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"content": "\u003cp>Twenty years ago this week, a strange little movie about a strange little boy hit movie theaters and promptly exploded in a way that no one could have predicted. Despite \u003cem>The Sixth Sense\u003c/em>‘s inherently dark subject matter—child is tortured by ghosts; recently traumatized psychologist tries to help—its appeal proved oddly universal, sitting at the top of the box office for five weeks, grossing $672.8 million in the U.S. alone.\u003c/p>\n\u003cp>Some of the reasons for the movie’s mass appeal were obvious. The jawdropping twist ending was water-cooler fodder for weeks after the movie’s release; Bruce Willis and Haley Joel Osment’s performances were both so authentic, their roles as Dr. Malcolm and Cole Sear became iconic overnight; and the grief-related side-plots (Cole’s mom and Dr. Malcolm’s wife both suffer from recent losses) brought a heart and soul to the proceedings that horror movies sometimes lack. The marks \u003cem>The Sixth Sense\u003c/em> left on pop culture weren’t just immediate, they’ve since proved impossible to erase.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lXO0he1WjYw\u003c/p>\n\u003cp>Against all the odds—and despite the \u003ca href=\"https://www.youtube.com/watch?v=-xKA27kJWmE\" target=\"_blank\" rel=\"noopener\">endless spoofs\u003c/a> it’s spawned over the last two decades—watching \u003cem>The Sixth Sense\u003c/em> today is just as affecting as it was in 1999. That timelessness is thanks in part to its universal themes around life and death, but ultimately the movie’s enduring watchability has far more to do with what Cole’s character really represents.\u003c/p>\n\u003cp>In the movie, Cole is a nine-year-old medium, isolated and bullied by peers because of a general inability to fit in. Cole isn’t picked on because other kids know he’s psychic, he’s picked on simply for being perceptibly different—a predicament painfully familiar to anyone who has suffered through a similarly miserable adolescence. Even when Cole tries his best—as when he recreates a magic trick shown to him by Dr. Malcolm for another child at a birthday party—he is out of step, through no fault of his own.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In its darkest moments, \u003cem>The Sixth Sense\u003c/em> allows Cole to represent not just misfits and minorities, but individuals in the process of surviving abuse. Though he has a loving mother (played stirringly by Toni Collette), Cole is dealing with abuse—both physical and mental—from disturbed spirits. Through his sixth sense he is also exposed to the horrors of domestic violence (\u003ca href=\"https://www.youtube.com/watch?v=7TLLJJllf_Q\" target=\"_blank\" rel=\"noopener\">the ghost\u003c/a> of a bruised and suicidal housewife appears in his kitchen), and the gory and tragic results of households that don’t keep their \u003ca href=\"https://www.youtube.com/watch?v=GK8CrMtyTdk\" target=\"_blank\" rel=\"noopener\">weapons and children separate\u003c/a>. Witnessing these scenes, Cole isn’t just one single kind of abuse survivor—he embodies all of them.\u003c/p>\n\u003cp>Forced to bear witness to these traumas, it’s impossible for him to interact on the same level as his unencumbered peers, and he suffers in silence, as so many real-life survivors do. In his second session with Dr. Malcolm, Cole confesses that after he drew a picture of a man attacking another man, his school held a meeting about it. “Mom started crying,” he says. “I don’t draw like that anymore … They don’t have meetings about rainbows.”\u003c/p>\n\u003cp>While Cole stays quiet to save his mother from getting hurt, to avoid causing disruption in school, and to prevent embarrassing personal scrutiny, he still has moments where the details can’t help but spill out. And he is often punished for this honesty. When he tells his mom he’s not the person who keeps moving a brooch that belonged to his grandmother, she shouts at him and sends him away from the dinner table. When he tells a teacher that their school, originally a courthouse, used to contain a gallows, his teacher tells him in no uncertain terms that it’s not true—despite the fact that Cole has seen otherwise with his own eyes.\u003c/p>\n\u003cp>In these scenes, \u003cem>The Sixth Sense\u003c/em> offers understanding to survivors who are hesitant to speak up, but much of the rest of the film is spent encouraging them to try anyway. Cole’s relationship with Dr. Malcolm—a symbol of rescue, redemption and recovery—is meticulously designed to demonstrate a specific message to abuse survivors: While not everyone will believe or understand what has happened to you, seeking assistance from outside sources remains worthwhile. One person who believes you, \u003cem>The Sixth Sense\u003c/em> tells us, is all it takes to get on the road to healing.\u003c/p>\n\u003cp>Remarkably, the movie also tells viewers, in explicit terms, to believe survivors—a concept that has only found mainstream, widespread acceptance in the age of #MeToo. (“How can you help me if you don’t believe me?” Cole asks at one point.) The tragic figure of Vincent Grey—the psychic man who shoots Dr. Malcolm and himself at the start of the movie—also acts as a stark warning about the damage wrought when survivors are not taken seriously.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Ultimately, \u003cem>The Sixth Sense\u003c/em> is about gaining control and ownership over whatever hand you have been dealt. Dr. Malcolm finds personal healing while helping Cole, which, in turn, enables Cole to pay it forward. By accepting assistance, and learning to trust another person with his secrets, Cole stops running away from the things that scare him the most, and figures out how to turn them into a force for good. In the end, \u003cem>The Sixth Sense\u003c/em> is a guidebook on how to transform darkness into light, pain into healing, and trauma into love. Its impact was seismic in 1999, but, 20 years on, we need its lessons more than ever.\u003c/p>\n\n",
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"content": "\u003cp>Before Wanda Sykes became a comic, she worked as a procurement officer for the National Security Agency and had top security clearance. But she always loved telling jokes, and when a local radio station sponsored a talent show that included a comedy category, she decided to audition.\u003c/p>\n\u003cp>“They put me on the show … [and] I fell in love with it,” she says. “I love doing stand-up. … That’s where I feel like I can be free.”\u003c/p>\n\u003cp>Sykes quit the NSA and began focusing on comedy. She told political jokes throughout the Clinton, Bush and Obama administrations. In 2009, she became the first African American woman to \u003ca href=\"https://www.youtube.com/watch?v=zmyRog2w4DI\">host the White House Correspondents’ Association dinner\u003c/a>.\u003c/p>\n\u003cp>Now she takes on President Trump in the Emmy-nominated Netflix special \u003ca href=\"https://www.netflix.com/title/81011598\">Not Normal\u003c/a>. Sykes insists the jokes don’t come easily under the current administration.\u003c/p>\n\u003cp>“You would think, ‘Oh boy, there’s so much to make fun of,’ but really I can’t write anything funnier or more ridiculous than what Trump actually says,” Sykes says. “It’s like doing a parody of a parody.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting booed at a charity event in Boston within a week of Trump’s election for criticizing him\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That was my fault, because it wasn’t my show. When I say “fault,” I don’t mean that … I take responsibility for being booed. I take responsibility [for] being a comic and not reading the room. I’m in Boston and it was a benefit for the \u003ca href=\"https://camneelyfoundation.org/\">Cam Neely Foundation\u003c/a>, and my friend \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102962938\">Denis Leary \u003c/a>asked me to do it, and I’ve performed there before and it’s a great charity and it’s usually a fun night … but this was right after the election.