awards at Hollywood & Highland Center on March 4, 2018 in Hollywood, California. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13826255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actor Sam Rockwell, winner of the Best Supporting Actor award for ‘Three Billboards Outside Ebbing, Missouri;’ actor Frances McDormand, winner of the Best Actress award for ‘Three Billboards Outside Ebbing, Missouri;’ actor Allison Janney, winner of the Best Supporting Actress award for ‘I, Tonya;’ and actor Gary Oldman, winner of the Best Actor award for ‘Darkest Hour,’ poses in the press room during the 90th Annual Academy Awards at Hollywood & Highland Center on March 4, 2018 in Hollywood, California. \u003ccite>(Alberto E. Rodriguez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Darkest Hour\u003c/em> won for best makeup. The period romance P\u003cem>hantom Thread\u003c/em> won for costume design.\u003c/p>\n\u003cp>The ceremony was the crescendo of one of Hollywood’s most turbulent awards seasons ever — one that saw cascading allegations of sexual harassment topple movie moguls, upended Oscar campaigns and new movements launched to improve gender equality throughout the industry.\u003c/p>\n\u003cp>No Golden Globes-style fashion protest was held by organizers of Time’s Up, the initiative begun by several hundred prominent women in entertainment to combat sexual harassment. Their goals go beyond red carpets, organizers said in the lead-up to the Oscars. “We did the dress code thing and now we’re doing the work,” said #MeToo founder Tarana Burke on the red carpet.\u003c/p>\n\u003cp>The parade of sexual harassment allegations made the normal superficial red carpet a place of sometimes more serious discussion than attire. Scrutiny fell Sunday on E! host Ryan Seacrest after his former stylist, Suzie Hardy, alleged sexual harassment against the red-carpet regular. Seacrest has denied it and E! has supported him. Best supporting actress Oscar nominee Mary J. Blige said Seacrest is “fighting for his life right now.”\u003c/p>\n\u003cp>Twenty years ago, a \u003cem>Titanic\u003c/em> sweep won record ratings for the Oscar broadcast. But ratings have recently been declining. Last year’s show drew 32.9 million viewers for ABC, a 4 percent drop from the prior year. Even more worrisome was a slide in the key demographic of adults aged 18-49, whose viewership was down 14 percent from 2016.\u003c/p>\n\u003cp>Movie attendance also hit a 24-year low in 2017. But this year is already off to a strong start, thanks largely to Ryan Coogler’s B\u003cem>lack Panther\u003c/em>, which many analysts believe will play a prominent role at next year’s Oscars. In three weeks, it has already grossed about $500 million domestically. The film’s star, Chadwick Boseman, was placed front-and-center, at the Dolby Theatre.\u003c/p>\n\u003cp>This year, the academy prohibited the PwC accountants who handle the envelopes from using cellphones or social media during the show.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>With just a few minutes before the show started, Kimmel and his team emerged from his dressing room chanting, “Let’s get it right this time!”\u003cbr>\n___\u003cbr>\nAssociated Press’ Lindsey Bahr, Nicole Evatt, Sandy Cohen and Kristin M. Hall contributed to this report.\u003c/p>\n\n",
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"excerpt": "Guillermo del Toro's lavish, romantic monster fable \u003cem>The Shape of Water\u003c/em> swam away with best picture",
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"title": "'Shape of Water' Triumphs at an Oscars Full of Change | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Against all odds, love won out at the 90th Academy Awards.\u003c/p>\n\u003cp>Guillermo del Toro’s lavish, romantic monster fable \u003cem>The Shape of Water\u003c/em> swam away with best picture at an Oscar ceremony flooded by a sense of a change for a movie business confronting the post-Harvey Weinstein era.\u003c/p>\n\u003cp>The ceremony, held Sunday at the Dolby Theatre in Los Angeles, exorcised some demons — like last year’s envelope fiasco — and wrestled with other, deeper problems in Hollywood, like gender equality and diversity.\u003c/p>\n\u003cp>\u003cem>The Shape of Water\u003c/em>, which came in with 13 nods, took a leading four awards, including best production design, best score and best director for del Toro. He became the third Mexican-born filmmaker to win the award, joining his friends and countrymen Alejandro Inarritu and Alfonso Cuaron — who once were dubbed “the Three Amigos.”\u003c/p>\n\u003cp>“The greatest thing that art does, and that our industry does, is erase the lines in the sand,” said del Toro.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jordan Peele won for his script to his horror sensation \u003cem>Get Out\u003c/em>, becoming the first African-American to win for best original screenplay. Peele said he stopped writing it “20 times,” skeptical that it would ever get made.\u003c/p>\n\u003cp>“But I kept coming back to it because I knew if someone would let me make this movie, that people would hear it and people would see it,” said Peele. “So I want to dedicate this to all the people who raised my voice and let me make this movie.”\u003c/p>\n\u003cp>In a year lacking a clear front-runner the awards were spread around. Christopher Nolan’s World War II epic \u003cem>Dunkirk\u003c/em> landed three awards, all for its technical craft: editing, sound editing and sound design.\u003c/p>\n\u003cp>Things went expected in the acting categories, where Frances McDormand won her second Oscar for her performance in \u003cem>Three Billboards Outside Ebbing, Missouri\u003c/em>. McDormand asked all the attending female nominees stand up in the theater.\u003c/p>\n\u003cp>“Look around, ladies and gentlemen, because we all have stories to tell and projects that need financing,” declared McDormand. “I have two words to leave with you tonight, ladies and gentlemen, Inclusion Rider.”\u003c/p>\n\u003cp>Subbing for last year’s best-actor winner, Casey Affleck, in presenting the best-actress award were Jodie Foster and Jennifer Lawrence. “It’s a new day in Hollywood,” said Lawrence.\u003c/p>\n\u003cp>Three widely admired veteran actors won their first Oscars. Gary Oldman won for his Winston Churchill in \u003cem>Darkest Hour\u003c/em>, Allison Janney (\u003cem>I, Tonya\u003c/em>) took best supporting actress, and Sam Rockwell (\u003cem>Three Billboards\u003c/em>) won best supporting actor. Oldman thanked his “99-years young” mother. “Put the kettle on,” he told her. “I’m bringing Oscar home.”\u003c/p>\n\u003cfigure id=\"attachment_13826256\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-800x450.jpg\" alt='Mexican director Guillermo del Toro (4thL) and producer J. Miles Dale (3rdL) accept the Oscar for Best Film for \"The Shape of Water\" from US actors Faye Dunaway and Warren Beatty next to US actresses Octavia Spencer (L) and Sally Hawkins (2ndL) during the 90th Annual Academy Awards show on March 4, 2018 in Hollywood, California. ' width=\"800\" height=\"450\" class=\"size-medium wp-image-13826256\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Best-Picture-OScars-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mexican director Guillermo del Toro (4thL) and producer J. Miles Dale (3rdL) accept the Oscar for Best Film for “The Shape of Water” from US actors Faye Dunaway and Warren Beatty next to US actresses Octavia Spencer (L) and Sally Hawkins (2ndL) during the 90th Annual Academy Awards show on March 4, 2018 in Hollywood, California. \u003ccite>(Mark Ralston/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But many of the show’s most powerful moments came in between the awards. Ashley Judd, Anabella Sciorra and Salma Hayek — who all made allegations of sexual misconduct against Weinstein — together assembled for a mid-show segment dedicated to the #MeToo movement that has followed the downfall of Weinstein, long an Oscar heavyweight. They were met by a standing ovation.\u003c/p>\n\u003cp>“We work together to make sure the next 90 years empower these limitless possibilities of equality, diversity, inclusion and intersectionality,” said Judd. “That’s what this year has promised us.”\u003c/p>\n\u003cp>Host Jimmy Kimmel opened with a monologue that mixed Weinstein punchlines with earnest comments about reforming gender equality in Hollywood. And of course, Kimmel — returning to the scene of the flub — dove straight into material about last year’s infamous best-picture mix-up.\u003c/p>\n\u003cp>“I do want to mention, this year, when you hear your name called, don’t get up right away,” said Kimmel. “Give us a minute.”\u003c/p>\n\u003cp>But while Kimmel spent a few moments on the fiasco known as Envelopegate, he expended far more minutes frankly and soberly discussing the parade of sexual harassment allegations in the wake of the revelations regarding Weinstein. Kimmel cited the industry’s poor record for female directors and equal pay.\u003c/p>\n\u003cp>“We can’t let bad behavior slide anymore,” said Kimmel. “The world is watching us.”\u003cbr>\nGesturing to a giant statue on the stage, he praised Oscar, himself for keeping “his hands where you can see them” and for having “no penis at all.” But Kimmel introduced the broadcast as “a night for positivity,” and cited, among other things, the box-office success of \u003cem>Black Panther\u003c/em> and \u003cem>Wonder Woman\u003c/em>.\u003c/p>\n\u003cp>“I remember a time when the major studios didn’t believe a woman or a minority could open a superhero movie — and the reason I remember that time is because it was March of last year,” said Kimmel.\u003c/p>\n\u003cp>Several cinema legends won their first Oscar. James Ivory, 89, won best adapted screenplay for his script to the coming-of-age drama \u003cem>Call Me By Your Name\u003c/em>, becoming the oldest winner ever. After 14 nominations, revered cinematographer Roger Deakins finally won for his photography on \u003cem>Blade Runner 2049\u003c/em>. In the category, Rachel Morrison (\u003cem>Mudbound\u003c/em>) became the first woman nominated for best cinematography.\u003c/p>\n\u003cp>Pakistan-born comedian Kumail Nanjiani joined Kenyan-born Lupita Nyong’o to salute the so-called Dreamers — immigrants brought to the U.S. illegally as children and here without permanent protection from deportation. “Dreams are the foundation of Hollywood and dreams are the foundation of America. And, so, to all the Dreamers out there, we stand with you,” Nanjiani said.\u003c/p>\n\u003cp>Later, Pixar’s colorful ode to Mexican culture \u003cem>Coco\u003c/em> won best animated film as well as best song for “Remember Me.” Best foreign language film went to Chile’s \u003cem>A Fantastic Woman\u003c/em>, Sebastian Lelio’s drama starring transgender actress Daniela Vega.\u003c/p>\n\u003cp>“The biggest thank you of all to the people of Mexico,” said director Lee Unkrich to loud applause. “Marginalized people deserve to feel like they belong. Representation matters.”\u003c/p>\n\u003cp>Netflix scored its first feature-film Oscar, with best documentary going to \u003cem>Icarus\u003c/em>, Bryan Fogel’s investigation into doping in sports, aided by the assistance of Grigory Rodchenkov, the head of the Russian anti-doping laboratory who candidly discussed the doping scheme under Vladimir Putin. Fogel dedicated the award to Rodchenkov, “our fearless whistleblower who now lives in grave danger.”\u003c/p>\n\u003cfigure id=\"attachment_13826255\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-800x450.jpg\" alt=\"(L-R) Actor Sam Rockwell, winner of the Best Supporting Actor award for 'Three Billboards Outside Ebbing, Missouri;' actor Frances McDormand, winner of the Best Actress award for 'Three Billboards Outside Ebbing, Missouri;' actor Allison Janney, winner of the Best Supporting Actress award for 'I, Tonya;' and actor Gary Oldman, winner of the Best Actor award for 'Darkest Hour,' poses in the press room during the 90th Annual Academy Awards at Hollywood & Highland Center on March 4, 2018 in Hollywood, California. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-13826255\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Actos-winners-Oscars-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(L-R) Actor Sam Rockwell, winner of the Best Supporting Actor award for ‘Three Billboards Outside Ebbing, Missouri;’ actor Frances McDormand, winner of the Best Actress award for ‘Three Billboards Outside Ebbing, Missouri;’ actor Allison Janney, winner of the Best Supporting Actress award for ‘I, Tonya;’ and actor Gary Oldman, winner of the Best Actor award for ‘Darkest Hour,’ poses in the press room during the 90th Annual Academy Awards at Hollywood & Highland Center on March 4, 2018 in Hollywood, California. \u003ccite>(Alberto E. Rodriguez/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Darkest Hour\u003c/em> won for best makeup. The period romance P\u003cem>hantom Thread\u003c/em> won for costume design.\u003c/p>\n\u003cp>The ceremony was the crescendo of one of Hollywood’s most turbulent awards seasons ever — one that saw cascading allegations of sexual harassment topple movie moguls, upended Oscar campaigns and new movements launched to improve gender equality throughout the industry.\u003c/p>\n\u003cp>No Golden Globes-style fashion protest was held by organizers of Time’s Up, the initiative begun by several hundred prominent women in entertainment to combat sexual harassment. Their goals go beyond red carpets, organizers said in the lead-up to the Oscars. “We did the dress code thing and now we’re doing the work,” said #MeToo founder Tarana Burke on the red carpet.\u003c/p>\n\u003cp>The parade of sexual harassment allegations made the normal superficial red carpet a place of sometimes more serious discussion than attire. Scrutiny fell Sunday on E! host Ryan Seacrest after his former stylist, Suzie Hardy, alleged sexual harassment against the red-carpet regular. Seacrest has denied it and E! has supported him. Best supporting actress Oscar nominee Mary J. Blige said Seacrest is “fighting for his life right now.”\u003c/p>\n\u003cp>Twenty years ago, a \u003cem>Titanic\u003c/em> sweep won record ratings for the Oscar broadcast. But ratings have recently been declining. Last year’s show drew 32.9 million viewers for ABC, a 4 percent drop from the prior year. Even more worrisome was a slide in the key demographic of adults aged 18-49, whose viewership was down 14 percent from 2016.\u003c/p>\n\u003cp>Movie attendance also hit a 24-year low in 2017. But this year is already off to a strong start, thanks largely to Ryan Coogler’s B\u003cem>lack Panther\u003c/em>, which many analysts believe will play a prominent role at next year’s Oscars. In three weeks, it has already grossed about $500 million domestically. The film’s star, Chadwick Boseman, was placed front-and-center, at the Dolby Theatre.\u003c/p>\n\u003cp>This year, the academy prohibited the PwC accountants who handle the envelopes from using cellphones or social media during the show.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With just a few minutes before the show started, Kimmel and his team emerged from his dressing room chanting, “Let’s get it right this time!”\u003cbr>\n___\u003cbr>\nAssociated Press’ Lindsey Bahr, Nicole Evatt, Sandy Cohen and Kristin M. Hall contributed to this report.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sexual Assault Claim Against Conductor is Credible, Boston Symphony Says",
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"content": "\u003cp>On Friday, the Boston Symphony Orchestra announced that an independent investigation into a sexual assault claim made against conductor Charles Dutoit by one of its former interns has found the woman’s claim credible.\u003c/p>\n\u003cp>The accusation that triggered the BSO investigation came from a woman named Fiona Allan, who at the time of the alleged assault in 1997 was working as an intern at the orchestra’s summer home at Tanglewood in Lenox, Mass., when Dutoit was appearing with the symphony as a guest conductor.\u003c/p>\n\u003cp>Allan made her allegation public last December in the comments section of writer Norman Lebrecht’s classical music blog, “Slipped Disc.” Allan, who is now artistic director and chief executive of the Birmingham Hippodrome theater in the U.K., made her assertion after Lebrecht \u003ca href=\"http://slippedisc.com/2017/12/breaking-four-women-say-charles-dutoit-sexually-assaulted-them/\" target=\"_blank\" rel=\"noopener\">posted\u003c/a> about an Associated Press \u003ca href=\"https://www.usatoday.com/story/life/people/2017/12/21/famed-conductor-charles-dutoit-accused-sexual-misconduct/972882001/\" target=\"_blank\" rel=\"noopener\">report\u003c/a> about four women who had come forward with accusations against Dutoit.\u003c/p>\n\u003cp>At the time that she wrote on Lebrecht’s blog, Allan claimed that after Dutoit allegedly assaulted her in his Tanglewood dressing room, where she had been sent to drop off papers, she tried to report him to BSO management. She continued, “I alerted the orchestra manager, who told me (too late…) that they usually advised women not to enter his dressing room unaccompanied, as there had been previous complaints. So they knew what was going on… I have never felt angrier or less protected by an organisation. They continued to employ him, whilst knowing he harassed women.”\u003c/p>\n\u003cp>Since the initial AP report chronicling allegations against the conductor, \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2018/01/11/577378738/londons-royal-philharmonic-ends-its-relationship-with-conductor-charles-dutoit\" target=\"_blank\" rel=\"noopener\">ten women\u003c/a>, including Allan, have accused Dutoit of sexual misconduct in incidents spanning 1985 to 2010, including one allegation of rape.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Allan was a BSO employee at the time she says she was assaulted, the BSO launched an independent investigation into her allegation. In its \u003ca href=\"http://bso.http.internapcdn.net/bso/images/press-releases/bso/17-18/Dutoit_Investigation_Description.pdf\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> released today, the orchestra said that the investigator found Allan’s allegations “credible,” and that three other women with whom she spoke also “credibly described incidents in the 1980s and 1990s in which they too were victims of sexual misconduct by Mr. Dutoit.”\u003c/p>\n\u003cp>The orchestra says that it will not reveal information about the incidents involving the three other women, in order to protect their identities.\u003c/p>\n\u003cp>However, the BSO investigator also found that neither Allan nor the three other women made complaints about Dutoit’s behavior to the BSO, and that there were no indications that management was aware of allegations of misconduct involving Dutoit prior to Allan coming forward.\u003c/p>\n\u003cp>Dutoit has denied the allegations. In December, he issued a statement that said in part: “Whilst informal physical contact is commonplace in the arts world as a mutual gesture of friendship, the serious accusations made involving coercion and forced physical contact have absolutely no basis in truth.”\u003c/p>\n\u003cp>The BSO ended its relationship with Dutoit in December, following the AP report. Based on the investigator’s newly released findings, the orchestra says that it has also revoked an honorary title, the Koussevitzky Artist, which the BSO granted to Dutoit in 2016.\u003c/p>\n\u003cp>After the ten women came forward to accuse the Swiss-born Dutoit, other major orchestras around the world shed their affiliations to him, including the symphony orchestras of New York, Philadelphia, Chicago, San Francisco, Cleveland and Sydney, Australia.\u003c/p>\n\u003cp>This is the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/02/590282661/new-details-emerge-in-abuse-allegations-against-conductor-james-levine\" target=\"_blank\" rel=\"noopener\">second statement\u003c/a> regarding sexual misconduct and a conductor which the orchestra has released in a single day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier, the orchestra issued a separate statement to NPR regarding its relationship with conductor and pianist James Levine, who held the title of music director of the BSO from 2004 to 2011. Levine is currently facing multiple allegations of sexual, physical and emotional abuse in a period spanning the 1960s to 1980s. \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=Sexual+Assault+Claim+Against+Conductor+Dutoit+Is+Credible%2C+Boston+Symphony+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Friday, the Boston Symphony Orchestra announced that an independent investigation into a sexual assault claim made against conductor Charles Dutoit by one of its former interns has found the woman’s claim credible.\u003c/p>\n\u003cp>The accusation that triggered the BSO investigation came from a woman named Fiona Allan, who at the time of the alleged assault in 1997 was working as an intern at the orchestra’s summer home at Tanglewood in Lenox, Mass., when Dutoit was appearing with the symphony as a guest conductor.\u003c/p>\n\u003cp>Allan made her allegation public last December in the comments section of writer Norman Lebrecht’s classical music blog, “Slipped Disc.” Allan, who is now artistic director and chief executive of the Birmingham Hippodrome theater in the U.K., made her assertion after Lebrecht \u003ca href=\"http://slippedisc.com/2017/12/breaking-four-women-say-charles-dutoit-sexually-assaulted-them/\" target=\"_blank\" rel=\"noopener\">posted\u003c/a> about an Associated Press \u003ca href=\"https://www.usatoday.com/story/life/people/2017/12/21/famed-conductor-charles-dutoit-accused-sexual-misconduct/972882001/\" target=\"_blank\" rel=\"noopener\">report\u003c/a> about four women who had come forward with accusations against Dutoit.\u003c/p>\n\u003cp>At the time that she wrote on Lebrecht’s blog, Allan claimed that after Dutoit allegedly assaulted her in his Tanglewood dressing room, where she had been sent to drop off papers, she tried to report him to BSO management. She continued, “I alerted the orchestra manager, who told me (too late…) that they usually advised women not to enter his dressing room unaccompanied, as there had been previous complaints. So they knew what was going on… I have never felt angrier or less protected by an organisation. They continued to employ him, whilst knowing he harassed women.”\u003c/p>\n\u003cp>Since the initial AP report chronicling allegations against the conductor, \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2018/01/11/577378738/londons-royal-philharmonic-ends-its-relationship-with-conductor-charles-dutoit\" target=\"_blank\" rel=\"noopener\">ten women\u003c/a>, including Allan, have accused Dutoit of sexual misconduct in incidents spanning 1985 to 2010, including one allegation of rape.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Allan was a BSO employee at the time she says she was assaulted, the BSO launched an independent investigation into her allegation. In its \u003ca href=\"http://bso.http.internapcdn.net/bso/images/press-releases/bso/17-18/Dutoit_Investigation_Description.pdf\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> released today, the orchestra said that the investigator found Allan’s allegations “credible,” and that three other women with whom she spoke also “credibly described incidents in the 1980s and 1990s in which they too were victims of sexual misconduct by Mr. Dutoit.”\u003c/p>\n\u003cp>The orchestra says that it will not reveal information about the incidents involving the three other women, in order to protect their identities.\u003c/p>\n\u003cp>However, the BSO investigator also found that neither Allan nor the three other women made complaints about Dutoit’s behavior to the BSO, and that there were no indications that management was aware of allegations of misconduct involving Dutoit prior to Allan coming forward.\u003c/p>\n\u003cp>Dutoit has denied the allegations. In December, he issued a statement that said in part: “Whilst informal physical contact is commonplace in the arts world as a mutual gesture of friendship, the serious accusations made involving coercion and forced physical contact have absolutely no basis in truth.”\u003c/p>\n\u003cp>The BSO ended its relationship with Dutoit in December, following the AP report. Based on the investigator’s newly released findings, the orchestra says that it has also revoked an honorary title, the Koussevitzky Artist, which the BSO granted to Dutoit in 2016.\u003c/p>\n\u003cp>After the ten women came forward to accuse the Swiss-born Dutoit, other major orchestras around the world shed their affiliations to him, including the symphony orchestras of New York, Philadelphia, Chicago, San Francisco, Cleveland and Sydney, Australia.\u003c/p>\n\u003cp>This is the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/02/590282661/new-details-emerge-in-abuse-allegations-against-conductor-james-levine\" target=\"_blank\" rel=\"noopener\">second statement\u003c/a> regarding sexual misconduct and a conductor which the orchestra has released in a single day.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier, the orchestra issued a separate statement to NPR regarding its relationship with conductor and pianist James Levine, who held the title of music director of the BSO from 2004 to 2011. Levine is currently facing multiple allegations of sexual, physical and emotional abuse in a period spanning the 1960s to 1980s. \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=Sexual+Assault+Claim+Against+Conductor+Dutoit+Is+Credible%2C+Boston+Symphony+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Wikipedia Needs More Female Artists -- So Go Add Them, Says Stanford",
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"content": "\u003cp>Depending on which estimate you prefer, \u003cspan style=\"font-weight: 400\">10-23 percent of the people who collectively edit Wikipedia identify as women, according to the non-profit that runs the digital resource, the \u003ca href=\"https://blog.wikimedia.org/2015/04/30/how-many-women-edit-wikipedia/\" target=\"_blank\" rel=\"noopener\">Wikimedia Foundation\u003c/a>\u003c/span>.\u003c/p>\n\u003cp>When you consider how many of us \u003ci>use\u003c/i> Wikipedia as a reference, even Wikipedia agrees that’s a \u003ca href=\"https://en.wikipedia.org/wiki/Gender_bias_on_Wikipedia#cite_note-Cohen110130-8\" target=\"_blank\" rel=\"noopener\">problem\u003c/a>. \u003cspan style=\"font-weight: 400\">When the vast majority of people who contribute to Wikipedia are male, you’re going to see bizarre gaps in what’s covered and how. \u003c/span>\u003c/p>\n\u003cp>In recent years, a group called \u003ca href=\"http://www.artandfeminism.org/\" target=\"_blank\" rel=\"noopener\">Art + Feminism\u003c/a> has been trying to make an art-sized dent in that problem by hosting “edit-a-thons.”\u003c/p>\n\u003cp>This month alone, there are four Art + Feminism edit-a-thons in the Bay Area, including \u003ca href=\"http://events.stanford.edu/events/758/75837/\" target=\"_blank\" rel=\"noopener\">one at Stanford’s Bowes Art and Architecture Library\u003c/a> on International Women’s Day.\u003c/p>\n\u003cp>Organizer Vanessa Kam says it makes a lot of sense to host an edit-a-thon in a library. “Lots of reference materials: encyclopedias, dictionaries, wonderful exhibit catalogues, as well as books on feminist art and art history around the world, in multiple languages,” Kam says.\u003c/p>\n\u003cfigure id=\"attachment_13826161\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826161\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-800x800.jpg\" alt=\"Solid citations are key to making sure your contributions “stick” on Wikipedia, where collective re-editing is par for the course.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solid citations are key to making sure your contributions “stick” on Wikipedia, where collective re-editing is par for the course. \u003ccite>(Photo: Courtesy of Gabrielle Karampelas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Opinions vary as to why women haven’t entered the editorial fray in larger numbers, but one theory holds many women find bro-culture of any kind off-putting. Hence the appeal of a group effort in real time and space.\u003c/span>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There’s nothing like the feeling of collaborating with people, you now, arm to arm, shoulder to shoulder, trying to make a difference,” Kam says.\u003c/p>\n\u003cp>Eleven people came to the first edit-a-thon. More are expected this year, from on and off campus. “The sky’s the limit.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kam is hoping for as many new entries about female Bay Area artists as possible Thursday, (especially if Stanford houses archival materials for them as it does with, say, the sculptor \u003ca href=\"http://library.stanford.edu/blogs/special-collections-unbound/2015/03/ruth-asawa-papers-now-available\" target=\"_blank\" rel=\"noopener\">Ruth Asawa\u003c/a>). But the edit-a-thon welcomes all comers, of all genders, with all interests. Which would describe the original intent of Wikipedia.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information on where to participate in an Art + Feminism edit-a-thon in the Bay Area, including San Francisco and Berkeley, click \u003ca href=\"http://www.artandfeminism.org/find-an-event/\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Depending on which estimate you prefer, \u003cspan style=\"font-weight: 400\">10-23 percent of the people who collectively edit Wikipedia identify as women, according to the non-profit that runs the digital resource, the \u003ca href=\"https://blog.wikimedia.org/2015/04/30/how-many-women-edit-wikipedia/\" target=\"_blank\" rel=\"noopener\">Wikimedia Foundation\u003c/a>\u003c/span>.\u003c/p>\n\u003cp>When you consider how many of us \u003ci>use\u003c/i> Wikipedia as a reference, even Wikipedia agrees that’s a \u003ca href=\"https://en.wikipedia.org/wiki/Gender_bias_on_Wikipedia#cite_note-Cohen110130-8\" target=\"_blank\" rel=\"noopener\">problem\u003c/a>. \u003cspan style=\"font-weight: 400\">When the vast majority of people who contribute to Wikipedia are male, you’re going to see bizarre gaps in what’s covered and how. \u003c/span>\u003c/p>\n\u003cp>In recent years, a group called \u003ca href=\"http://www.artandfeminism.org/\" target=\"_blank\" rel=\"noopener\">Art + Feminism\u003c/a> has been trying to make an art-sized dent in that problem by hosting “edit-a-thons.”\u003c/p>\n\u003cp>This month alone, there are four Art + Feminism edit-a-thons in the Bay Area, including \u003ca href=\"http://events.stanford.edu/events/758/75837/\" target=\"_blank\" rel=\"noopener\">one at Stanford’s Bowes Art and Architecture Library\u003c/a> on International Women’s Day.\u003c/p>\n\u003cp>Organizer Vanessa Kam says it makes a lot of sense to host an edit-a-thon in a library. “Lots of reference materials: encyclopedias, dictionaries, wonderful exhibit catalogues, as well as books on feminist art and art history around the world, in multiple languages,” Kam says.\u003c/p>\n\u003cfigure id=\"attachment_13826161\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13826161\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-800x800.jpg\" alt=\"Solid citations are key to making sure your contributions “stick” on Wikipedia, where collective re-editing is par for the course.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/RS29740_IMG_2816-2-qut-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solid citations are key to making sure your contributions “stick” on Wikipedia, where collective re-editing is par for the course. \u003ccite>(Photo: Courtesy of Gabrielle Karampelas)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-weight: 400\">Opinions vary as to why women haven’t entered the editorial fray in larger numbers, but one theory holds many women find bro-culture of any kind off-putting. Hence the appeal of a group effort in real time and space.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There’s nothing like the feeling of collaborating with people, you now, arm to arm, shoulder to shoulder, trying to make a difference,” Kam says.\u003c/p>\n\u003cp>Eleven people came to the first edit-a-thon. More are expected this year, from on and off campus. “The sky’s the limit.”\u003c/p>\n\u003cp>\u003cspan style=\"font-weight: 400\">Kam is hoping for as many new entries about female Bay Area artists as possible Thursday, (especially if Stanford houses archival materials for them as it does with, say, the sculptor \u003ca href=\"http://library.stanford.edu/blogs/special-collections-unbound/2015/03/ruth-asawa-papers-now-available\" target=\"_blank\" rel=\"noopener\">Ruth Asawa\u003c/a>). But the edit-a-thon welcomes all comers, of all genders, with all interests. Which would describe the original intent of Wikipedia.\u003c/span>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For more information on where to participate in an Art + Feminism edit-a-thon in the Bay Area, including San Francisco and Berkeley, click \u003ca href=\"http://www.artandfeminism.org/find-an-event/\">\u003cstrong>here\u003c/strong>\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Most of James Hetfield's Lucas Valley Ranch Protected from Development",