\u003c/p>\n\u003cp>So Denis goes up and he does some Trump jokes and people laugh. And then another comic goes up and he does a couple jokes, whatever, some Trump stuff, and people laugh — another white guy.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘They weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.’ \u003ccite>Wanda Sykes\u003c/cite> \u003c/aside>\n\u003cp>And so then I go up, and [with] the first joke I get some laughs — it was a Trump joke — and then the second joke [I said,] “Hey, this isn’t the first time we’ve had a president who’s racist, homophobic, sexist, but this is just the first one that we can confirm.” And the crowd just turned then. …\u003c/p>\n\u003cp>Then I got it. I was like, “Oh, shoot. That’s right. I forgot. I’m a black, lesbian female, and they aren’t ready for this yet.” It’s like, white guys, sure, go ahead. Come on out … because we see it every night on late-night TV: white guys making fun of the president. … But they weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.\u003c/p>\n\u003cp>\u003cstrong>On coming out publicly at a 2008 LGBTQ rally in Las Vegas \u003c/strong>\u003c/p>\n\u003cp>I didn’t even know that I was going to do it. It wasn’t planned at all. I was in Vegas performing … and there [was an LGBTQ equality] protest in Vegas. … So it’s like, Hey … let’s go out and support and protest. So I get there, and it’s a large crowd and the head of the [LGBTQ] center, she’s speaking and she said, “We have someone out here who’s an ally, and she’s a strong voice for the community. And I’m just going to put her on the spot and see if she will come up and say a few words.”\u003c/p>\n\u003cp>Now, I’m looking around in the audience thinking, “Is Drew Barrymore here? Is Pink here? What’s going on?” I’m looking around for the ally, and then she says, “Wanda Sykes.” I’m like, “Oh, no. I’m part of the family. I’m not the ally.” So I go up and it just happened and \u003ca href=\"https://www.youtube.com/watch?v=S6UdoCIYvIw\">I made the speech\u003c/a>. … When I got back to the hotel room, I’m looking at CNN and now I’m on the crawl, and I was like, “Oh boy.”\u003c/p>\n\u003cp>\u003cstrong>On having a white wife and white children and joking that she feels like a minority in her own house \u003c/strong>\u003c/p>\n\u003cp>It feels weird when I think about it, but [when] it’s just the four of us, then I don’t think I think of it then, but when her family is there or we have a bunch of friends over, I do kind of look around and I go, “Man, there’s a lot of white people in my house right now.” And it’s not like I don’t like it or it makes me uncomfortable. It’s just I noticed it. … Sometimes I’ll call a friend like, “Hey man, what you doing? Want to come over?” And he goes, “What? You got too many white people in your house?” I’m like, “Yeah.”\u003c/p>\n\u003cp>\u003cstrong>On what she likes about motherhood \u003c/strong>\u003c/p>\n\u003cp>It takes you out of yourself. Just to be able to love something so much and want to be there and take care of them and not worry about yourself. It’s just good to know that I have that capability. … I thought I was so self-absorbed, but wow, look at me! Look at me parenting and being caring about something else other than myself! It’s just beautiful. I’ve learned a lot about myself. So I guess that is kind of like about me again. Damn it! I thought I had this.\u003c/p>\n\u003cp>\u003cstrong>On being diagnosed with early stage breast cancer and electing to do a double mastectomy \u003c/strong>\u003c/p>\n\u003cp>I have an incredibly strong history of cancer on my mom’s side. … I’ve lost aunts to breast cancer, ovarian cancer. My uncles, all the boys on her side, they’ve had prostate cancer. … We just had kids. The kids were maybe 2. So I was like, Look, I just wanted this taken care of — and my doctors, they also advised the same thing. … It was tough, but I feel great and I got some perky boobs out of it!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wanda+Sykes+Loves+Stand-Up%3A+That%27s+Where+%27I+Can+Be+Free%2C%27+She+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Before Wanda Sykes became a comic, she worked as a procurement officer for the National Security Agency and had top security clearance. But she always loved telling jokes, and when a local radio station sponsored a talent show that included a comedy category, she decided to audition.\u003c/p>\n\u003cp>“They put me on the show … [and] I fell in love with it,” she says. “I love doing stand-up. … That’s where I feel like I can be free.”\u003c/p>\n\u003cp>Sykes quit the NSA and began focusing on comedy. She told political jokes throughout the Clinton, Bush and Obama administrations. In 2009, she became the first African American woman to \u003ca href=\"https://www.youtube.com/watch?v=zmyRog2w4DI\">host the White House Correspondents’ Association dinner\u003c/a>.\u003c/p>\n\u003cp>Now she takes on President Trump in the Emmy-nominated Netflix special \u003ca href=\"https://www.netflix.com/title/81011598\">Not Normal\u003c/a>. Sykes insists the jokes don’t come easily under the current administration.\u003c/p>\n\u003cp>“You would think, ‘Oh boy, there’s so much to make fun of,’ but really I can’t write anything funnier or more ridiculous than what Trump actually says,” Sykes says. “It’s like doing a parody of a parody.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On getting booed at a charity event in Boston within a week of Trump’s election for criticizing him\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That was my fault, because it wasn’t my show. When I say “fault,” I don’t mean that … I take responsibility for being booed. I take responsibility [for] being a comic and not reading the room. I’m in Boston and it was a benefit for the \u003ca href=\"https://camneelyfoundation.org/\">Cam Neely Foundation\u003c/a>, and my friend \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=102962938\">Denis Leary \u003c/a>asked me to do it, and I’ve performed there before and it’s a great charity and it’s usually a fun night … but this was right after the election.\u003c/p>\n\u003cp>So Denis goes up and he does some Trump jokes and people laugh. And then another comic goes up and he does a couple jokes, whatever, some Trump stuff, and people laugh — another white guy.\u003c/p>\n\u003caside class=\"pullquote alignright\">\n‘They weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.’ \u003ccite>Wanda Sykes\u003c/cite> \u003c/aside>\n\u003cp>And so then I go up, and [with] the first joke I get some laughs — it was a Trump joke — and then the second joke [I said,] “Hey, this isn’t the first time we’ve had a president who’s racist, homophobic, sexist, but this is just the first one that we can confirm.” And the crowd just turned then. …\u003c/p>\n\u003cp>Then I got it. I was like, “Oh, shoot. That’s right. I forgot. I’m a black, lesbian female, and they aren’t ready for this yet.” It’s like, white guys, sure, go ahead. Come on out … because we see it every night on late-night TV: white guys making fun of the president. … But they weren’t ready to see a black woman who happens to be a lesbian also making fun of the president.\u003c/p>\n\u003cp>\u003cstrong>On coming out publicly at a 2008 LGBTQ rally in Las Vegas \u003c/strong>\u003c/p>\n\u003cp>I didn’t even know that I was going to do it. It wasn’t planned at all. I was in Vegas performing … and there [was an LGBTQ equality] protest in Vegas. … So it’s like, Hey … let’s go out and support and protest. So I get there, and it’s a large crowd and the head of the [LGBTQ] center, she’s speaking and she said, “We have someone out here who’s an ally, and she’s a strong voice for the community. And I’m just going to put her on the spot and see if she will come up and say a few words.”\u003c/p>\n\u003cp>Now, I’m looking around in the audience thinking, “Is Drew Barrymore here? Is Pink here? What’s going on?” I’m looking around for the ally, and then she says, “Wanda Sykes.” I’m like, “Oh, no. I’m part of the family. I’m not the ally.” So I go up and it just happened and \u003ca href=\"https://www.youtube.com/watch?v=S6UdoCIYvIw\">I made the speech\u003c/a>. … When I got back to the hotel room, I’m looking at CNN and now I’m on the crawl, and I was like, “Oh boy.”