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"content": "\u003cp>Over 1,000 acres of a ranch in Lucas Valley owned by the family of Metallica singer James Hetfield is one step away from being designated permanent farmland, protecting it from ever being developed.\u003c/p>\n\u003cp>On Tuesday, the Marin County Board of Supervisors approved a deal to place almost all of Hetfield’s land under the stewardship of the \u003ca href=\"http://malt.org/news/press-release-luiz-ranch\" rel=\"noopener\" target=\"_blank\">Marin Agricultural Land Trust\u003c/a> (MALT). Under the arrangement, the Hetfields will retain ownership of the land, with three large parcels going into an agricultural conservation easement to preserve them as ranching land, even if sold. Once the deal is completed between the family, the Marin County Open Space District (MCOSD) and the trust, MALT will ensure that the land is never developed, in perpetuity.\u003c/p>\n\u003cp>“Our family is very happy to work with MCOSD and MALT on re-establishing agriculture and maintaining the scenic corridor of the ranch. We believe this is a huge community benefit, and one of our goals is to keep agriculture on the ranch for a very long time,” the Hetfields said in a statement \u003ca href=\"http://www.marinij.com/general-news/20171111/metallicas-hetfield-offers-more-lucas-valley-land-building-plans-uncertain#disqus_thread\" rel=\"noopener\" target=\"_blank\">released in November\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13826117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-800x600.jpg\" alt=\"A view from Luiz Ranch, owned by James Hetfield and family\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view from Luiz Ranch, owned by James Hetfield and family. \u003ccite>(Robin Livingston/MALT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hetfield, whose band Metallica has reportedly sold \u003ca href=\"http://loudwire.com/metallica-land-in-guinness-world-records-2015-edition/\" rel=\"noopener\" target=\"_blank\">over 120 million albums\u003c/a> worldwide, bought the 1,150-acre parcel known as Luiz Ranch in 1999. Over the years, he and his wife Francesca have placed large chunks of it into the agricultural conservation easement, starting with 440 acres in 2005 and adding another 320 acres in 2009. In November, the family offered another 240 acres to the easement.\u003c/p>\n\u003cp>By transferring stewardship to MALT, both the Hetfields and the county minimize costs for maintaining the property. To assist MALT in their work, the county and the Hetfields also set up a $175,000 endowment, according to MALT director of conservation Jeff Stump.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Hetfields lease their property to an independent cattle rancher, which Stump says is good for the land: the area was once full of herd animals such as elk, and the ecosystem benefits from grazing.\u003c/p>\n\u003cp>“Ranching controls evasive plants and really does help the land,” Stump said. “You’re going to have grazing consistent with cultural and natural resource values, and it will maintain the beautiful property and possibly improve.” \u003c/p>\n\u003cp>Stump says that about half of the 51,000 total acres under MALT’s stewardship are leased for agricultural use, the other half are run by families. But none are none on an industrial scale. \u003c/p>\n\u003cp>“These families have to be compatible with the land, because it’s all the land they have,” Stump said. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=fWnKdoJlH8Q\u003c/p>\n\u003ch2>A Tense Relationship\u003c/h2>\n\u003cp>The Hetfields relationship with the county hasn’t always been so cordial. For example, in 2008, the Hetfields built a 300-ft. fence on the edge of their property that cut off a fire road popular with local hikers.\u003c/p>\n\u003cp>“I was mountain biking next to a barbed-wire fence, high on a beautiful Marin hillside, when all of a sudden the old barbed-wire fence stopped and there was a tall, shiny and very unwelcoming gate, complete with closed circuit cameras and multiple ‘Keep Out’ signs,” KQED cartoonist Mark Fiore said last year about his run-in with Hetfield’s fence. “It was the kind of thing you might see at a military base or prison.”\u003c/p>\n\u003cp>The fence forced Marin County to \u003ca href=\"http://www.rollingstone.com/music/news/metallica-singer-forces-county-to-build-expensive-hiking-trail-20110719\" rel=\"noopener\" target=\"_blank\">build a three-mile nature trail\u003c/a> around Hetfield’s property at a cost of $650,000. \u003c/p>\n\u003cp>Then, in 2011, the family submitted a pre-application to build between 27 and 34 homes on the property. This met opposition from neighbors, who bristled at the idea of such a large construction project.\u003c/p>\n\u003cp>“A lot more construction, a lot more homes over a greater area,” local homeowner and activist Liz Dale \u003ca href=\"http://sanfrancisco.cbslocal.com/2016/08/22/new-development-plan-from-metallicas-hetfield-gets-local-approval/\" rel=\"noopener\" target=\"_blank\">told KPIX in 2016\u003c/a>. “And that was not very well received.” \u003c/p>\n\u003cp>Hetfield never followed up on that application. Instead, he filed another pre-application that same year to build just four single-family homes on his property, while adding more of his land to the agricultural conservation easement. The plan was well-received, especially in contrast to the affordable housing project proposed by Hetfield’s Lucas Valley neighbor, George Lucas, after the \u003cem>Star Wars\u003c/em> director’s plans for \u003ca href=\"http://sanfrancisco.cbslocal.com/2015/04/15/george-lucas-planning-payback-with-massive-affordable-housing-project-on-his-marin-county-land/\" rel=\"noopener\" target=\"_blank\">an expanded Skywalker Ranch were opposed\u003c/a>. \u003c/p>\n\u003cp>Hetfield’s family has yet to move forward on their plans to build the four homes on 40 acres outside of the easement, but representatives of the family say it’s still possibility. Until then, they will enjoy \u003ca href=\"https://www.landtrustalliance.org/topics/taxes/income-tax-incentives-land-conservation\" rel=\"noopener\" target=\"_blank\">considerable tax deductions\u003c/a> from having the land in the easement.\u003c/p>\n\u003cp>The Hetfields now live in Vail, Colorado. Last year, the Metallica singer admitted on the \u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/metallicas-james-hetfield-says-he-left-marin-because-of-bay-area-attitude/\" rel=\"noopener\" target=\"_blank\">Joe Rogan Experience\u003c/a> podcast that he moved his family because he “got sick” of Bay Area attitudes.\u003c/p>\n\u003cp>“They talk about how diverse they are, and things like that, and it’s fine if you’re diverse like them,” Hetfield said. “But showing up with a deer on the bumper doesn’t fly in Marin County.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over 1,000 acres of a ranch in Lucas Valley owned by the family of Metallica singer James Hetfield is one step away from being designated permanent farmland, protecting it from ever being developed.\u003c/p>\n\u003cp>On Tuesday, the Marin County Board of Supervisors approved a deal to place almost all of Hetfield’s land under the stewardship of the \u003ca href=\"http://malt.org/news/press-release-luiz-ranch\" rel=\"noopener\" target=\"_blank\">Marin Agricultural Land Trust\u003c/a> (MALT). Under the arrangement, the Hetfields will retain ownership of the land, with three large parcels going into an agricultural conservation easement to preserve them as ranching land, even if sold. Once the deal is completed between the family, the Marin County Open Space District (MCOSD) and the trust, MALT will ensure that the land is never developed, in perpetuity.\u003c/p>\n\u003cp>“Our family is very happy to work with MCOSD and MALT on re-establishing agriculture and maintaining the scenic corridor of the ranch. We believe this is a huge community benefit, and one of our goals is to keep agriculture on the ranch for a very long time,” the Hetfields said in a statement \u003ca href=\"http://www.marinij.com/general-news/20171111/metallicas-hetfield-offers-more-lucas-valley-land-building-plans-uncertain#disqus_thread\" rel=\"noopener\" target=\"_blank\">released in November\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13826117\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-800x600.jpg\" alt=\"A view from Luiz Ranch, owned by James Hetfield and family\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13826117\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Luiz-Ranch-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A view from Luiz Ranch, owned by James Hetfield and family. \u003ccite>(Robin Livingston/MALT)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hetfield, whose band Metallica has reportedly sold \u003ca href=\"http://loudwire.com/metallica-land-in-guinness-world-records-2015-edition/\" rel=\"noopener\" target=\"_blank\">over 120 million albums\u003c/a> worldwide, bought the 1,150-acre parcel known as Luiz Ranch in 1999. Over the years, he and his wife Francesca have placed large chunks of it into the agricultural conservation easement, starting with 440 acres in 2005 and adding another 320 acres in 2009. In November, the family offered another 240 acres to the easement.\u003c/p>\n\u003cp>By transferring stewardship to MALT, both the Hetfields and the county minimize costs for maintaining the property. To assist MALT in their work, the county and the Hetfields also set up a $175,000 endowment, according to MALT director of conservation Jeff Stump.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Hetfields lease their property to an independent cattle rancher, which Stump says is good for the land: the area was once full of herd animals such as elk, and the ecosystem benefits from grazing.\u003c/p>\n\u003cp>“Ranching controls evasive plants and really does help the land,” Stump said. “You’re going to have grazing consistent with cultural and natural resource values, and it will maintain the beautiful property and possibly improve.” \u003c/p>\n\u003cp>Stump says that about half of the 51,000 total acres under MALT’s stewardship are leased for agricultural use, the other half are run by families. But none are none on an industrial scale. \u003c/p>\n\u003cp>“These families have to be compatible with the land, because it’s all the land they have,” Stump said. \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/fWnKdoJlH8Q'\n title='//www.youtube.com/embed/fWnKdoJlH8Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch2>A Tense Relationship\u003c/h2>\n\u003cp>The Hetfields relationship with the county hasn’t always been so cordial. For example, in 2008, the Hetfields built a 300-ft. fence on the edge of their property that cut off a fire road popular with local hikers.\u003c/p>\n\u003cp>“I was mountain biking next to a barbed-wire fence, high on a beautiful Marin hillside, when all of a sudden the old barbed-wire fence stopped and there was a tall, shiny and very unwelcoming gate, complete with closed circuit cameras and multiple ‘Keep Out’ signs,” KQED cartoonist Mark Fiore said last year about his run-in with Hetfield’s fence. “It was the kind of thing you might see at a military base or prison.”\u003c/p>\n\u003cp>The fence forced Marin County to \u003ca href=\"http://www.rollingstone.com/music/news/metallica-singer-forces-county-to-build-expensive-hiking-trail-20110719\" rel=\"noopener\" target=\"_blank\">build a three-mile nature trail\u003c/a> around Hetfield’s property at a cost of $650,000. \u003c/p>\n\u003cp>Then, in 2011, the family submitted a pre-application to build between 27 and 34 homes on the property. This met opposition from neighbors, who bristled at the idea of such a large construction project.\u003c/p>\n\u003cp>“A lot more construction, a lot more homes over a greater area,” local homeowner and activist Liz Dale \u003ca href=\"http://sanfrancisco.cbslocal.com/2016/08/22/new-development-plan-from-metallicas-hetfield-gets-local-approval/\" rel=\"noopener\" target=\"_blank\">told KPIX in 2016\u003c/a>. “And that was not very well received.” \u003c/p>\n\u003cp>Hetfield never followed up on that application. Instead, he filed another pre-application that same year to build just four single-family homes on his property, while adding more of his land to the agricultural conservation easement. The plan was well-received, especially in contrast to the affordable housing project proposed by Hetfield’s Lucas Valley neighbor, George Lucas, after the \u003cem>Star Wars\u003c/em> director’s plans for \u003ca href=\"http://sanfrancisco.cbslocal.com/2015/04/15/george-lucas-planning-payback-with-massive-affordable-housing-project-on-his-marin-county-land/\" rel=\"noopener\" target=\"_blank\">an expanded Skywalker Ranch were opposed\u003c/a>. \u003c/p>\n\u003cp>Hetfield’s family has yet to move forward on their plans to build the four homes on 40 acres outside of the easement, but representatives of the family say it’s still possibility. Until then, they will enjoy \u003ca href=\"https://www.landtrustalliance.org/topics/taxes/income-tax-incentives-land-conservation\" rel=\"noopener\" target=\"_blank\">considerable tax deductions\u003c/a> from having the land in the easement.\u003c/p>\n\u003cp>The Hetfields now live in Vail, Colorado. Last year, the Metallica singer admitted on the \u003ca href=\"https://ww2.kqed.org/arts/2016/12/20/metallicas-james-hetfield-says-he-left-marin-because-of-bay-area-attitude/\" rel=\"noopener\" target=\"_blank\">Joe Rogan Experience\u003c/a> podcast that he moved his family because he “got sick” of Bay Area attitudes.\u003c/p>\n\u003cp>“They talk about how diverse they are, and things like that, and it’s fine if you’re diverse like them,” Hetfield said. “But showing up with a deer on the bumper doesn’t fly in Marin County.” \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-medium wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Less than a week after the Weinstein Co. seemed destined for bankruptcy, a deal emerged for an investment group to buy assets from the troubled firm in order to launch a new movie studio that will be led by women.\u003c/p>\n\u003cp>The deal, between the Weinstein Co. and a group backed by billionaire Ron Burkle and led by Maria Contreras-Sweet, who was in charge of the Small Business Administration under President Barack Obama, is said to be worth more than $500 million, according to Reuters.\u003c/p>\n\u003cp>Contreras-Sweet released a statement that said her group planned to use the Weinstein assets to start a company “led by a board of directors made up of a majority of independent women,” which would “save about 150 jobs, protect the small businesses who are owed money and create a victims’ compensation fund that would supplement existing insurance coverage for those who have been harmed.”\u003c/p>\n\u003cp>The Weinstein Co. board of directors released a statement announcing the agreement, thanking the investment group, and saying, “We consider this to be a positive outcome under what have been incredibly difficult circumstances.\u003c/p>\n\u003cp>Rocky negotiations had gone on for weeks between the investment group and the Weinstein Co., which has been in turmoil over accusations against \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/31/561058927/producers-guild-bans-harvey-weinstein-for-life\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein\u003c/a> of sexual misconduct, including rape, by \u003ca href=\"http://www.bbc.com/news/entertainment-arts-41580010\">more than 50 women\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Feb. 26, the Weinstein Co. said it would file for bankruptcy, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/26/588791946/weinstein-company-will-file-for-bankruptcy-after-sale-talks-collapse\" target=\"_blank\" rel=\"noopener\">NPR’s Laurel Wamsley reported\u003c/a>, after talks between the two sides broke down over disagreements \u003ca href=\"https://www.scribd.com/document/372410882/Twc-Letter\">about interim funding\u003c/a>, among other things.\u003c/p>\n\u003cp>And two weeks ago, New York Attorney General Eric Schneiderman \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/11/584973941/harvey-weinstein-his-brother-and-their-company-hit-with-civil-rights-lawsuit\" target=\"_blank\" rel=\"noopener\">filed\u003c/a> a civil rights lawsuit against the Weinstein Co., stating that the studio “repeatedly broke New York law by failing to protect its employees from pervasive sexual harassment, intimidation, and discrimination.”\u003c/p>\n\u003cp>The attorney general said the amount of money allocated for victims of sexual assault and harassment was too small in the early sale proposals, but a source familiar with Thursday’s deal said the buyers upped that amount to between $80-$90 million.\u003c/p>\n\u003cp>As the sale agreement was announced, Schneiderman released a statement saying the new owners have committed to “a well-funded victims compensation fund” and to implementing “HR policies that will protect all employees, and will not unjustly reward bad actors.”\u003c/p>\n\u003cp>Another sticking point was the role of top Weinstein executive David Glasser.\u003c/p>\n\u003cp>The investors originally wanted to make Glasser the COO of the new company but Schneiderman considered him an enabler of Weinstein, and therefore wanted him out of the new business. The Weinstein Co. fired Glasser two weeks ago, and the source said Thursday’s agreement also has him officially out of the new company.\u003c/p>\n\u003cp>“This next step represents the best possible pathway to support victims and protect employees,” Conteras-Sweet said on Thursday. “We are grateful to our investors who have believed in this process and in the compelling value of a female-led company.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A new name for the potential company has not been selected, \u003ca href=\"http://variety.com/2018/biz/news/weinstein-co-ron-burkle-maria-contreras-sweet-1202694056/\">reports Variety\u003c/a>, though at one point the investors were said to be leaning toward “Wonder Hill.” \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=Investor+Group+Has+Deal+To+Buy+Weinstein+Co.%2C+Start+New+Movie+Studio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Less than a week after the Weinstein Co. seemed destined for bankruptcy, a deal emerged for an investment group to buy assets from the troubled firm in order to launch a new movie studio that will be led by women.\u003c/p>\n\u003cp>The deal, between the Weinstein Co. and a group backed by billionaire Ron Burkle and led by Maria Contreras-Sweet, who was in charge of the Small Business Administration under President Barack Obama, is said to be worth more than $500 million, according to Reuters.\u003c/p>\n\u003cp>Contreras-Sweet released a statement that said her group planned to use the Weinstein assets to start a company “led by a board of directors made up of a majority of independent women,” which would “save about 150 jobs, protect the small businesses who are owed money and create a victims’ compensation fund that would supplement existing insurance coverage for those who have been harmed.”\u003c/p>\n\u003cp>The Weinstein Co. board of directors released a statement announcing the agreement, thanking the investment group, and saying, “We consider this to be a positive outcome under what have been incredibly difficult circumstances.\u003c/p>\n\u003cp>Rocky negotiations had gone on for weeks between the investment group and the Weinstein Co., which has been in turmoil over accusations against \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/31/561058927/producers-guild-bans-harvey-weinstein-for-life\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein\u003c/a> of sexual misconduct, including rape, by \u003ca href=\"http://www.bbc.com/news/entertainment-arts-41580010\">more than 50 women\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Feb. 26, the Weinstein Co. said it would file for bankruptcy, as \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/26/588791946/weinstein-company-will-file-for-bankruptcy-after-sale-talks-collapse\" target=\"_blank\" rel=\"noopener\">NPR’s Laurel Wamsley reported\u003c/a>, after talks between the two sides broke down over disagreements \u003ca href=\"https://www.scribd.com/document/372410882/Twc-Letter\">about interim funding\u003c/a>, among other things.\u003c/p>\n\u003cp>And two weeks ago, New York Attorney General Eric Schneiderman \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/11/584973941/harvey-weinstein-his-brother-and-their-company-hit-with-civil-rights-lawsuit\" target=\"_blank\" rel=\"noopener\">filed\u003c/a> a civil rights lawsuit against the Weinstein Co., stating that the studio “repeatedly broke New York law by failing to protect its employees from pervasive sexual harassment, intimidation, and discrimination.”\u003c/p>\n\u003cp>The attorney general said the amount of money allocated for victims of sexual assault and harassment was too small in the early sale proposals, but a source familiar with Thursday’s deal said the buyers upped that amount to between $80-$90 million.\u003c/p>\n\u003cp>As the sale agreement was announced, Schneiderman released a statement saying the new owners have committed to “a well-funded victims compensation fund” and to implementing “HR policies that will protect all employees, and will not unjustly reward bad actors.”\u003c/p>\n\u003cp>Another sticking point was the role of top Weinstein executive David Glasser.\u003c/p>\n\u003cp>The investors originally wanted to make Glasser the COO of the new company but Schneiderman considered him an enabler of Weinstein, and therefore wanted him out of the new business. The Weinstein Co. fired Glasser two weeks ago, and the source said Thursday’s agreement also has him officially out of the new company.\u003c/p>\n\u003cp>“This next step represents the best possible pathway to support victims and protect employees,” Conteras-Sweet said on Thursday. “We are grateful to our investors who have believed in this process and in the compelling value of a female-led company.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A new name for the potential company has not been selected, \u003ca href=\"http://variety.com/2018/biz/news/weinstein-co-ron-burkle-maria-contreras-sweet-1202694056/\">reports Variety\u003c/a>, though at one point the investors were said to be leaning toward “Wonder Hill.” \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=Investor+Group+Has+Deal+To+Buy+Weinstein+Co.%2C+Start+New+Movie+Studio&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Library of Congress hosted a very special guest at story time this week:\u003c/p>\n\u003cp>Dolly Parton.\u003c/p>\n\u003cp>The country music legend is also a champion of early childhood literacy, through her Imagination Library. Every month, the nonprofit program mails a free book to more than a million children — from infants to preschoolers.\u003c/p>\n\u003cp>Parton visited the Library of Congress on Tuesday to celebrate a major milestone in the Imagination Library’s history: delivery of its 100 millionth book. Not bad for a program Parton founded more than two decades ago as a small, local effort to help kids in her native Sevier County, Tennessee.\u003c/p>\n\u003cp>“We never thought it would be this big,” she told NPR in a quiet, wood-paneled room off the library’s Great Hall. “I just wanted to do something great for my dad and for my home county and, at the most, maybe a couple of counties over. But then it just took wings of its own, and I guess it was meant to be.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Parton’s inspiration for the Imagination Library was deeply personal: her father, Robert Lee Parton. Like many people of his generation, he began working at a young age to help support his family.\u003c/p>\n\u003cp>“My dad didn’t get the chance to go to school. And Daddy couldn’t read and write, and that was kind of crippling to him,” Parton said. “He was such a smart man, though. He just had such good common sense. They call it horse sense in the country.”\u003c/p>\n\u003cp>“But Daddy thought it was just something he couldn’t learn after he was grown, so he never tried to learn to read and write. And that was just kind of embarrassing to him,” she continued. “But I didn’t want Daddy to feel embarrassed.”\u003c/p>\n\u003cp>Parton was determined to give the children of Sevier County something her father never had: early access to books. She started the Imagination Library in 1995, and involved her father, too. He was able to see the program take off before he died in 2000.\u003c/p>\n\u003cp>“He got to hear the kids call me ‘The Book Lady.’ He got a big kick out of that,” she said. “But he took great pride and felt like he’d helped do something special.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZHNCLyvqoQw\u003c/p>\n\u003cp>From its modest roots in eastern Tennessee, the Imagination Library has grown to reach children in all 50 states and the District of Columbia, as well as Canada, Australia and the United Kingdom.\u003c/p>\n\u003cp>The program is \u003ca href=\"https://www.npr.org/sections/ed/2017/11/06/552885008/baby-you-ve-got-mail-free-books-boost-early-literacy\">available in communities where a local partner has teamed up with the Imagination Library\u003c/a>. Those partners could be nonprofits, state agencies or a public library system, for instance. Any child from birth to 5 — before they head off to kindergarten — is eligible. Local partners pay about $25 per child per year, an amount that covers the cost of the book and shipping.\u003c/p>\n\u003cp>A panel of educators and reading specialists picks books that are developmentally appropriate for each year of a child’s life.\u003c/p>\n\u003cp>In Washington, D.C., on a recent evening, Uretta Todd and her 4-year-old son, August, read \u003cem>Old Bear and His Cub\u003c/em>, one of the books they’ve received from the D.C. Public Library’s partnership with the Imagination Library, Books from Birth.\u003c/p>\n\u003cp>Todd says her son loves getting his book in the mail every month: It’s personal, it has his name on it, and it comes straight to their home.\u003c/p>\n\u003cp>She also loves the range of books.\u003c/p>\n\u003cp>“It exposes us to books we wouldn’t have necessarily picked out,” she says. Some examples include a bilingual English-Spanish version of \u003cem>Just One More\u003c/em> or Dolly Parton’s children’s book, \u003cem>I Am A Rainbow\u003c/em>, which uses colors to help kids talk about their feelings.\u003c/p>\n\u003cp>Across the country, in Anchorage, Alaska, 5-year-old Jack Price just graduated from the Imagination Library program.\u003c/p>\n\u003cp>“I have read to my son almost every day of his life,” says his mother, Natasha Price, who signed up for the Imagination Library in the hospital when her son was born.\u003c/p>\n\u003cp>Price says she appreciates how the books come with suggestions for parents on how to engage with the words beyond the page, with questions and activities.\u003c/p>\n\u003cp>“Maybe it’s been a long day and I can’t really think of the right questions to ask, and they have these really great prompts at the back of every book,” she says.\u003c/p>\n\u003cp>Getting the books each month became “a really wonderful custom in our family,” she says. “It was sad when we got our last book, which was about being ready for kindergarten, because we wouldn’t get any more books in the mail.”\u003c/p>\n\u003cp>Now that Jack has started kindergarten, Price says she sees “a direct correlation between reading to him every day and his reading comprehension skills.”\u003c/p>\n\u003cp>And the science backs her up. The human brain develops rapidly during the first few years of life. And studies have found that reading out loud to a child not only promotes literacy and a love of reading, but also has \u003ca href=\"http://pediatrics.aappublications.org/content/136/3/466\">lasting cognitive and educational benefits\u003c/a>.\u003c/p>\n\u003cp>It also helps children build knowledge and expand their horizons, Dolly Parton said.\u003c/p>\n\u003cp>“If you can read, even if you can’t afford education, you can go on and learn about anything you want to know. There’s a book on everything,” she said. “So I just think that it’s important for kids to be encouraged to read, to dream and to plan for a better life and better future.”\u003c/p>\n\u003cp>And Parton’s ambitions for the Imagination Library don’t stop with 100 million books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re going for a billion, maybe, in my lifetime,” she said, with a delightful Dolly laugh. “I’m a big dreamer, you know.” \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=Dolly+Parton+Gives+The+Gift+Of+Literacy%3A+A+Library+Of+100+Million+Books&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Library of Congress hosted a very special guest at story time this week:\u003c/p>\n\u003cp>Dolly Parton.\u003c/p>\n\u003cp>The country music legend is also a champion of early childhood literacy, through her Imagination Library. Every month, the nonprofit program mails a free book to more than a million children — from infants to preschoolers.\u003c/p>\n\u003cp>Parton visited the Library of Congress on Tuesday to celebrate a major milestone in the Imagination Library’s history: delivery of its 100 millionth book. Not bad for a program Parton founded more than two decades ago as a small, local effort to help kids in her native Sevier County, Tennessee.\u003c/p>\n\u003cp>“We never thought it would be this big,” she told NPR in a quiet, wood-paneled room off the library’s Great Hall. “I just wanted to do something great for my dad and for my home county and, at the most, maybe a couple of counties over. But then it just took wings of its own, and I guess it was meant to be.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Parton’s inspiration for the Imagination Library was deeply personal: her father, Robert Lee Parton. Like many people of his generation, he began working at a young age to help support his family.\u003c/p>\n\u003cp>“My dad didn’t get the chance to go to school. And Daddy couldn’t read and write, and that was kind of crippling to him,” Parton said. “He was such a smart man, though. He just had such good common sense. They call it horse sense in the country.”\u003c/p>\n\u003cp>“But Daddy thought it was just something he couldn’t learn after he was grown, so he never tried to learn to read and write. And that was just kind of embarrassing to him,” she continued. “But I didn’t want Daddy to feel embarrassed.”\u003c/p>\n\u003cp>Parton was determined to give the children of Sevier County something her father never had: early access to books. She started the Imagination Library in 1995, and involved her father, too. He was able to see the program take off before he died in 2000.\u003c/p>\n\u003cp>“He got to hear the kids call me ‘The Book Lady.’ He got a big kick out of that,” she said. “But he took great pride and felt like he’d helped do something special.”\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/ZHNCLyvqoQw'\n title='//www.youtube.com/embed/ZHNCLyvqoQw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>From its modest roots in eastern Tennessee, the Imagination Library has grown to reach children in all 50 states and the District of Columbia, as well as Canada, Australia and the United Kingdom.\u003c/p>\n\u003cp>The program is \u003ca href=\"https://www.npr.org/sections/ed/2017/11/06/552885008/baby-you-ve-got-mail-free-books-boost-early-literacy\">available in communities where a local partner has teamed up with the Imagination Library\u003c/a>. Those partners could be nonprofits, state agencies or a public library system, for instance. Any child from birth to 5 — before they head off to kindergarten — is eligible. Local partners pay about $25 per child per year, an amount that covers the cost of the book and shipping.\u003c/p>\n\u003cp>A panel of educators and reading specialists picks books that are developmentally appropriate for each year of a child’s life.\u003c/p>\n\u003cp>In Washington, D.C., on a recent evening, Uretta Todd and her 4-year-old son, August, read \u003cem>Old Bear and His Cub\u003c/em>, one of the books they’ve received from the D.C. Public Library’s partnership with the Imagination Library, Books from Birth.