\u003c/p>\n\u003cp>\u003cstrong>On having a white wife and white children and joking that she feels like a minority in her own house \u003c/strong>\u003c/p>\n\u003cp>It feels weird when I think about it, but [when] it’s just the four of us, then I don’t think I think of it then, but when her family is there or we have a bunch of friends over, I do kind of look around and I go, “Man, there’s a lot of white people in my house right now.” And it’s not like I don’t like it or it makes me uncomfortable. It’s just I noticed it. … Sometimes I’ll call a friend like, “Hey man, what you doing? Want to come over?” And he goes, “What? You got too many white people in your house?” I’m like, “Yeah.”\u003c/p>\n\u003cp>\u003cstrong>On what she likes about motherhood \u003c/strong>\u003c/p>\n\u003cp>It takes you out of yourself. Just to be able to love something so much and want to be there and take care of them and not worry about yourself. It’s just good to know that I have that capability. … I thought I was so self-absorbed, but wow, look at me! Look at me parenting and being caring about something else other than myself! It’s just beautiful. I’ve learned a lot about myself. So I guess that is kind of like about me again. Damn it! I thought I had this.\u003c/p>\n\u003cp>\u003cstrong>On being diagnosed with early stage breast cancer and electing to do a double mastectomy \u003c/strong>\u003c/p>\n\u003cp>I have an incredibly strong history of cancer on my mom’s side. … I’ve lost aunts to breast cancer, ovarian cancer. My uncles, all the boys on her side, they’ve had prostate cancer. … We just had kids. The kids were maybe 2. So I was like, Look, I just wanted this taken care of — and my doctors, they also advised the same thing. … It was tough, but I feel great and I got some perky boobs out of it!\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Lauren Krenzel and Seth Kelley produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Wanda+Sykes+Loves+Stand-Up%3A+That%27s+Where+%27I+Can+Be+Free%2C%27+She+Says&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Queue Up Your Preschool Playlist, 'Peppa Pig' Has Just Dropped 'My First Album'",
"headTitle": "Queue Up Your Preschool Playlist, ‘Peppa Pig’ Has Just Dropped ‘My First Album’ | KQED",
"content": "\u003cp>Fun fact: The 17-year-old voice actor who plays the beloved cartoon character Peppa Pig actually lives on a farm \u003cem>and\u003c/em> has her own pigs who are (of course) named Peppa and George. “They’re very cheeky,” says Harley Bird. “There was one time when I went in to feed them in the morning and they started eating my Wellies whilst I was still wearing them.”\u003c/p>\n\u003cp>Bird and her family live in Tring, a village about 40 miles northeast of London. She travels to the city to record the award-winning British cartoon, then returns home to feed the chickens.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qCrWdQb00rQ\u003c/p>\n\u003cp>In the show, the 4-year-old pig shares sweet adventures with her little brother George, Mommy Pig, Daddy Pig and her animal friends. \u003cem>Peppa Pig \u003c/em>airs in more than 180 countries—she’s starred in movies and stage shows, and has her own \u003ca href=\"https://www.youtube.com/channel/UCAOtE1V7Ots4DjM8JLlrYgg\">YouTube channel\u003c/a>. There are Peppa Pig games and toys, and even a theme park in England. And now, Peppa has dropped her first album, titled simply: \u003cem>\u003ca href=\"https://eone.ffm.to/myfirstalbum\">My First Album.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=11&v=vJj3Ch79tNs\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bird, who has voiced Peppa for nearly 13 years, is visiting the U.S. with her mom, and her younger siblings Olivia and Rosco. They’re on vacation, but she’s also promoting Peppa’s album, in which she sings about friendship, balloon rides and her favorite pastime—jumping in muddy puddles (wearing her boots, of course). The album includes songs such as \u003ca href=\"https://www.youtube.com/watch?v=vJj3Ch79tNs\">“Bing Bong Zoo,”\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fogpMbJLouo\">“The Class of Madame Gazelle”\u003c/a> and “Peppa’s Party Time.”\u003c/p>\n\u003cp>\u003cem>Peppa Pig\u003c/em> debuted in the U.K. and Australia in 2004, and has been on Nick Jr. in the U.S. for the past eight years. The cartoon was voiced by two other actors before the producers found Harley Bird (that’s her stage name).\u003c/p>\n\u003cfigure id=\"attachment_13862791\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg\" alt=\"Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old.\" width=\"200\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba-160x211.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill Riley, Bird’s mom, realized her daughter had a dramatic flair, so she found an agent for her. “She was just a little quirky, little bit different and she definitely had something about her,” Riley explains.\u003c/p>\n\u003cp>Bird was just 5 when she landed the role in her first-ever audition. “I just sounded like a pig—that’s it,” says Bird. “I couldn’t really read at all—I mean, I was five.”\u003c/p>\n\u003cp>Along the way, she learned to read … and to snort like a piggy. (\u003ca href=\"https://twitter.com/Radioactive22/status/1156566381246083072\">Click here to see her switch into her Peppa voice.\u003c/a>) More than a decade later, she now has to change her voice to sound younger, higher and more kid-like. She says it’s getting to be more of a struggle, and at some point she probably won’t be able to keep it up. “My voice still is changing,” she says. “There probably will be a point when I’m going to have to pass the pig.”\u003c/p>\n\u003cp>In addition to playing Peppa, Bird has some other notable entries on her resume: She has a black belt in kickboxing, she works at the village pub and Prince William once waved to her. She’s studying for her A levels to get into university, and would like to become a casting director. Bird acted in the 2013 movie \u003cem>How I Live Now,\u003c/em> had a small part on TV’s \u003cem>Doctor Who\u003c/em> and starred in the Disney series \u003cem>So Sammy.\u003c/em> As Peppa, she won a prestigious BAFTA Award when she was just 9.\u003c/p>\n\u003cp>She seems surprised to learn that some critics \u003ca href=\"https://www.huffpost.com/entry/is-peppa-pig-fat-shaming_n_586d158ce4b0d9a5945d505c\">call out the show for fat-shaming Daddy Pig\u003c/a>. And she’s only heard bits and bobs about the news that Peppa Pig is \u003ca href=\"https://www.nytimes.com/2018/05/01/world/asia/peppa-pig-china-censors.html\">considered a subversive symbol in China\u003c/a>.\u003c/p>\n\u003cp>“I don’t really have anything to say about it,” says Bird, adding that Peppa is “such an innocent thing, that for it to be made into anything more is a tiny bit ridiculous.”\u003c/p>\n\u003cp>Bird doesn’t take her singing too seriously either, and jokes about performing at Coachella as Peppa Pig. She’s super excited about \u003ca href=\"https://twitter.com/LilNasX/status/1153377578725625856\">a shoutout she got\u003c/a> from rapper Little Nas X. “He was tweeting something about doing a collab,” she gushes. “I am so in with that. Definitely. I mean, I’m in America. Find me. Let’s collab!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peppa Pig’s album dropped the same day as Iggy Azalea’s, \u003ca href=\"https://twitter.com/IGGYAZALEA/status/1151060798929821696\">prompting the rapper to tweet\u003c/a> “It’s over for me now.” Peppa \u003ca href=\"https://twitter.com/peppapig/status/1151175779876790272\">tweeted back\u003c/a>: “Peppa’s so fancy, you already know.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Queue+Up+Your+Preschool+Playlist%2C+%27Peppa+Pig%27+Has+Just+Dropped+%27My+First+Album%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"excerpt": "Peppa is a 4-year-old, cartoon pig whose award-winning TV show airs in more than 180 countries. For the last 13 years she's been played by Harley Bird, who got the part when she was only 5 years old.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fun fact: The 17-year-old voice actor who plays the beloved cartoon character Peppa Pig actually lives on a farm \u003cem>and\u003c/em> has her own pigs who are (of course) named Peppa and George. “They’re very cheeky,” says Harley Bird. “There was one time when I went in to feed them in the morning and they started eating my Wellies whilst I was still wearing them.”\u003c/p>\n\u003cp>Bird and her family live in Tring, a village about 40 miles northeast of London. She travels to the city to record the award-winning British cartoon, then returns home to feed the chickens.\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/qCrWdQb00rQ'\n title='//www.youtube.com/embed/qCrWdQb00rQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In the show, the 4-year-old pig shares sweet adventures with her little brother George, Mommy Pig, Daddy Pig and her animal friends. \u003cem>Peppa Pig \u003c/em>airs in more than 180 countries—she’s starred in movies and stage shows, and has her own \u003ca href=\"https://www.youtube.com/channel/UCAOtE1V7Ots4DjM8JLlrYgg\">YouTube channel\u003c/a>. There are Peppa Pig games and toys, and even a theme park in England. And now, Peppa has dropped her first album, titled simply: \u003cem>\u003ca href=\"https://eone.ffm.to/myfirstalbum\">My First Album.\u003c/a>\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/vJj3Ch79tNs'\n title='//www.youtube.com/embed/vJj3Ch79tNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bird, who has voiced Peppa for nearly 13 years, is visiting the U.S. with her mom, and her younger siblings Olivia and Rosco. They’re on vacation, but she’s also promoting Peppa’s album, in which she sings about friendship, balloon rides and her favorite pastime—jumping in muddy puddles (wearing her boots, of course). The album includes songs such as \u003ca href=\"https://www.youtube.com/watch?v=vJj3Ch79tNs\">“Bing Bong Zoo,”\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=fogpMbJLouo\">“The Class of Madame Gazelle”\u003c/a> and “Peppa’s Party Time.”\u003c/p>\n\u003cp>\u003cem>Peppa Pig\u003c/em> debuted in the U.K. and Australia in 2004, and has been on Nick Jr. in the U.S. for the past eight years. The cartoon was voiced by two other actors before the producers found Harley Bird (that’s her stage name).\u003c/p>\n\u003cfigure id=\"attachment_13862791\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862791\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg\" alt=\"Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old.\" width=\"200\" height=\"264\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/peppa3_custom-8339eb1715bd5bacaa4afb957014b8ef0769a7ba-160x211.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Harley Bird, now 17, landed the role of Peppa Pig at her first ever audition, when she was 5 years old. \u003ccite>(Mandalit del Barco/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gill Riley, Bird’s mom, realized her daughter had a dramatic flair, so she found an agent for her. “She was just a little quirky, little bit different and she definitely had something about her,” Riley explains.\u003c/p>\n\u003cp>Bird was just 5 when she landed the role in her first-ever audition. “I just sounded like a pig—that’s it,” says Bird. “I couldn’t really read at all—I mean, I was five.”\u003c/p>\n\u003cp>Along the way, she learned to read … and to snort like a piggy. (\u003ca href=\"https://twitter.com/Radioactive22/status/1156566381246083072\">Click here to see her switch into her Peppa voice.\u003c/a>) More than a decade later, she now has to change her voice to sound younger, higher and more kid-like. She says it’s getting to be more of a struggle, and at some point she probably won’t be able to keep it up. “My voice still is changing,” she says. “There probably will be a point when I’m going to have to pass the pig.”\u003c/p>\n\u003cp>In addition to playing Peppa, Bird has some other notable entries on her resume: She has a black belt in kickboxing, she works at the village pub and Prince William once waved to her. She’s studying for her A levels to get into university, and would like to become a casting director. Bird acted in the 2013 movie \u003cem>How I Live Now,\u003c/em> had a small part on TV’s \u003cem>Doctor Who\u003c/em> and starred in the Disney series \u003cem>So Sammy.\u003c/em> As Peppa, she won a prestigious BAFTA Award when she was just 9.\u003c/p>\n\u003cp>She seems surprised to learn that some critics \u003ca href=\"https://www.huffpost.com/entry/is-peppa-pig-fat-shaming_n_586d158ce4b0d9a5945d505c\">call out the show for fat-shaming Daddy Pig\u003c/a>. And she’s only heard bits and bobs about the news that Peppa Pig is \u003ca href=\"https://www.nytimes.com/2018/05/01/world/asia/peppa-pig-china-censors.html\">considered a subversive symbol in China\u003c/a>.\u003c/p>\n\u003cp>“I don’t really have anything to say about it,” says Bird, adding that Peppa is “such an innocent thing, that for it to be made into anything more is a tiny bit ridiculous.”\u003c/p>\n\u003cp>Bird doesn’t take her singing too seriously either, and jokes about performing at Coachella as Peppa Pig. She’s super excited about \u003ca href=\"https://twitter.com/LilNasX/status/1153377578725625856\">a shoutout she got\u003c/a> from rapper Little Nas X. “He was tweeting something about doing a collab,” she gushes. “I am so in with that. Definitely. I mean, I’m in America. Find me. Let’s collab!”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Peppa Pig’s album dropped the same day as Iggy Azalea’s, \u003ca href=\"https://twitter.com/IGGYAZALEA/status/1151060798929821696\">prompting the rapper to tweet\u003c/a> “It’s over for me now.” Peppa \u003ca href=\"https://twitter.com/peppapig/status/1151175779876790272\">tweeted back\u003c/a>: “Peppa’s so fancy, you already know.”\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Queue+Up+Your+Preschool+Playlist%2C+%27Peppa+Pig%27+Has+Just+Dropped+%27My+First+Album%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "we-need-these-two-strava-running-artists-to-collaborate-immediately",
"title": "We Need These Two Strava Running Artists to Collaborate Immediately",
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"content": "\u003cp>Remember when \u003ca href=\"https://www.strava.com/\" target=\"_blank\" rel=\"noopener\">Strava\u003c/a> art was mostly shakily-drawn crude finger gestures and alarming penis renditions? Well, in recent months, the GPS-fueled mapping app for fitness fans has run a long way, baby, and turned into a clash of artistic titans.\u003c/p>\n\u003cp>Competition heated up a few weeks ago when San Francisco running enthusiast, \u003ca href=\"https://www.strava.com/athletes/7019519\" target=\"_blank\" rel=\"noopener\">Lenny Maughan\u003c/a> drew Frida Kahlo’s face during a 29-mile run. The final result—complete with earrings and unibrow—wowed everyone who saw it.\u003c/p>\n\u003cfigure id=\"attachment_13862663\" class=\"wp-caption aligncenter\" style=\"max-width: 579px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862663\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM.png\" alt=\"Lenny's 28.9 mile run took 6 hours, 8 minutes and 15 seconds and burned 3937 calories.\" width=\"579\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM.png 579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM-160x155.png 160w\" sizes=\"(max-width: 579px) 100vw, 579px\">\u003cfigcaption class=\"wp-caption-text\">Lenny’s 28.9 mile run took 6 hours, 8 minutes and 15 seconds and burned 3937 calories. \u003ccite>(Strava.com/Lenny Maughan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then this week, another masterful, art-inspired run emerged, in the form of a Strava rendition of 17th-century painting, \u003cem>Girl with a Pearl Earring\u003c/em>. When one fan saw it on Reddit and commented “Lenny! You are the man, the myth and the legend,” I decided it was time to track him down and talk inspiration.