\u003c/p>\n\u003cp>Todd says her son loves getting his book in the mail every month: It’s personal, it has his name on it, and it comes straight to their home.\u003c/p>\n\u003cp>She also loves the range of books.\u003c/p>\n\u003cp>“It exposes us to books we wouldn’t have necessarily picked out,” she says. Some examples include a bilingual English-Spanish version of \u003cem>Just One More\u003c/em> or Dolly Parton’s children’s book, \u003cem>I Am A Rainbow\u003c/em>, which uses colors to help kids talk about their feelings.\u003c/p>\n\u003cp>Across the country, in Anchorage, Alaska, 5-year-old Jack Price just graduated from the Imagination Library program.\u003c/p>\n\u003cp>“I have read to my son almost every day of his life,” says his mother, Natasha Price, who signed up for the Imagination Library in the hospital when her son was born.\u003c/p>\n\u003cp>Price says she appreciates how the books come with suggestions for parents on how to engage with the words beyond the page, with questions and activities.\u003c/p>\n\u003cp>“Maybe it’s been a long day and I can’t really think of the right questions to ask, and they have these really great prompts at the back of every book,” she says.\u003c/p>\n\u003cp>Getting the books each month became “a really wonderful custom in our family,” she says. “It was sad when we got our last book, which was about being ready for kindergarten, because we wouldn’t get any more books in the mail.”\u003c/p>\n\u003cp>Now that Jack has started kindergarten, Price says she sees “a direct correlation between reading to him every day and his reading comprehension skills.”\u003c/p>\n\u003cp>And the science backs her up. The human brain develops rapidly during the first few years of life. And studies have found that reading out loud to a child not only promotes literacy and a love of reading, but also has \u003ca href=\"http://pediatrics.aappublications.org/content/136/3/466\">lasting cognitive and educational benefits\u003c/a>.\u003c/p>\n\u003cp>It also helps children build knowledge and expand their horizons, Dolly Parton said.\u003c/p>\n\u003cp>“If you can read, even if you can’t afford education, you can go on and learn about anything you want to know. There’s a book on everything,” she said. “So I just think that it’s important for kids to be encouraged to read, to dream and to plan for a better life and better future.”\u003c/p>\n\u003cp>And Parton’s ambitions for the Imagination Library don’t stop with 100 million books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We’re going for a billion, maybe, in my lifetime,” she said, with a delightful Dolly laugh. “I’m a big dreamer, you know.” \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=Dolly+Parton+Gives+The+Gift+Of+Literacy%3A+A+Library+Of+100+Million+Books&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Spotify Files Papers for Its Entry to the Stock Market",
"headTitle": "Spotify Files Papers for Its Entry to the Stock Market | KQED",
"content": "\u003cp>See SPOT list.\u003c/p>\n\u003cp>Spotify, the world’s most-used on-demand music streaming service, has pulled the curtain back on its New York Stock Exchange debut, expected in late March or early April, when it will trade under the symbol SPOT, according to \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1639920/000119312518063434/d494294df1.htm\">its filing\u003c/a> with the Securities and Exchange Commission on Wednesday.\u003c/p>\n\u003cp>As NPR \u003ca href=\"https://www.npr.org/2018/01/25/580263402/spotifys-unusual-ipo-model-will-test-the-companys-strength\">has reported\u003c/a>, Spotify is not entering the market through an initial public offering, but will simply list its shares on the NYSE, saving the company an estimated $300 million in the fees usually associated with going public. \u003c/p>\n\u003cp>Spotify was launched in Stockholm in 2006, by Daniel Ek, now its CEO, and Martin Lorentzon, its director. It wasn’t the first “on-demand” streaming service — that distinction is Rhapsody’s, launched in 2001 — but it was the first to gain significant traction with consumers. According to its filing, Spotify is now used in 61 countries by 159 million people a month, 71 million of whom pay for the service.\u003c/p>\n\u003cp>Despite the fact that most of its users don’t pay, the 71 million who \u003cem>do\u003c/em> generate 90 percent of the company’s revenue, according to the filing. But, like many tech companies that focus on acquiring users over generating money, it has yet to turn a profit — last year alone, the company made $4.98 billion, but lost $1.5 billion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite its own questionable fiscal health, the company is given a lot of credit for turning around the fortunes of the recorded music industry. Most of the money Spotify makes goes right back into the source of the music it distributes to its customers. Of the nearly $5 billion is made last year, $3.95 billion went to pay for the music it streamed.\u003c/p>\n\u003cp>That money has been a lifeline for the recorded music business, which went through a long period of contraction, from 1999 through 2014, losing 40 percent of its revenues. In 2016, streaming \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/25/525571787/global-record-business-saw-sizable-growth-last-year-thanks-to-streaming\">added $1 billion\u003c/a> in revenues to the global recorded music industry.\u003c/p>\n\u003cp>The same labels it’s helping to save also hold Spotify’s fate in their hands, however. According to its filing, four companies — Universal Music Group, Sony Music, Warner Music Group and Merlin, which represents tens of thousands of independent record labels — control 87 percent of the music people listened to on the platform last year. \u003c/p>\n\u003cp>That concentration of power — what Spotify calls its “lack of control over the providers of our content and their effect on our access to music” — coupled with the extremely complex system around licensing and legally playing music, mean it’s not completely in control of its own fate. Compare this to a company like Netflix, which now drives its viewers toward films and shows it has created.\u003c/p>\n\u003cp>Just before the turn of the new year, Spotify was sued — not for the first time — \u003ca href=\"https://www.npr.org/sections/therecord/2018/01/03/575368674/sweeping-new-music-law-expedites-a-1-6-billion-lawsuit-against-spotify\" target=\"_blank\" rel=\"noopener\">for $1.6 billion\u003c/a> over a failure to pay artists, over what it says is a complex system.\u003c/p>\n\u003cp>Wednesday’s filing also makes mention of some controversies in Spotify’s past. Recently, a scam based on a clever manipulation of robot-driven streams of fake music was alleged \u003ca href=\"https://www.musicbusinessworldwide.com/great-big-spotify-scam-bulgarian-playlister-swindle-way-fortune-streaming-service/\" target=\"_blank\" rel=\"noopener\">by Music Business Worldwide\u003c/a>. The filing, among the many risks it lists, says: “… an individual might generate fake users to stream songs repeatedly, thereby generating revenue each time the song is streamed. … In 2017, we detected instances of botnet operators creating fake new User accounts seemingly for the above purposes.”\u003c/p>\n\u003cp>Similarly, last year the company was accused of hiring producers — at the time, what were \u003ca href=\"https://www.npr.org/sections/therecord/2017/07/12/536670493/spotify-is-accused-of-creating-fake-artists-but-what-is-a-fake-artist\" target=\"_blank\" rel=\"noopener\">called “fake artists”\u003c/a> — to create music for its \u003cem>own\u003c/em> (very popular) playlists in order to fulfill what it perceived as a demand from its customers. The filing mentions it may in the future “expend substantial financial resources on [among other things] … creating new forms of original content.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question, as ever, remains: What will the future hold? \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=Spotify+Files+Papers+For+Its+Entry+To+The+Stock+Market&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>See SPOT list.\u003c/p>\n\u003cp>Spotify, the world’s most-used on-demand music streaming service, has pulled the curtain back on its New York Stock Exchange debut, expected in late March or early April, when it will trade under the symbol SPOT, according to \u003ca href=\"https://www.sec.gov/Archives/edgar/data/1639920/000119312518063434/d494294df1.htm\">its filing\u003c/a> with the Securities and Exchange Commission on Wednesday.\u003c/p>\n\u003cp>As NPR \u003ca href=\"https://www.npr.org/2018/01/25/580263402/spotifys-unusual-ipo-model-will-test-the-companys-strength\">has reported\u003c/a>, Spotify is not entering the market through an initial public offering, but will simply list its shares on the NYSE, saving the company an estimated $300 million in the fees usually associated with going public. \u003c/p>\n\u003cp>Spotify was launched in Stockholm in 2006, by Daniel Ek, now its CEO, and Martin Lorentzon, its director. It wasn’t the first “on-demand” streaming service — that distinction is Rhapsody’s, launched in 2001 — but it was the first to gain significant traction with consumers. According to its filing, Spotify is now used in 61 countries by 159 million people a month, 71 million of whom pay for the service.\u003c/p>\n\u003cp>Despite the fact that most of its users don’t pay, the 71 million who \u003cem>do\u003c/em> generate 90 percent of the company’s revenue, according to the filing. But, like many tech companies that focus on acquiring users over generating money, it has yet to turn a profit — last year alone, the company made $4.98 billion, but lost $1.5 billion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite its own questionable fiscal health, the company is given a lot of credit for turning around the fortunes of the recorded music industry. Most of the money Spotify makes goes right back into the source of the music it distributes to its customers. Of the nearly $5 billion is made last year, $3.95 billion went to pay for the music it streamed.\u003c/p>\n\u003cp>That money has been a lifeline for the recorded music business, which went through a long period of contraction, from 1999 through 2014, losing 40 percent of its revenues. In 2016, streaming \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/25/525571787/global-record-business-saw-sizable-growth-last-year-thanks-to-streaming\">added $1 billion\u003c/a> in revenues to the global recorded music industry.\u003c/p>\n\u003cp>The same labels it’s helping to save also hold Spotify’s fate in their hands, however. According to its filing, four companies — Universal Music Group, Sony Music, Warner Music Group and Merlin, which represents tens of thousands of independent record labels — control 87 percent of the music people listened to on the platform last year. \u003c/p>\n\u003cp>That concentration of power — what Spotify calls its “lack of control over the providers of our content and their effect on our access to music” — coupled with the extremely complex system around licensing and legally playing music, mean it’s not completely in control of its own fate. Compare this to a company like Netflix, which now drives its viewers toward films and shows it has created.\u003c/p>\n\u003cp>Just before the turn of the new year, Spotify was sued — not for the first time — \u003ca href=\"https://www.npr.org/sections/therecord/2018/01/03/575368674/sweeping-new-music-law-expedites-a-1-6-billion-lawsuit-against-spotify\" target=\"_blank\" rel=\"noopener\">for $1.6 billion\u003c/a> over a failure to pay artists, over what it says is a complex system.\u003c/p>\n\u003cp>Wednesday’s filing also makes mention of some controversies in Spotify’s past. Recently, a scam based on a clever manipulation of robot-driven streams of fake music was alleged \u003ca href=\"https://www.musicbusinessworldwide.com/great-big-spotify-scam-bulgarian-playlister-swindle-way-fortune-streaming-service/\" target=\"_blank\" rel=\"noopener\">by Music Business Worldwide\u003c/a>. The filing, among the many risks it lists, says: “… an individual might generate fake users to stream songs repeatedly, thereby generating revenue each time the song is streamed. … In 2017, we detected instances of botnet operators creating fake new User accounts seemingly for the above purposes.”\u003c/p>\n\u003cp>Similarly, last year the company was accused of hiring producers — at the time, what were \u003ca href=\"https://www.npr.org/sections/therecord/2017/07/12/536670493/spotify-is-accused-of-creating-fake-artists-but-what-is-a-fake-artist\" target=\"_blank\" rel=\"noopener\">called “fake artists”\u003c/a> — to create music for its \u003cem>own\u003c/em> (very popular) playlists in order to fulfill what it perceived as a demand from its customers. The filing mentions it may in the future “expend substantial financial resources on [among other things] … creating new forms of original content.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The question, as ever, remains: What will the future hold? \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=Spotify+Files+Papers+For+Its+Entry+To+The+Stock+Market&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Oscar Elders: 3 Octogenarians Make Academy Award History",
"headTitle": "The Oscar Elders: 3 Octogenarians Make Academy Award History | KQED",
"content": "\u003cp>Let’s call it #OscarsSoOld: Three of this year’s Academy Award nominees are among the oldest ever. And we’re not talking about honorary Oscars –these octogenarians are up for competitive Academy Awards for their \u003cem>recent\u003c/em> work.\u003c/p>\n\u003cp>At 88 years old, Christopher Plummer is the oldest nominee ever for best supporting actor — for the second time. At age 82, he was nominated (and won) for the movie \u003cem>Beginners\u003c/em>. You can watch his adorably wry acceptance speech \u003ca href=\"https://www.youtube.com/watch?v=883H6gNZyGM\">here\u003c/a>.\u003c/p>\n\u003cp>89-year-old James Ivory, who directed and wrote many romantic films with his now-deceased partner Ismail Merchant, is up for best adapted screenplay with \u003cem>Call Me By Your Name\u003c/em>.\u003c/p>\n\u003cp>And 89-year-old Agnes Varda is only eight days older than Ivory, but that suffices to make her the oldest Oscar nominee in history. She’s a film innovator who helped invent the French New Wave — her documentaries and feature films dissolve genres and are themselves works of art.\u003c/p>\n\u003cp>So let’s take a quick look at these incredibly prolific careers, starting with the actor who starred in one of the most successful movies in history: \u003cem>The Sound Of Music\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Christopher Plummer has appeared in more than 200 films, including \u003cem>All The Money In The World, \u003c/em>the one he was just nominated for. In 2011, \u003ca href=\"https://www.npr.org/2011/06/03/136923439/christopher-plummer-after-81-years-a-beginner\">Plummer told NPR\u003c/a> that aging was an asset for a handsome man who hated being typecast as the lead.\u003c/p>\n\u003cp>“Finally I was dissipated enough in my 40s to look like a character actor,” he said. “And I enjoyed being a character actor because, of course, the roles were so much more interesting.”\u003c/p>\n\u003cp>As for Plummer’s elders, Ivory is predicted to win in his category this year. If so, it’ll be his very first Oscar, although he’s been nominated three other times for directing the films \u003cem>A Room With A View\u003c/em>, \u003cem>Howards End\u003c/em> and \u003cem>The Remains Of The Day\u003c/em>.\u003c/p>\n\u003cp>Varda won an honorary Oscar in 2017. She started her own production company in 1977 that enabled her to write, direct, edit and do post-production work on most of her more than 50 films.\u003c/p>\n\u003cp>“So she exercises incredible creative control,” says Rebecca DeRoo, a professor at the Rochester Institute of Technology and author of \u003ca href=\"https://www.npr.org/books/titles/588941153/agnes-varda-between-film-photography-and-art?live=1\">\u003cem>Agnes Varda: Between Film, Photography And Art\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Belgian-born director was nominated for the documentary \u003cem>Faces Places\u003c/em>, which she directed with a much younger collaborator, the artist JR. They \u003ca href=\"https://www.npr.org/2017/10/08/555730013/agnes-varda-and-jr-the-cinematic-odd-couple-behind-faces-places\">discussed their movie on NPR\u003c/a> in 2017.