\u003c/p>\n\u003cp>Lenny, it turns out, is a technology analyst by day, and has been treating the city like a canvas since March 2015, when he first drew a hand in the shape of \u003ca href=\"https://www.mapmyrun.com/workout/917537449\" target=\"_blank\" rel=\"noopener\">\u003cem>Star Trek\u003c/em>‘s “live long and prosper” salute\u003c/a>. (A solid lesson in how to draw hands on Strava without the inclusion of obscene gestures.) Since then, he’s tackled everything from impressive animals (including a \u003ca href=\"https://www.strava.com/activities/1725333642\" target=\"_blank\" rel=\"noopener\">whale\u003c/a>, \u003ca href=\"https://www.strava.com/activities/2135296063\" target=\"_blank\" rel=\"noopener\">pig\u003c/a> and \u003ca href=\"https://www.mapmyrun.com/workout/1956491213\" target=\"_blank\" rel=\"noopener\">cat\u003c/a>); fun food items (\u003ca href=\"https://www.strava.com/activities/1891050233\" target=\"_blank\" rel=\"noopener\">avocado\u003c/a>, \u003ca href=\"https://www.strava.com/activities/2437821552\" target=\"_blank\" rel=\"noopener\">taco\u003c/a> and \u003ca href=\"https://www.strava.com/activities/942400921\" target=\"_blank\" rel=\"noopener\">coffee\u003c/a>) and states (like \u003ca href=\"http://www.mapmyrun.com/workout/1582129694\" target=\"_blank\" rel=\"noopener\">California\u003c/a> and \u003ca href=\"https://www.strava.com/activities/1159169554\" target=\"_blank\" rel=\"noopener\">Texas\u003c/a>).\u003c/p>\n\u003cp>“I’ve been a runner all my adult life,” Lenny told me. “I just like to run. There’s so much diversity in the running paths and the scenic vistas [of San Francisco]. It’s not really about speed or distance. It’s not about the miles, or the elevation. Frida is my magnum opus!”\u003c/p>\n\u003cp>“But what about your most recent work? The \u003cem>Girl with a Pearl Earring\u003c/em>?” I asked.\u003c/p>\n\u003cp>“Wait. No,” Lenny replied, confused.\u003c/p>\n\u003cp>“This!” I insisted.\u003c/p>\n\u003cfigure id=\"attachment_13862667\" class=\"wp-caption aligncenter\" style=\"max-width: 395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13862667 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM.png\" alt='\"The Girl With a Pearl Earring\" was 31 miles long and took 6 hours.' width=\"395\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM.png 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM-160x170.png 160w\" sizes=\"(max-width: 395px) 100vw, 395px\">\u003cfigcaption class=\"wp-caption-text\">‘Girl with a Pearl Earring’ took 31 miles and just over 6 hours to complete. \u003ccite>(Reddit/runningfriar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s not me,” Lenny said, gazing upon the girl’s orange visage. “But I like his style!”\u003c/p>\n\u003cp>On closer inspection, and after a side-by-side with Lenny’s Frida, I realized the homage to the Johannes Vermeer classic was a totally different style—curvier and tighter in scale. (Lenny notes that he likes to “go big to make a shape fit the contours and constraints of the streets.”) I immediately needed to track down this \u003ci>second\u003c/i> human Etch A Sketch.\u003c/p>\n\u003cp>The artiste this time turned out to be 27-year-old Sunset resident \u003ca href=\"https://www.strava.com/athletes/3896184\" target=\"_blank\" rel=\"noopener\">Luke Rosenberger\u003c/a>, an elementary-school teacher who also serves and bartends “because it’s SF and I have rent to pay.” Does Luke ever sleep? Probably not, given that just a week before he spent 31 miles recreating \u003cem>Girl with a Pearl Earring\u003c/em>, he made a \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/cglim0/i_also_draw_in_sf_using_my_runs/\" target=\"_blank\" rel=\"noopener\">28-mile dragon\u003c/a>. Luke’s prior creations also include a de-corked champagne bottle in celebration of his girlfriend’s college graduation, and a massive teddy bear stretching from the Mission to the Presidio.\u003c/p>\n\u003cp>“My ability to run long distances gives me access to a special kind of pencil,” Luke told me. “I have always had a love for drawing and painting my whole life. Combining my creative outlet with the joy I get from running was a no-brainer. Moving to San Francisco four years ago turned my like of running into love. There are so many notable landmarks and great green spaces one can see during a single run.”\u003c/p>\n\u003cp>After speaking to both Lenny and Luke separately, I quickly realized just how much the two have in common. Not only do they share a similar skill-level when it comes to both art and running, they both named the Marin Headlands as a favorite running destination, and both confessed to enjoying the “hours” they spend planning their meticulous Strava maps.\u003c/p>\n\u003cfigure id=\"attachment_13862749\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Lenny-Luke-800x400.jpg\" alt=\"Lenny (left) and Luke (right).\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lenny (left) and Luke (right). \u003ccite>(Courtesy of Lenny Maughan and Luke Rosenberger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I shared this news with Lenny, he said, “I’d like to meet him! Maybe we could collaborate!” \u003c/p>\n\u003cp>Delightfully, Luke shared Lenny’s enthusiasm. “I would love to work on something with Lenny in the future!” he said. “I have a couple ideas that would combine San Francisco with the East Bay that could look pretty cool.”\u003c/p>\n\u003cp>Pretty cool, Luke? Epic, more like. Please make this happen, fellas. We’ll be right behind you! (Most likely in a car.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Remember when \u003ca href=\"https://www.strava.com/\" target=\"_blank\" rel=\"noopener\">Strava\u003c/a> art was mostly shakily-drawn crude finger gestures and alarming penis renditions? Well, in recent months, the GPS-fueled mapping app for fitness fans has run a long way, baby, and turned into a clash of artistic titans.\u003c/p>\n\u003cp>Competition heated up a few weeks ago when San Francisco running enthusiast, \u003ca href=\"https://www.strava.com/athletes/7019519\" target=\"_blank\" rel=\"noopener\">Lenny Maughan\u003c/a> drew Frida Kahlo’s face during a 29-mile run. The final result—complete with earrings and unibrow—wowed everyone who saw it.\u003c/p>\n\u003cfigure id=\"attachment_13862663\" class=\"wp-caption aligncenter\" style=\"max-width: 579px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13862663\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM.png\" alt=\"Lenny's 28.9 mile run took 6 hours, 8 minutes and 15 seconds and burned 3937 calories.\" width=\"579\" height=\"560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM.png 579w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-1.08.21-PM-160x155.png 160w\" sizes=\"(max-width: 579px) 100vw, 579px\">\u003cfigcaption class=\"wp-caption-text\">Lenny’s 28.9 mile run took 6 hours, 8 minutes and 15 seconds and burned 3937 calories. \u003ccite>(Strava.com/Lenny Maughan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Then this week, another masterful, art-inspired run emerged, in the form of a Strava rendition of 17th-century painting, \u003cem>Girl with a Pearl Earring\u003c/em>. When one fan saw it on Reddit and commented “Lenny! You are the man, the myth and the legend,” I decided it was time to track him down and talk inspiration.\u003c/p>\n\u003cp>Lenny, it turns out, is a technology analyst by day, and has been treating the city like a canvas since March 2015, when he first drew a hand in the shape of \u003ca href=\"https://www.mapmyrun.com/workout/917537449\" target=\"_blank\" rel=\"noopener\">\u003cem>Star Trek\u003c/em>‘s “live long and prosper” salute\u003c/a>. (A solid lesson in how to draw hands on Strava without the inclusion of obscene gestures.) Since then, he’s tackled everything from impressive animals (including a \u003ca href=\"https://www.strava.com/activities/1725333642\" target=\"_blank\" rel=\"noopener\">whale\u003c/a>, \u003ca href=\"https://www.strava.com/activities/2135296063\" target=\"_blank\" rel=\"noopener\">pig\u003c/a> and \u003ca href=\"https://www.mapmyrun.com/workout/1956491213\" target=\"_blank\" rel=\"noopener\">cat\u003c/a>); fun food items (\u003ca href=\"https://www.strava.com/activities/1891050233\" target=\"_blank\" rel=\"noopener\">avocado\u003c/a>, \u003ca href=\"https://www.strava.com/activities/2437821552\" target=\"_blank\" rel=\"noopener\">taco\u003c/a> and \u003ca href=\"https://www.strava.com/activities/942400921\" target=\"_blank\" rel=\"noopener\">coffee\u003c/a>) and states (like \u003ca href=\"http://www.mapmyrun.com/workout/1582129694\" target=\"_blank\" rel=\"noopener\">California\u003c/a> and \u003ca href=\"https://www.strava.com/activities/1159169554\" target=\"_blank\" rel=\"noopener\">Texas\u003c/a>).