\u003c/p>\n\u003cp>“We calculate that we are 55 years difference of age,” Varda said. “And it doesn’t show in the film. … It shows in our faces.”\u003c/p>\n\u003cp>In the 2000 documentary \u003cem>Gleaners And I\u003c/em>, Varda dives into the worlds of people who pick through fields and trash searching for useful or edible scraps. But it’s also a profound personal meditation that touches on the director getting older, says DeRoo.\u003c/p>\n\u003cp>“In one scene she goes to a field where potatoes have been dumped and they’ve grown in the shape of a heart,” she says. “And she uses this as a kind of way to reflect on aging, as she keeps these heart-shaped potatoes in her home. And as they continue to age, they wrinkle, but they also sprout these new shoots and new life.”\u003c/p>\n\u003cp>It’s a vibrant metaphor for the creativity of artists as they age.\u003c/p>\n\u003cp>“You never stop learning how to act, both on-screen and on the stage,” Christopher Plummer \u003ca href=\"https://www.npr.org/2012/11/17/165226043/plummer-portrays-one-of-the-greats-again\">told NPR in 2012\u003c/a>. “I feel like I’m starting all over again. Every sort of decade I feel this, and that’s very satisfying.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plummer may break his own record as the oldest person to win an acting Oscar this year. And if he’s joined by Agnes Varda and James Ivory, those three wins by three film legends would collectively represent almost two centuries of exemplary movie-making. \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=The+Oscar+Elders%3A+3+Octogenarians+Make+Academy+Award+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s call it #OscarsSoOld: Three of this year’s Academy Award nominees are among the oldest ever. And we’re not talking about honorary Oscars –these octogenarians are up for competitive Academy Awards for their \u003cem>recent\u003c/em> work.\u003c/p>\n\u003cp>At 88 years old, Christopher Plummer is the oldest nominee ever for best supporting actor — for the second time. At age 82, he was nominated (and won) for the movie \u003cem>Beginners\u003c/em>. You can watch his adorably wry acceptance speech \u003ca href=\"https://www.youtube.com/watch?v=883H6gNZyGM\">here\u003c/a>.\u003c/p>\n\u003cp>89-year-old James Ivory, who directed and wrote many romantic films with his now-deceased partner Ismail Merchant, is up for best adapted screenplay with \u003cem>Call Me By Your Name\u003c/em>.\u003c/p>\n\u003cp>And 89-year-old Agnes Varda is only eight days older than Ivory, but that suffices to make her the oldest Oscar nominee in history. She’s a film innovator who helped invent the French New Wave — her documentaries and feature films dissolve genres and are themselves works of art.\u003c/p>\n\u003cp>So let’s take a quick look at these incredibly prolific careers, starting with the actor who starred in one of the most successful movies in history: \u003cem>The Sound Of Music\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Christopher Plummer has appeared in more than 200 films, including \u003cem>All The Money In The World, \u003c/em>the one he was just nominated for. In 2011, \u003ca href=\"https://www.npr.org/2011/06/03/136923439/christopher-plummer-after-81-years-a-beginner\">Plummer told NPR\u003c/a> that aging was an asset for a handsome man who hated being typecast as the lead.\u003c/p>\n\u003cp>“Finally I was dissipated enough in my 40s to look like a character actor,” he said. “And I enjoyed being a character actor because, of course, the roles were so much more interesting.”\u003c/p>\n\u003cp>As for Plummer’s elders, Ivory is predicted to win in his category this year. If so, it’ll be his very first Oscar, although he’s been nominated three other times for directing the films \u003cem>A Room With A View\u003c/em>, \u003cem>Howards End\u003c/em> and \u003cem>The Remains Of The Day\u003c/em>.\u003c/p>\n\u003cp>Varda won an honorary Oscar in 2017. She started her own production company in 1977 that enabled her to write, direct, edit and do post-production work on most of her more than 50 films.\u003c/p>\n\u003cp>“So she exercises incredible creative control,” says Rebecca DeRoo, a professor at the Rochester Institute of Technology and author of \u003ca href=\"https://www.npr.org/books/titles/588941153/agnes-varda-between-film-photography-and-art?live=1\">\u003cem>Agnes Varda: Between Film, Photography And Art\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Belgian-born director was nominated for the documentary \u003cem>Faces Places\u003c/em>, which she directed with a much younger collaborator, the artist JR. They \u003ca href=\"https://www.npr.org/2017/10/08/555730013/agnes-varda-and-jr-the-cinematic-odd-couple-behind-faces-places\">discussed their movie on NPR\u003c/a> in 2017.\u003c/p>\n\u003cp>“We calculate that we are 55 years difference of age,” Varda said. “And it doesn’t show in the film. … It shows in our faces.”\u003c/p>\n\u003cp>In the 2000 documentary \u003cem>Gleaners And I\u003c/em>, Varda dives into the worlds of people who pick through fields and trash searching for useful or edible scraps. But it’s also a profound personal meditation that touches on the director getting older, says DeRoo.\u003c/p>\n\u003cp>“In one scene she goes to a field where potatoes have been dumped and they’ve grown in the shape of a heart,” she says. “And she uses this as a kind of way to reflect on aging, as she keeps these heart-shaped potatoes in her home. And as they continue to age, they wrinkle, but they also sprout these new shoots and new life.”\u003c/p>\n\u003cp>It’s a vibrant metaphor for the creativity of artists as they age.\u003c/p>\n\u003cp>“You never stop learning how to act, both on-screen and on the stage,” Christopher Plummer \u003ca href=\"https://www.npr.org/2012/11/17/165226043/plummer-portrays-one-of-the-greats-again\">told NPR in 2012\u003c/a>. “I feel like I’m starting all over again. Every sort of decade I feel this, and that’s very satisfying.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plummer may break his own record as the oldest person to win an acting Oscar this year. And if he’s joined by Agnes Varda and James Ivory, those three wins by three film legends would collectively represent almost two centuries of exemplary movie-making. \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=The+Oscar+Elders%3A+3+Octogenarians+Make+Academy+Award+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'I Can't Believe I Am the First,' Says Oscar-Nominated Female Cinematographer",
"headTitle": "‘I Can’t Believe I Am the First,’ Says Oscar-Nominated Female Cinematographer | KQED",
"content": "\u003cp>Rachel Morrison is the first woman ever nominated for an Oscar in cinematography.\u003c/p>\n\u003cp>“I can’t believe I am the first,” she says. “It’s really kind of crazy!” \u003c/p>\n\u003cp>It was her lensing on \u003cem>Mudbound\u003c/em> that earned her this recognition, but Morrison also served as director of photography for the massive blockbuster \u003cem>Black Panther\u003c/em>. Being a DP means you’re in charge of all the cameras, everyone who operates them, the electricity on set and the look of the entire film.\u003c/p>\n\u003cp>“The cinematographer’s basically translating the director’s vision into imagery,” Morrison says. She leads the way down a set of outside stairs to her basement office at her home in the Mount Washington neighborhood of Los Angeles. “It’s such a mess down here.” \u003c/p>\n\u003cp>It’s not that messy — merely crammed with art books, \u003cem>Black Panther \u003c/em>comics and the DVDs she draws upon for reference and inspiration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“A lot of the classics,” Morrison says. “\u003cem>Godfather\u003c/em>. \u003cem>Raging Bull\u003c/em>. \u003cem>City Of God\u003c/em>. \u003cem>[The] City Of Lost Children\u003c/em>. \u003cem>Dekalog\u003c/em>. I mean, Kieślowski was such a genius.”\u003c/p>\n\u003cp>But the movie that changed Morrison’s life was a foreign film she saw as a teenager in Cambridge, Mass. \u003c/p>\n\u003cp>“The film for me was this sort of obscure, French-Canadian film called \u003cem>Leolo,\u003c/em>” Morrison says. “It was playing in the Harvard Square Theater, and I think I had probably gone to see something else, and it was sold out. And I was like, ‘Oh, I’ll check out this film instead,’ and it just blew my mind.”\u003c/p>\n\u003cp>At the time, Morrison was transfixed by lush, surreal stories such as \u003cem>Leolo\u003c/em> and the magical realism of writers like Gabriel García Márquez and Salman Rushdie. “Which, interestingly, is not at all the direction I’ve gone with my cinematography,” she says.\u003c/p>\n\u003cp>Morrison’s big breakthrough was with \u003cem>Fruitvale Station, \u003c/em>an acclaimed 2013 movie that looks almost like a documentary. It was based on the real-life murder of a young black man by transit cops in Oakland, Calif. The film was also the breakout for director Ryan Coogler, who collaborated most recently with Morrison on \u003cem>Black Panther\u003c/em>.\u003c/p>\n\u003cp>When Coogler made his “Rocky” movie, \u003cem>Creed\u003c/em>, a few years ago, he asked Morrison to be director of photography. But the timing was off: Morrison had just gotten pregnant. \u003c/p>\n\u003cp>“I could totally shoot pregnant,” she says. But she could not disrupt a shooting schedule by giving birth in the middle of making a film. Being both a mom and a director of photography is not exactly a Hollywood norm. \u003c/p>\n\u003cp>“I looked for a model before having my son,” she says. “I sort of wanted to reassure my wife it could be done, and I quite frankly couldn’t find one. Like, most of the [directors of photography] I talked to were men, and most of them were on their third marriages and had kids from different wives, and kids that weren’t talking to them, and kids whose graduations they’d missed. There was some amount of remorse, and others saying, ‘Don’t make the mistakes I did,’ and others who sort of said, ‘That’s just the nature of the business.'”\u003c/p>\n\u003cp>“And for me,” she says quietly, “that’s not OK.”\u003c/p>\n\u003cp>Morrison is 39, but she looks younger, and she’s used to being mistaken for a hair and makeup artist or as part of the catering crew. On \u003cem>Black Panther\u003c/em>, where she was director of photography, Morrison once hopped in a van with the first assistant director — also a woman — to get to set. But the driver refused to budge.\u003c/p>\n\u003cp>“We were like, ‘Hey, we gotta go,'” she says. “And he was like, ‘I’m sorry, I’m waiting for the DP and the first AD.’ And we were like, ‘We are the DP and first AD!’ And that happens more times than I can count.”\u003c/p>\n\u003cfigure id=\"attachment_13825926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg\" alt=\"Rachel Morrison on set for 'Mudbound.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13825926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Morrison on set for ‘Mudbound.’ \u003ccite>(Steve Dietl /Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the set of \u003cem>Mudbound\u003c/em>, Morrison was part of an intentionally female-led crew. The Netflix film follows the fortunes of a black family and a white one, hardscrabble farmers in the rural South.\u003c/p>\n\u003cp>Director Dee Rees remembers how Morrison positioned the camera during an especially tense scene. A young female sharecropper appears at the farm, brandishing a knife while two little girls play in the yard nearby. Murder is on her mind. \u003c/p>\n\u003cp>“Everything is angled to feel dangerous, in a way,” Rees says. “Everything’s geared for maximum tension. The knife is in the frame while the two girls are in the frame. So it’s like the casualness of violence in the world, the everyday nearness of death, the everyday nearness of harm.”\u003c/p>\n\u003cp>Rees says she loved Morrison’s understated, elegant eye. So did one of the giants of cinematography. Before he died in 2015, Haskell Wexler (\u003cem>Who’s Afraid Of Virginia Woolf?, One Flew Over The Cuckoo’s Nest)\u003c/em> saw \u003cem>Fruitvale Station\u003c/em> and invited Morrison over for lunch.\u003c/p>\n\u003cp>“He actually said that what we did in \u003cem>Fruitvale\u003c/em> was everything he aspired to do his entire career,” Morrison says. She’s proud, yet slightly abashed. “And it makes perfect sense. He made documentaries and he made narratives, but this was a film that really kind of blended both. So it was probably the most meaningful compliment I will ever get.”\u003c/p>\n\u003cp>For a second, Morrison’s eyes filled with tears, and then she laughed.\u003c/p>\n\u003cp>“He also made me hold his Oscar and said, ‘You’re gonna get one of these one day,’ which I thought was crazy at the time,” she says.\u003c/p>\n\u003cp>Maybe her historic nomination is connected to Wexler’s legacy, she ventures. And then, part of it is more complicated. \u003c/p>\n\u003cp>“Now the trick for me is, I don’t want to win for the wrong reason,” she says. “Like, I don’t want to win because I’m female. I’m kind of rooting for Deakins myself.”\u003c/p>\n\u003cp>Roger Deakins was cinematographer of the new \u003cem>Blade Runner\u003c/em> movie. He’s been nominated 14 times and never won. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Like Deakins, Rachel Morrison expects to be recognized for the quality of her work. And she expects to be nominated again. \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=%27I+Can%27t+Believe+I+Am+The+First%2C%27+Says+Oscar-Nominated+Female+Cinematographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "You may know her from such films as 'Black Panther', where she was director of photography. Now, Rachel Morrison is the first woman ever nominated for an Academy Award in cinematography, for her work on 'Mudbound', ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rachel Morrison is the first woman ever nominated for an Oscar in cinematography.\u003c/p>\n\u003cp>“I can’t believe I am the first,” she says. “It’s really kind of crazy!” \u003c/p>\n\u003cp>It was her lensing on \u003cem>Mudbound\u003c/em> that earned her this recognition, but Morrison also served as director of photography for the massive blockbuster \u003cem>Black Panther\u003c/em>. Being a DP means you’re in charge of all the cameras, everyone who operates them, the electricity on set and the look of the entire film.\u003c/p>\n\u003cp>“The cinematographer’s basically translating the director’s vision into imagery,” Morrison says. She leads the way down a set of outside stairs to her basement office at her home in the Mount Washington neighborhood of Los Angeles. “It’s such a mess down here.” \u003c/p>\n\u003cp>It’s not that messy — merely crammed with art books, \u003cem>Black Panther \u003c/em>comics and the DVDs she draws upon for reference and inspiration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“A lot of the classics,” Morrison says. “\u003cem>Godfather\u003c/em>. \u003cem>Raging Bull\u003c/em>. \u003cem>City Of God\u003c/em>. \u003cem>[The] City Of Lost Children\u003c/em>. \u003cem>Dekalog\u003c/em>. I mean, Kieślowski was such a genius.”\u003c/p>\n\u003cp>But the movie that changed Morrison’s life was a foreign film she saw as a teenager in Cambridge, Mass. \u003c/p>\n\u003cp>“The film for me was this sort of obscure, French-Canadian film called \u003cem>Leolo,\u003c/em>” Morrison says. “It was playing in the Harvard Square Theater, and I think I had probably gone to see something else, and it was sold out. And I was like, ‘Oh, I’ll check out this film instead,’ and it just blew my mind.”\u003c/p>\n\u003cp>At the time, Morrison was transfixed by lush, surreal stories such as \u003cem>Leolo\u003c/em> and the magical realism of writers like Gabriel García Márquez and Salman Rushdie. “Which, interestingly, is not at all the direction I’ve gone with my cinematography,” she says.\u003c/p>\n\u003cp>Morrison’s big breakthrough was with \u003cem>Fruitvale Station, \u003c/em>an acclaimed 2013 movie that looks almost like a documentary. It was based on the real-life murder of a young black man by transit cops in Oakland, Calif. The film was also the breakout for director Ryan Coogler, who collaborated most recently with Morrison on \u003cem>Black Panther\u003c/em>.\u003c/p>\n\u003cp>When Coogler made his “Rocky” movie, \u003cem>Creed\u003c/em>, a few years ago, he asked Morrison to be director of photography. But the timing was off: Morrison had just gotten pregnant. \u003c/p>\n\u003cp>“I could totally shoot pregnant,” she says. But she could not disrupt a shooting schedule by giving birth in the middle of making a film. Being both a mom and a director of photography is not exactly a Hollywood norm. \u003c/p>\n\u003cp>“I looked for a model before having my son,” she says. “I sort of wanted to reassure my wife it could be done, and I quite frankly couldn’t find one. Like, most of the [directors of photography] I talked to were men, and most of them were on their third marriages and had kids from different wives, and kids that weren’t talking to them, and kids whose graduations they’d missed. There was some amount of remorse, and others saying, ‘Don’t make the mistakes I did,’ and others who sort of said, ‘That’s just the nature of the business.'”\u003c/p>\n\u003cp>“And for me,” she says quietly, “that’s not OK.”\u003c/p>\n\u003cp>Morrison is 39, but she looks younger, and she’s used to being mistaken for a hair and makeup artist or as part of the catering crew. On \u003cem>Black Panther\u003c/em>, where she was director of photography, Morrison once hopped in a van with the first assistant director — also a woman — to get to set. But the driver refused to budge.\u003c/p>\n\u003cp>“We were like, ‘Hey, we gotta go,'” she says. “And he was like, ‘I’m sorry, I’m waiting for the DP and the first AD.’ And we were like, ‘We are the DP and first AD!’ And that happens more times than I can count.”\u003c/p>\n\u003cfigure id=\"attachment_13825926\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg\" alt=\"Rachel Morrison on set for 'Mudbound.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13825926\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2-520x293.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/mb_05902_r_wide-d9d4c15f8880a9cc45061551a716aed0c0b0ffa2.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rachel Morrison on set for ‘Mudbound.’ \u003ccite>(Steve Dietl /Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>On the set of \u003cem>Mudbound\u003c/em>, Morrison was part of an intentionally female-led crew. The Netflix film follows the fortunes of a black family and a white one, hardscrabble farmers in the rural South.\u003c/p>\n\u003cp>Director Dee Rees remembers how Morrison positioned the camera during an especially tense scene. A young female sharecropper appears at the farm, brandishing a knife while two little girls play in the yard nearby. Murder is on her mind. \u003c/p>\n\u003cp>“Everything is angled to feel dangerous, in a way,” Rees says. “Everything’s geared for maximum tension. The knife is in the frame while the two girls are in the frame. So it’s like the casualness of violence in the world, the everyday nearness of death, the everyday nearness of harm.”\u003c/p>\n\u003cp>Rees says she loved Morrison’s understated, elegant eye. So did one of the giants of cinematography. Before he died in 2015, Haskell Wexler (\u003cem>Who’s Afraid Of Virginia Woolf?, One Flew Over The Cuckoo’s Nest)\u003c/em> saw \u003cem>Fruitvale Station\u003c/em> and invited Morrison over for lunch.\u003c/p>\n\u003cp>“He actually said that what we did in \u003cem>Fruitvale\u003c/em> was everything he aspired to do his entire career,” Morrison says. She’s proud, yet slightly abashed. “And it makes perfect sense. He made documentaries and he made narratives, but this was a film that really kind of blended both. So it was probably the most meaningful compliment I will ever get.”\u003c/p>\n\u003cp>For a second, Morrison’s eyes filled with tears, and then she laughed.\u003c/p>\n\u003cp>“He also made me hold his Oscar and said, ‘You’re gonna get one of these one day,’ which I thought was crazy at the time,” she says.\u003c/p>\n\u003cp>Maybe her historic nomination is connected to Wexler’s legacy, she ventures. And then, part of it is more complicated. \u003c/p>\n\u003cp>“Now the trick for me is, I don’t want to win for the wrong reason,” she says. “Like, I don’t want to win because I’m female. I’m kind of rooting for Deakins myself.”\u003c/p>\n\u003cp>Roger Deakins was cinematographer of the new \u003cem>Blade Runner\u003c/em> movie. He’s been nominated 14 times and never won. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Like Deakins, Rachel Morrison expects to be recognized for the quality of her work. And she expects to be nominated again. \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=%27I+Can%27t+Believe+I+Am+The+First%2C%27+Says+Oscar-Nominated+Female+Cinematographer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Send in the Clones: Barbra Streisand Reveals Fluffy Canine Copies",
"headTitle": "Send in the Clones: Barbra Streisand Reveals Fluffy Canine Copies | KQED",
"content": "\u003cp>In \u003ca href=\"http://variety.com/2018/film/news/barbra-streisand-oscars-sexism-in-hollywood-clone-dogs-1202710585/\" target=\"_blank\" rel=\"noopener\">an interview with Variety magazine\u003c/a> for this month’s cover, legendary singer/actor/filmmaker Barbra Streisand opines on topics ranging from the 2016 election (she says the voting machines were rigged against Hillary Clinton) to the \u003ca href=\"https://twitter.com/hashtag/metoo?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Ehashtag\" target=\"_blank\" rel=\"noopener\">#metoo\u003c/a> movement (says Harvey Weinstein once threatened her), but one bombshell has nothing to do with politics or Hollywood.\u003c/p>\n\u003cp>During the photo shoot, \u003ca href=\"http://variety.com/2018/film/news/barbra-streisand-clone-dogs-samantha-1202711047/\" target=\"_blank\" rel=\"noopener\">Streisand joked\u003c/a> that a portrait with her three \u003ca href=\"http://www.akc.org/dog-breeds/coton-de-tulear/\" target=\"_blank\" rel=\"noopener\">coton de tulear\u003c/a> dogs should be captioned “Send in the Clones.”\u003c/p>\n\u003cp>She explained that two of her three canine companions, Miss Violet and Miss Scarlet, are clones of her beloved Samantha, who died last year. To get the genetic material needed to perform the procedure, Streisand had cells taken from Samantha’s mouth and stomach.\u003c/p>\n\u003cp>Her duplicated dogs “have different personalities,” she tells \u003cem>Variety\u003c/em>. “I’m waiting for them to get older so I can see if they have [Samantha’s] brown eyes and seriousness.”\u003c/p>\n\u003cp>The star says she got the names for the clones because she tied violet and scarlet colored sashes on them in an effort to tell them apart.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Streisand’s third coton de tulear, named Miss Fanny, is a distant cousin of Samantha’s, according to the magazine.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/sections/health-shots/2015/09/30/418642018/disgraced-scientist-clones-dogs-and-critics-question-his-intent\" target=\"_blank\" rel=\"noopener\">NPR’s Rob Stein reported three years ago\u003c/a>, Sooam Biotech Research Foundation in Seoul, South Korea, founded by Hwang Woo Suk — “who became a scientific pariah in 2006, when his claim that he had created the first cloned human embryos in 2004 to produce human embryonic stem cells was discovered to be \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5147015\" target=\"_blank\" rel=\"noopener\">fraudulent\u003c/a>” — was offering to clone a pet for $100,000.\u003c/p>\n\u003cp>At the time of Rob’s report, Hwang had cloned at least 600 dogs.\u003c/p>\n\u003cp>Three years later, however, with competition, the price has dropped. ViaGen, which bills itself as “America’s Most Trusted Animal Cloning Company,” now charges $50,000 to clone a dog and $25,000 for a cat, according to \u003ca href=\"http://time.com/money/5178509/barbra-streisand-dog-coton-du-tulear-clone-cloning/\">Time’s Money magazine\u003c/a>.\u003c/p>\n\u003cp>According to the pitch on \u003ca href=\"https://viagenpets.com/\" target=\"_blank\" rel=\"noopener\">ViaGen’s website\u003c/a>, “a truly special pet provides us a unique sense of comfort and life-enriching fulfillment which is nearly impossible to extend beyond your pet’s natural lifespan. [U]ntil now.”\u003c/p>\n\u003cp>\u003cem>Morning Edition\u003c/em> notes that not everyone is applauding Streisand’s choice. The animal rights group PETA, for example, has come out strongly against the practice of pet cloning.\u003c/p>\n\u003cp>“We all want our beloved dogs to live forever,” the animal rights group’s president, Ingrid Newkirk, \u003ca href=\"https://pagesix.com/2018/02/27/peta-wants-celebrities-to-stop-cloning-their-dogs/\" target=\"_blank\" rel=\"noopener\">said in a statement to Page Six on Tuesday\u003c/a>. “[W]hen you consider that millions of wonderful adoptable dogs are languishing in animal shelters every year or dying in terrifying ways when abandoned, you realize that cloning adds to the homeless-animal population crisis.”\u003c/p>\n\u003cp>Rob wrote in 2015 that Sooam Biotech’s cloning process “works only about a third of the time. So, getting a cloned puppy entails a lot of attempts and a lot of miscarriages. And the process requires \u003cem>many\u003c/em> dogs — some to provide the eggs, and others to serve as surrogates.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He adds, “even when the process works perfectly, the cloned animals aren’t exact replicas of the originals. Environmental influences, including some that help determine when particular genes are turned on and off during development, play a role in how closely the resulting clone mimics the original dog.” \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=Send+In+The+Clones%3A+Barbra+Streisand+Reveals+Fluffy+Canine+Copies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "In an interview with \u003cem>Variety\u003c/em> magazine, the legendary singer/filmmaker dropped a bombshell: Two of her three coton de tulears are clones of a favorite canine who died last year.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In \u003ca href=\"http://variety.com/2018/film/news/barbra-streisand-oscars-sexism-in-hollywood-clone-dogs-1202710585/\" target=\"_blank\" rel=\"noopener\">an interview with Variety magazine\u003c/a> for this month’s cover, legendary singer/actor/filmmaker Barbra Streisand opines on topics ranging from the 2016 election (she says the voting machines were rigged against Hillary Clinton) to the \u003ca href=\"https://twitter.com/hashtag/metoo?ref_src=twsrc%5Egoogle%7Ctwcamp%5Eserp%7Ctwgr%5Ehashtag\" target=\"_blank\" rel=\"noopener\">#metoo\u003c/a> movement (says Harvey Weinstein once threatened her), but one bombshell has nothing to do with politics or Hollywood.\u003c/p>\n\u003cp>During the photo shoot, \u003ca href=\"http://variety.com/2018/film/news/barbra-streisand-clone-dogs-samantha-1202711047/\" target=\"_blank\" rel=\"noopener\">Streisand joked\u003c/a> that a portrait with her three \u003ca href=\"http://www.akc.org/dog-breeds/coton-de-tulear/\" target=\"_blank\" rel=\"noopener\">coton de tulear\u003c/a> dogs should be captioned “Send in the Clones.”\u003c/p>\n\u003cp>She explained that two of her three canine companions, Miss Violet and Miss Scarlet, are clones of her beloved Samantha, who died last year. To get the genetic material needed to perform the procedure, Streisand had cells taken from Samantha’s mouth and stomach.\u003c/p>\n\u003cp>Her duplicated dogs “have different personalities,” she tells \u003cem>Variety\u003c/em>. “I’m waiting for them to get older so I can see if they have [Samantha’s] brown eyes and seriousness.”\u003c/p>\n\u003cp>The star says she got the names for the clones because she tied violet and scarlet colored sashes on them in an effort to tell them apart.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Streisand’s third coton de tulear, named Miss Fanny, is a distant cousin of Samantha’s, according to the magazine.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/sections/health-shots/2015/09/30/418642018/disgraced-scientist-clones-dogs-and-critics-question-his-intent\" target=\"_blank\" rel=\"noopener\">NPR’s Rob Stein reported three years ago\u003c/a>, Sooam Biotech Research Foundation in Seoul, South Korea, founded by Hwang Woo Suk — “who became a scientific pariah in 2006, when his claim that he had created the first cloned human embryos in 2004 to produce human embryonic stem cells was discovered to be \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=5147015\" target=\"_blank\" rel=\"noopener\">fraudulent\u003c/a>” — was offering to clone a pet for $100,000.\u003c/p>\n\u003cp>At the time of Rob’s report, Hwang had cloned at least 600 dogs.\u003c/p>\n\u003cp>Three years later, however, with competition, the price has dropped. ViaGen, which bills itself as “America’s Most Trusted Animal Cloning Company,” now charges $50,000 to clone a dog and $25,000 for a cat, according to \u003ca href=\"http://time.com/money/5178509/barbra-streisand-dog-coton-du-tulear-clone-cloning/\">Time’s Money magazine\u003c/a>.\u003c/p>\n\u003cp>According to the pitch on \u003ca href=\"https://viagenpets.com/\" target=\"_blank\" rel=\"noopener\">ViaGen’s website\u003c/a>, “a truly special pet provides us a unique sense of comfort and life-enriching fulfillment which is nearly impossible to extend beyond your pet’s natural lifespan. [U]ntil now.”\u003c/p>\n\u003cp>\u003cem>Morning Edition\u003c/em> notes that not everyone is applauding Streisand’s choice. The animal rights group PETA, for example, has come out strongly against the practice of pet cloning.\u003c/p>\n\u003cp>“We all want our beloved dogs to live forever,” the animal rights group’s president, Ingrid Newkirk, \u003ca href=\"https://pagesix.com/2018/02/27/peta-wants-celebrities-to-stop-cloning-their-dogs/\" target=\"_blank\" rel=\"noopener\">said in a statement to Page Six on Tuesday\u003c/a>. “[W]hen you consider that millions of wonderful adoptable dogs are languishing in animal shelters every year or dying in terrifying ways when abandoned, you realize that cloning adds to the homeless-animal population crisis.”\u003c/p>\n\u003cp>Rob wrote in 2015 that Sooam Biotech’s cloning process “works only about a third of the time. So, getting a cloned puppy entails a lot of attempts and a lot of miscarriages. And the process requires \u003cem>many\u003c/em> dogs — some to provide the eggs, and others to serve as surrogates.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He adds, “even when the process works perfectly, the cloned animals aren’t exact replicas of the originals. Environmental influences, including some that help determine when particular genes are turned on and off during development, play a role in how closely the resulting clone mimics the original dog.” \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=Send+In+The+Clones%3A+Barbra+Streisand+Reveals+Fluffy+Canine+Copies&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "SF Street With Racist Connotations to be Renamed Frida Kahlo Way [UPDATE]",