\u003c/p>\n\u003cp>“I’ve been a runner all my adult life,” Lenny told me. “I just like to run. There’s so much diversity in the running paths and the scenic vistas [of San Francisco]. It’s not really about speed or distance. It’s not about the miles, or the elevation. Frida is my magnum opus!”\u003c/p>\n\u003cp>“But what about your most recent work? The \u003cem>Girl with a Pearl Earring\u003c/em>?” I asked.\u003c/p>\n\u003cp>“Wait. No,” Lenny replied, confused.\u003c/p>\n\u003cp>“This!” I insisted.\u003c/p>\n\u003cfigure id=\"attachment_13862667\" class=\"wp-caption aligncenter\" style=\"max-width: 395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13862667 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM.png\" alt='\"The Girl With a Pearl Earring\" was 31 miles long and took 6 hours.' width=\"395\" height=\"420\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM.png 395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/07/Screen-Shot-2019-07-31-at-2.00.26-PM-160x170.png 160w\" sizes=\"(max-width: 395px) 100vw, 395px\">\u003cfigcaption class=\"wp-caption-text\">‘Girl with a Pearl Earring’ took 31 miles and just over 6 hours to complete. \u003ccite>(Reddit/runningfriar)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“That’s not me,” Lenny said, gazing upon the girl’s orange visage. “But I like his style!”\u003c/p>\n\u003cp>On closer inspection, and after a side-by-side with Lenny’s Frida, I realized the homage to the Johannes Vermeer classic was a totally different style—curvier and tighter in scale. (Lenny notes that he likes to “go big to make a shape fit the contours and constraints of the streets.”) I immediately needed to track down this \u003ci>second\u003c/i> human Etch A Sketch.\u003c/p>\n\u003cp>The artiste this time turned out to be 27-year-old Sunset resident \u003ca href=\"https://www.strava.com/athletes/3896184\" target=\"_blank\" rel=\"noopener\">Luke Rosenberger\u003c/a>, an elementary-school teacher who also serves and bartends “because it’s SF and I have rent to pay.” Does Luke ever sleep? Probably not, given that just a week before he spent 31 miles recreating \u003cem>Girl with a Pearl Earring\u003c/em>, he made a \u003ca href=\"https://www.reddit.com/r/sanfrancisco/comments/cglim0/i_also_draw_in_sf_using_my_runs/\" target=\"_blank\" rel=\"noopener\">28-mile dragon\u003c/a>. Luke’s prior creations also include a de-corked champagne bottle in celebration of his girlfriend’s college graduation, and a massive teddy bear stretching from the Mission to the Presidio.\u003c/p>\n\u003cp>“My ability to run long distances gives me access to a special kind of pencil,” Luke told me. “I have always had a love for drawing and painting my whole life. Combining my creative outlet with the joy I get from running was a no-brainer. Moving to San Francisco four years ago turned my like of running into love. There are so many notable landmarks and great green spaces one can see during a single run.”\u003c/p>\n\u003cp>After speaking to both Lenny and Luke separately, I quickly realized just how much the two have in common. Not only do they share a similar skill-level when it comes to both art and running, they both named the Marin Headlands as a favorite running destination, and both confessed to enjoying the “hours” they spend planning their meticulous Strava maps.\u003c/p>\n\u003cfigure id=\"attachment_13862749\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13862749\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/08/Lenny-Luke-800x400.jpg\" alt=\"Lenny (left) and Luke (right).\" width=\"800\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-800x400.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-160x80.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-768x384.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1020x510.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1200x600.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke-1920x960.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/08/Lenny-Luke.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Lenny (left) and Luke (right). \u003ccite>(Courtesy of Lenny Maughan and Luke Rosenberger)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When I shared this news with Lenny, he said, “I’d like to meet him! Maybe we could collaborate!” \u003c/p>\n\u003cp>Delightfully, Luke shared Lenny’s enthusiasm. “I would love to work on something with Lenny in the future!” he said. “I have a couple ideas that would combine San Francisco with the East Bay that could look pretty cool.”\u003c/p>\n\u003cp>Pretty cool, Luke? Epic, more like. Please make this happen, fellas. We’ll be right behind you! (Most likely in a car.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Wanna Be Mine?': K.Flay Extends An Open Invitation Of Sisterhood With 'Solutions'",
"headTitle": "‘Wanna Be Mine?’: K.Flay Extends An Open Invitation Of Sisterhood With ‘Solutions’ | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/740695121/k-flay\">K.Flay\u003c/a> kicked off her musical career with experimental rap mixtapes like \u003cem>Suburban Rap Queen in 2003 \u003c/em>when she entered Stanford University. Since then, singer has dabbled in different styles, but retained a biting, rough-around-the-edges sound. She’s dropped such projects as \u003cem>I Stopped Caring in ’96 \u003c/em>and \u003cem>Life as a Dog \u003c/em>and her Grammy-nominated 2017 track “Blood In The Cut” is a raging strutter.\u003c/p>\n\u003cp>“I had this kind of peripatetic existence,” K.Flay says of her earlier music, much of it written right here in the Bay Area. “I didn’t live anywhere. I was on tour constantly. So, there was a real sense of displacement that I felt and I really was trying to reckon with in that period.”\u003c/p>\n\u003cp>But K.Flay’s latest album, \u003cem>Solutions\u003c/em>, has a different, somehow quieter, feel. A new softness colors one of the album’s lead singles, “Sister.”\u003c/p>\n\u003cp>“Sister,” unsurprisingly, talks about siblings. K.Flay explains that she has a brother and a sister, though they aren’t related by blood. Her parents split up when she was around 5 or 6, and her stepfather — her two siblings’ biological father — helped raise her and later adopted her.\u003c/p>\n\u003cp>https://youtu.be/7ZN5kYvuY6M\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m super, super close with my family, and I think a lot about family, just because of the way my childhood played out,” K.Flay reflects. “I think it gave me time to consider, like — what is the role of blood and DNA? What is the role of nurture?”\u003c/p>\n\u003cp>On \u003cem>Every Where Is Some Where\u003c/em>, the 2017 predecessor to \u003cem>Solutions\u003c/em>, K.Flay also sang about family members in the song “Champagne” — but that album took a different approach to the subject.\u003c/p>\n\u003cp>“In a lot of ways, that record was about problems,” K.Flay says of \u003cem>Every Where Is Some Where\u003c/em>. “I think I wrote that in a space of heartbreak.”\u003c/p>\n\u003cp>In contrast, \u003cem>Solutions \u003c/em>reflects a more hopeful creative state. K.Flay describes how she worked on this album from a healthy, optimistic space. “I was falling in love; I was really taking care of myself for the first time in a long time. I think there’s an optimism, a cautious optimism, that’s inherent in a lot of those reckonings.”\u003c/p>\n\u003cp>“Sister” showcases that optimism and love in the form of sisterhood — which K.Flay describes as a gender-less concept to encapsulate compassionate connection and chosen family-building. Although the song originated from what K.Flay calls a feeling of “separateness” from her siblings, it grew into a vulnerable, inviting expression of warmth.