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"content": "\u003cp>\u003cb>UPDATE June 20, 2018:\u003c/b> At the San Francisco Board of Supervisors meeting Tuesday, the board unanimously approved legislation changing the name of Phelan Way to Frida Kahlo Way. On Wednesday, San Francisco Mayor Mark Farrell told KQED he planned to sign the bill soon. \u003c/p>\n\u003cp>“San Francisco needs to be a place and has to be a place where everyone feels welcome and included,” Farell said. \u003c/p>\n\u003cp>\u003cb>UPDATE April 5, 2018:\u003c/b> On Tuesday, Supervisor Norman Yee announced that residents who live near City College of San Francisco voted to change the name from Phelan Avenue to Frida Kahlo Way. \u003c/p>\n\u003cp>“I think its important for city leadership to promote whats reflective of our culture today, and not allow for what happened in the past to dictate the future for us,” Yee said when announcing the results.\u003c/p>\n\u003cp>The name change is expected to go before the full San Francisco Board of Supervisors by the end of the year. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Original Post:\u003c/b> \u003c/p>\n\u003cp>A street in San Francisco named after a controversial figure could become Frida Kahlo Way by next year.\u003c/p>\n\u003cp>Phelan Avenue, which shares its namesake with former San Francisco Mayor James D. Phelan, will be renamed in the next two weeks due to the efforts of Supervisor Norman Yee, the City College of San Francisco and local residents. Last Thursday, City College’s board of trustees voted to support renaming the road Frida Kahlo Way, after the influential Mexican artist. \u003c/p>\n\u003cp>“At a time when the country is rethinking who deserves to have statues and parks named after them, [having] a street that an institution like City College is on named after someone whose family left a legacy of racism, doesn’t reflect [our] values,” City College English professor Alisa Messer told the \u003ca href=\"http://www.sfexaminer.com/phelan-avenue-poised-lose-name-racist-legacy/\" rel=\"noopener\" target=\"_blank\">\u003cem>San Francisco Examiner\u003c/em> last week\u003c/a>. \u003c/p>\n\u003cp>Phelan, a former U.S. senator who lived from 1861 to 1931, has been described as a multimillionaire philanthropist revered by San Franciscans for his \u003ca href=\"https://www.mercurynews.com/2017/06/14/matters-historical-philanthropist-james-phelan-had-a-deep-streak-of-racism/\" rel=\"noopener\" target=\"_blank\">support of the arts.\u003c/a> His will included a provision that after his death, his 175-acre estate in Saratoga called Villa Montalvo was to be used as a space to foster writers and artists. It continues to provide a popular artist-in-residency program.\u003c/p>\n\u003cp>But Phelan also had a serious racist streak. When he campaigned to be re-elected to the senate, his slogan was “Keep California White.” He was also a staunch opponent of Asians immigrating into California. He detailed his beliefs in a 1901 essay titled “\u003ca href=\"http://www.americanyawp.com/reader/19-american-empire/james-d-phelan-why-the-chinese-should-be-excluded-1901/\" rel=\"noopener\" target=\"_blank\">Why the Chinese Should Be Excluded\u003c/a>.” From the essay:\u003c/p>\n\u003cblockquote>\u003cp> If the Chinese are admitted, whence are the ranks of the free population to be recruited? Who shall preserve our civilization and who shall fight our battles? The Chinese may be good laborers, but they are not good citizens. They may in small numbers benefit individual employers, but they breed the germs of a national disease, which spreads as they spread, and grows as they grow.\u003c/p>\u003c/blockquote>\n\u003cp>The movement to strip Phelan’s name from the street began as early as 2000, when local activists tried to rename it \u003ca href=\"https://www.sfgate.com/politics/article/Long-Ago-Mayor-Branded-a-Racist-Move-in-S-F-to-3238405.php\" rel=\"noopener\" target=\"_blank\">after local Filipino activist Violeta “Bullet” Marasigan\u003c/a>. Those efforts failed, but the campaign started up again last year when University of San Francisco students protested to remove \u003ca href=\"http://www.sfexaminer.com/usf-drops-former-sf-mayors-name-dorms-racist-views/\" rel=\"noopener\" target=\"_blank\">Phelan’s name from a dormitory and succeeded\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13825831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/PanamericanUnity-800x239.jpg\" alt=\"Pan American Unity mural by Diego Rivera\" width=\"800\" height=\"239\" class=\"size-medium wp-image-13825831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-800x239.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-160x48.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-768x229.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1020x304.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1920x573.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1180x352.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-960x286.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-240x72.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-375x112.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-520x155.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Pan American Unity’ by Diego Rivera. \u003ccite>(Courtesy of City College of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Supervisor Yee told the \u003cem>Examiner\u003c/em> that he was recently contemplating the name change after learning about Phelan’s past. Though the roadway is reportedly named after Phelan’s father, banker James Phelan, supporters of the name change say the family tie is reason enough to make the switch.\u003c/p>\n\u003cp>When Yee heard that City College of San Francisco was also working on renaming the street, Yee worked to open up the process to the public. A Phelan Renaming Committee, made up of college representatives and neighborhood residents, is considering several options. Other suggestions include writer Thelma Johnson Streat and Chinese American historian Him Mark Lai.\u003c/p>\n\u003cp>A public vote on the new name is expected in two weeks. Yee will then take the winning suggestion to the San Francisco Board of Supervisors for approval. A spokesperson for Yee said the new name will become official in about a year.\u003c/p>\n\u003cp>Last Thursday, City College’s trustees voted in support of the name Frida Kahlo Way because her image is included in Diego Rivera’s \u003cem>Pan American Unity\u003c/em> mural on the \u003ca href=\"http://www.ccsf.edu/Info/Map/theatre.shtml#5\" rel=\"noopener\" target=\"_blank\">campus theater\u003c/a>. Trustee Tom Temprano said that the board saw the street’s renaming as a perfect opportunity to honor an artist who, in recent years, finally received the recognition that Diego, her husband, enjoyed for decades.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[The renaming] certainly won’t be an insignificant cost to the college. It will take time to change our website and all of our documents,” Temprano said. “But it’s about sending a strong message to our community, our staff and our faculty about what our values are.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>UPDATE June 20, 2018:\u003c/b> At the San Francisco Board of Supervisors meeting Tuesday, the board unanimously approved legislation changing the name of Phelan Way to Frida Kahlo Way. On Wednesday, San Francisco Mayor Mark Farrell told KQED he planned to sign the bill soon. \u003c/p>\n\u003cp>“San Francisco needs to be a place and has to be a place where everyone feels welcome and included,” Farell said. \u003c/p>\n\u003cp>\u003cb>UPDATE April 5, 2018:\u003c/b> On Tuesday, Supervisor Norman Yee announced that residents who live near City College of San Francisco voted to change the name from Phelan Avenue to Frida Kahlo Way. \u003c/p>\n\u003cp>“I think its important for city leadership to promote whats reflective of our culture today, and not allow for what happened in the past to dictate the future for us,” Yee said when announcing the results.\u003c/p>\n\u003cp>The name change is expected to go before the full San Francisco Board of Supervisors by the end of the year. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Original Post:\u003c/b> \u003c/p>\n\u003cp>A street in San Francisco named after a controversial figure could become Frida Kahlo Way by next year.\u003c/p>\n\u003cp>Phelan Avenue, which shares its namesake with former San Francisco Mayor James D. Phelan, will be renamed in the next two weeks due to the efforts of Supervisor Norman Yee, the City College of San Francisco and local residents. Last Thursday, City College’s board of trustees voted to support renaming the road Frida Kahlo Way, after the influential Mexican artist. \u003c/p>\n\u003cp>“At a time when the country is rethinking who deserves to have statues and parks named after them, [having] a street that an institution like City College is on named after someone whose family left a legacy of racism, doesn’t reflect [our] values,” City College English professor Alisa Messer told the \u003ca href=\"http://www.sfexaminer.com/phelan-avenue-poised-lose-name-racist-legacy/\" rel=\"noopener\" target=\"_blank\">\u003cem>San Francisco Examiner\u003c/em> last week\u003c/a>. \u003c/p>\n\u003cp>Phelan, a former U.S. senator who lived from 1861 to 1931, has been described as a multimillionaire philanthropist revered by San Franciscans for his \u003ca href=\"https://www.mercurynews.com/2017/06/14/matters-historical-philanthropist-james-phelan-had-a-deep-streak-of-racism/\" rel=\"noopener\" target=\"_blank\">support of the arts.\u003c/a> His will included a provision that after his death, his 175-acre estate in Saratoga called Villa Montalvo was to be used as a space to foster writers and artists. It continues to provide a popular artist-in-residency program.\u003c/p>\n\u003cp>But Phelan also had a serious racist streak. When he campaigned to be re-elected to the senate, his slogan was “Keep California White.” He was also a staunch opponent of Asians immigrating into California. He detailed his beliefs in a 1901 essay titled “\u003ca href=\"http://www.americanyawp.com/reader/19-american-empire/james-d-phelan-why-the-chinese-should-be-excluded-1901/\" rel=\"noopener\" target=\"_blank\">Why the Chinese Should Be Excluded\u003c/a>.” From the essay:\u003c/p>\n\u003cblockquote>\u003cp> If the Chinese are admitted, whence are the ranks of the free population to be recruited? Who shall preserve our civilization and who shall fight our battles? The Chinese may be good laborers, but they are not good citizens. They may in small numbers benefit individual employers, but they breed the germs of a national disease, which spreads as they spread, and grows as they grow.\u003c/p>\u003c/blockquote>\n\u003cp>The movement to strip Phelan’s name from the street began as early as 2000, when local activists tried to rename it \u003ca href=\"https://www.sfgate.com/politics/article/Long-Ago-Mayor-Branded-a-Racist-Move-in-S-F-to-3238405.php\" rel=\"noopener\" target=\"_blank\">after local Filipino activist Violeta “Bullet” Marasigan\u003c/a>. Those efforts failed, but the campaign started up again last year when University of San Francisco students protested to remove \u003ca href=\"http://www.sfexaminer.com/usf-drops-former-sf-mayors-name-dorms-racist-views/\" rel=\"noopener\" target=\"_blank\">Phelan’s name from a dormitory and succeeded\u003c/a>. \u003c/p>\n\u003cfigure id=\"attachment_13825831\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/PanamericanUnity-800x239.jpg\" alt=\"Pan American Unity mural by Diego Rivera\" width=\"800\" height=\"239\" class=\"size-medium wp-image-13825831\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-800x239.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-160x48.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-768x229.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1020x304.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1920x573.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-1180x352.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-960x286.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-240x72.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-375x112.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity-520x155.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/PanamericanUnity.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Pan American Unity’ by Diego Rivera. \u003ccite>(Courtesy of City College of San Francisco)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Supervisor Yee told the \u003cem>Examiner\u003c/em> that he was recently contemplating the name change after learning about Phelan’s past. Though the roadway is reportedly named after Phelan’s father, banker James Phelan, supporters of the name change say the family tie is reason enough to make the switch.\u003c/p>\n\u003cp>When Yee heard that City College of San Francisco was also working on renaming the street, Yee worked to open up the process to the public. A Phelan Renaming Committee, made up of college representatives and neighborhood residents, is considering several options. Other suggestions include writer Thelma Johnson Streat and Chinese American historian Him Mark Lai.\u003c/p>\n\u003cp>A public vote on the new name is expected in two weeks. Yee will then take the winning suggestion to the San Francisco Board of Supervisors for approval. A spokesperson for Yee said the new name will become official in about a year.\u003c/p>\n\u003cp>Last Thursday, City College’s trustees voted in support of the name Frida Kahlo Way because her image is included in Diego Rivera’s \u003cem>Pan American Unity\u003c/em> mural on the \u003ca href=\"http://www.ccsf.edu/Info/Map/theatre.shtml#5\" rel=\"noopener\" target=\"_blank\">campus theater\u003c/a>. Trustee Tom Temprano said that the board saw the street’s renaming as a perfect opportunity to honor an artist who, in recent years, finally received the recognition that Diego, her husband, enjoyed for decades.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“[The renaming] certainly won’t be an insignificant cost to the college. It will take time to change our website and all of our documents,” Temprano said. “But it’s about sending a strong message to our community, our staff and our faculty about what our values are.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The global \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/18/586935542/black-panther-breaks-records-and-barriers-in-debut-weekend\" target=\"_blank\" rel=\"noopener\">box office success\u003c/a> of \u003cem>Black Panther\u003c/em> is no surprise to UCLA sociologist Darnell Hunt. His \u003ca href=\"https://socialsciences.ucla.edu/hollywood-diversity-report-2018/\">annual report on Hollywood diversity\u003c/a> argues that movies and TV shows with diverse casts and creators pay off for the industry’s bottom line.\u003c/p>\n\u003cp>Hunt says \u003cem>Black Panther\u003c/em>, for example, “smashed all of the Hollywood myths that you can’t have a black lead, that you can’t have a predominantly black cast and [have] the film do well. It’s an example of what can be done if the industry is true to the nature of the market. But it’s too early to tell if \u003cem>Black Panther\u003c/em> will change business practices or it’s an outlier. We argue it demonstrates what’s possible beyond standard Hollywood practices.”\u003c/p>\n\u003cp>The fifth annual diversity report is subtitled, “Five Years of Progress and Missed Opportunities,” suggesting that America’s increasingly diverse audience prefers diverse film and television content. The study reports that people of color bought the majority of movie tickets for the five of the top 10 films in 2016, and television shows with diverse casts did well in both ratings and social media.\u003c/p>\n\u003cp>Hunt’s team crunched the numbers for Hollywood’s top 200 films and 100 TV shows from 2015 to 2016. What they found, according to Hunt, was a “mixed bag” that over time shows a pattern: “Two steps ahead, one step back. But at the end of five years, we see there’s not much progress.”\u003c/p>\n\u003cp>The report states that people of color make up nearly 40 percent of the U.S. population, yet they remain underrepresented on every front on all platforms, including lead roles, writers, directors and showrunners. It finds the same for the talent agents who serve as important industry gatekeepers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The report also shows that despite making up more than half the population, women remain underrepresented. They gained some jobs in film and TV, but as film directors, they were outnumbered seven to one. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hunt says there are a few bright spots in television: Broadcast TV and children’s series are increasingly diverse and do well in the ratings. “Most babies born in America today are not white,” Hunt notes, “so if you look at children’s programming, it’s unmistakable that you \u003cem>must\u003c/em> have diversity, otherwise the show fails.” \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=Hollywood+Diversity+Study+Finds+%27Mixed+Bag%27+When+It+Comes+To+Representation&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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},
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"id": "city-arts",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
},
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"meta": {
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
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"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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