\u003c/p>\n\u003cp>“This record, and the kind of lyrical challenge I gave to myself, was: Let me take these points of pain, these points of angst, these points of confusion and kind of, like, just pivot a little bit in the direction of optimism or hopefulness,” K.Flay says. “I got into the studio a couple months later and everything just sort of clicked, where I was like, ‘You know what? The thing I wanna say to my brother and sister, and the thing that I did say and I have said and it’s worked, is, ‘I wanna be your sister. Do you wanna be mine?'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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\u003cp>\u003c/p>\n\u003cp>\u003cem>Web intern Rosalind Faulkner contributed to the digital version of this story. Listen to the full aired conversation at the audio link\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/740695121/k-flay\">K.Flay\u003c/a> kicked off her musical career with experimental rap mixtapes like \u003cem>Suburban Rap Queen in 2003 \u003c/em>when she entered Stanford University. Since then, singer has dabbled in different styles, but retained a biting, rough-around-the-edges sound. She’s dropped such projects as \u003cem>I Stopped Caring in ’96 \u003c/em>and \u003cem>Life as a Dog \u003c/em>and her Grammy-nominated 2017 track “Blood In The Cut” is a raging strutter.\u003c/p>\n\u003cp>“I had this kind of peripatetic existence,” K.Flay says of her earlier music, much of it written right here in the Bay Area. “I didn’t live anywhere. I was on tour constantly. So, there was a real sense of displacement that I felt and I really was trying to reckon with in that period.”\u003c/p>\n\u003cp>But K.Flay’s latest album, \u003cem>Solutions\u003c/em>, has a different, somehow quieter, feel. A new softness colors one of the album’s lead singles, “Sister.”\u003c/p>\n\u003cp>“Sister,” unsurprisingly, talks about siblings. K.Flay explains that she has a brother and a sister, though they aren’t related by blood. Her parents split up when she was around 5 or 6, and her stepfather — her two siblings’ biological father — helped raise her and later adopted her.\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/7ZN5kYvuY6M'\n title='//www.youtube.com/embed/7ZN5kYvuY6M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m super, super close with my family, and I think a lot about family, just because of the way my childhood played out,” K.Flay reflects. “I think it gave me time to consider, like — what is the role of blood and DNA? What is the role of nurture?”\u003c/p>\n\u003cp>On \u003cem>Every Where Is Some Where\u003c/em>, the 2017 predecessor to \u003cem>Solutions\u003c/em>, K.Flay also sang about family members in the song “Champagne” — but that album took a different approach to the subject.\u003c/p>\n\u003cp>“In a lot of ways, that record was about problems,” K.Flay says of \u003cem>Every Where Is Some Where\u003c/em>. “I think I wrote that in a space of heartbreak.”\u003c/p>\n\u003cp>In contrast, \u003cem>Solutions \u003c/em>reflects a more hopeful creative state. K.Flay describes how she worked on this album from a healthy, optimistic space. “I was falling in love; I was really taking care of myself for the first time in a long time. I think there’s an optimism, a cautious optimism, that’s inherent in a lot of those reckonings.”\u003c/p>\n\u003cp>“Sister” showcases that optimism and love in the form of sisterhood — which K.Flay describes as a gender-less concept to encapsulate compassionate connection and chosen family-building. Although the song originated from what K.Flay calls a feeling of “separateness” from her siblings, it grew into a vulnerable, inviting expression of warmth.\u003c/p>\n\u003cp>“This record, and the kind of lyrical challenge I gave to myself, was: Let me take these points of pain, these points of angst, these points of confusion and kind of, like, just pivot a little bit in the direction of optimism or hopefulness,” K.Flay says. “I got into the studio a couple months later and everything just sort of clicked, where I was like, ‘You know what? The thing I wanna say to my brother and sister, and the thing that I did say and I have said and it’s worked, is, ‘I wanna be your sister. Do you wanna be mine?'”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" 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\u003cp>\u003c/p>\n\u003cp>\u003cem>Web intern Rosalind Faulkner contributed to the digital version of this story. Listen to the full aired conversation at the audio link\u003c/em>.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A Los Angeles jury has ruled that \u003ca href=\"https://www.npr.org/artists/91837552/katy-perry\">Katy Perry\u003c/a>‘s 2013 hit “Dark Horse” featuring Juicy J infringed on the 2008 rap song “Joyful Noise” by Christian rapper Flame featuring Lecrae and John Reilly. In a unanimous decision handed down on July 29, the jurors decided that the beat of Perry’s smash hit improperly copied the beat of the Christian rap song, creating a perfect storm of copyright infringement.\u003c/p>\n\u003cp>The 2013 hit single off Perry’s fourth album, \u003cem>Prism,\u003c/em> was produced by Dr. Luke, Max Martin and Cirkut. At the time of its release, the track was lauded for its strategic mix of techno, pop and trap and bolstered by an opulent, Ancient Egyptian-inspired music video. By the end of 2014, “Dark Horse” \u003ca href=\"https://www.billboard.com/charts/year-end/2014/pop-songs\">peaked\u003c/a> at No. 1 on \u003cem>Billboard\u003c/em>‘s Pop Songs chart.\u003c/p>\n\u003cp>https://youtu.be/0KSOMA3QBU0\u003c/p>\n\u003cp>“Joyful Noise,” on the other hand, was released by Flame, née Marcus Gray, in 2008 via the rapper’s fourth album, \u003cem>Our World: Redeemed\u003c/em>. The track was nominated by the Gospel Music Association for Rap/Hip-Hop Recorded Song of the Year in 2009 and the album as a whole was nominated for a \u003ca href=\"https://www.grammy.com/grammys/awards/51st-annual-grammy-awards\">2009 Grammy\u003c/a> in the category of Best Rock or Rap Gospel Album.\u003c/p>\n\u003cp>https://youtu.be/QCcW-guAs_s\u003c/p>\n\u003cp>Gray originally filed the suit against Perry and her collaborators in 2014 as the success of “Dark Horse” grew. In the week-long trial that preceded the ruling on Monday, Perry and her co-defendants claimed that they had never heard of “Joyful Noise.” But the jury ruled that the notes of the beat of “Dark Horse” were too similar to “Joyful Noise” to be distinguished. Perry, songwriter Sarah Hudson and Juicy J as well as Dr. Luke, Max Martin and Cirkut were all ruled to be liable. \u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.apnews.com/7eef738596e9458eacb9f9015d7fd7fe\">AP\u003c/a>, the jury has yet to decide how much Perry and her collaborators owe Gray for copyright infringement.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Los Angeles jury has ruled that \u003ca href=\"https://www.npr.org/artists/91837552/katy-perry\">Katy Perry\u003c/a>‘s 2013 hit “Dark Horse” featuring Juicy J infringed on the 2008 rap song “Joyful Noise” by Christian rapper Flame featuring Lecrae and John Reilly. In a unanimous decision handed down on July 29, the jurors decided that the beat of Perry’s smash hit improperly copied the beat of the Christian rap song, creating a perfect storm of copyright infringement.\u003c/p>\n\u003cp>The 2013 hit single off Perry’s fourth album, \u003cem>Prism,\u003c/em> was produced by Dr. Luke, Max Martin and Cirkut. At the time of its release, the track was lauded for its strategic mix of techno, pop and trap and bolstered by an opulent, Ancient Egyptian-inspired music video. By the end of 2014, “Dark Horse” \u003ca href=\"https://www.billboard.com/charts/year-end/2014/pop-songs\">peaked\u003c/a> at No. 1 on \u003cem>Billboard\u003c/em>‘s Pop Songs chart.\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/0KSOMA3QBU0'\n title='//www.youtube.com/embed/0KSOMA3QBU0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Joyful Noise,” on the other hand, was released by Flame, née Marcus Gray, in 2008 via the rapper’s fourth album, \u003cem>Our World: Redeemed\u003c/em>. The track was nominated by the Gospel Music Association for Rap/Hip-Hop Recorded Song of the Year in 2009 and the album as a whole was nominated for a \u003ca href=\"https://www.grammy.com/grammys/awards/51st-annual-grammy-awards\">2009 Grammy\u003c/a> in the category of Best Rock or Rap Gospel Album.\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/QCcW-guAs_s'\n title='//www.youtube.com/embed/QCcW-guAs_s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gray originally filed the suit against Perry and her collaborators in 2014 as the success of “Dark Horse” grew. In the week-long trial that preceded the ruling on Monday, Perry and her co-defendants claimed that they had never heard of “Joyful Noise.” But the jury ruled that the notes of the beat of “Dark Horse” were too similar to “Joyful Noise” to be distinguished. Perry, songwriter Sarah Hudson and Juicy J as well as Dr. Luke, Max Martin and Cirkut were all ruled to be liable. \u003c/p>\n\u003cp>According to the \u003ca href=\"https://www.apnews.com/7eef738596e9458eacb9f9015d7fd7fe\">AP\u003c/a>, the jury has yet to decide how much Perry and her collaborators owe Gray for copyright infringement.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Less than a year ago, nobody knew the name Lil Nas X. Now, his song “Old Town Road” has set the record for longest time spent atop the Hot 100 singles chart.\u003c/p>\n\u003cp>The country-rap song has now occupied the top spot for 17 weeks, a feat that has not been achieved across the chart’s six-decade history. Last week, the song was in a three-way tie for the previous record with “\u003ca href=\"https://www.youtube.com/watch?v=UXxRyNvTPr8\">One Sweet Day\u003c/a>” (1995) by \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\">Mariah Carey\u003c/a> and Boyz II Men and the “\u003ca href=\"https://www.youtube.com/watch?v=zoYgCg6i9C8\">Despacito\u003c/a>” remix (2017) by \u003ca href=\"https://www.npr.org/artists/570187253/luis-fonsi\">Luis Fonsi\u003c/a> and \u003ca href=\"https://www.npr.org/artists/639536683/daddy-yankee\">Daddy Yankee\u003c/a> featuring \u003ca href=\"https://www.npr.org/artists/125915323/justin-bieber\">Justin Bieber\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13854359' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/billy-ray-cyrus-lil-nas-x.jpg' target='_blank']\u003c/p>\n\u003cp>So how exactly did a 20-year-old, who less than a year ago had no name recognition and only some amateur music, earn this milestone? In part because he knows how to play \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\">the chart game\u003c/a>. \u003cem>Billboard \u003c/em>has a nebulous remix policy which allows remixes of a song to contribute to the chart tally of the original, as long as the remix is musically similar enough; \u003cem>Billboard\u003c/em> senior director of charts Gary Trust says remixes can’t deviate too far in composition in order to count together, but he didn’t get into the details of the internal deliberation process. In this case, it appears changing the name, dropping a collaborator — this is the only remix without Billy Ray Cyrus — and adding new verses still falls within the policy.\u003c/p>\n\u003cp>“Old Town Road” now has five official versions, the latest of which was released last week, likely in an attempt to push listening numbers up into a record-breaking week — the same tactic Lil Nas X employed the week prior, by dropping a Young Thug and Mason Ramsey \u003ca href=\"https://youtu.be/loSuMqwQA38\">remix\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And this time, Lil Nas X surely figured he had a guaranteed strategy to ensure he clinched the record, by enlisting the help of an artist from one of the biggest bands in the world. That new version, “\u003ca href=\"https://www.npr.org/2019/07/25/745192192/so-its-come-to-this-bts-rapper-rm-leads-lil-nas-x-down-seoul-town-road\">Seoul Town Road\u003c/a>,” was a collaboration with RM (whose real name is Kim Nam-joon), who fronts the wildly popular K-pop group \u003ca href=\"https://www.npr.org/artists/554496915/bts\">BTS\u003c/a>. In five days, the song racked up over 400 million streams on Spotify (the album version of the Billy Ray Cyrus remix has about 538 million), and likely was the glue holding “Old Town Road” in the chart’s top slot.\u003c/p>\n\u003cp>Prior to week 16, Billie Eilish tried out Lil Nas X’s strategy by releasing a Justin Bieber remix of her No. 2 song, “\u003ca href=\"https://youtu.be/2pnXjQCegVc\">bad guy\u003c/a>.” Bieber has boosted songs before — such as “Despacito” — but he wasn’t enough this time. New music from other veteran chart-toppers, like Taylor Swift, Ed Sheeran and Post Malone, also couldn’t touch Lil Nas X in the last couple weeks.\u003c/p>\n\u003cp>[aside postID='arts_13859988' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/06/LilNasX-GettyImages-1145782505-1920-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>At this point, it’s a running joke that the remixes will never end and “Old Town Road” will never fall. On the day of this latest remix, Lil Nas X \u003ca href=\"https://twitter.com/LilNasX/status/1154227360566259713\">tweeted\u003c/a> “last one i PROMISSEE” — but there is evidence at least one other exists. A version with rapper Lil Wayne leaked last week, which Wayne told \u003ca href=\"https://www.xxlmag.com/news/2019/07/lil-wayne-lil-baby-funeral-album/\">\u003cem>XXL\u003c/em>\u003c/a> was an official remix. The leak is an unpolished snippet of Wayne rapping over the version that includes Young Thug’s verse (yeah, Wayne remixed a remix of the first remix). And celebrities — including \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_DollyParton_status_1151635738846355456&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=o4PGyage313KvO8adgQtnUU5vEp9z57li90gD0laJ_4&m=2pbxuxVsMuD3-OQu5UrdUwbZNgj41eJCQG-UxjdmCQQ&s=OHLJ60t9r3LKQT5XC0PLJDZa_wk0CR7lYWWCzAk9haM&e=\">Dolly Parton\u003c/a> and \u003ca href=\"https://twitter.com/MariahCarey/status/1149899172495200256?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1149899172495200256&ref_url=https%3A%2F%2Fwww.billboard.com%2Farticles%2Fnews%2F8519767%2Fmariah-carey-responds-lil-nas-x-old-town-road-remix-invitation\">Mariah Carey\u003c/a>, to start — have been chiding all across social media about getting in on the fun, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lil Nas X’s winning social media presence and curated personal brand (that \u003cem>yee-haw\u003c/em> aesthetic) also drives the success of “Old Town Road.” The song originally jumped onto the charts in March by going viral on TikTok. In the Internet age, virality can define a song’s success on the charts and beyond. One of the first truly viral, come-from-nothing-to-something songs to top the charts was the “Harlem Shake” in 2013 (oh, yeah, forgot about that, did you?). At the time, it was the first song to hit No. 1 by an artist who was essentially unknown beforehand (it’s by Baauer, who hasn’t been on any U.S. charts since), assisted by a new formula from Billboard that factored YouTube plays into chart positions.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"excerpt": "The song's now-unparalleled success is, more than anything else, a pure expression of how the Internet is now everything. Welcome to the future, y'all.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Less than a year ago, nobody knew the name Lil Nas X. Now, his song “Old Town Road” has set the record for longest time spent atop the Hot 100 singles chart.\u003c/p>\n\u003cp>The country-rap song has now occupied the top spot for 17 weeks, a feat that has not been achieved across the chart’s six-decade history. Last week, the song was in a three-way tie for the previous record with “\u003ca href=\"https://www.youtube.com/watch?v=UXxRyNvTPr8\">One Sweet Day\u003c/a>” (1995) by \u003ca href=\"https://www.npr.org/artists/15324690/mariah-carey\">Mariah Carey\u003c/a> and Boyz II Men and the “\u003ca href=\"https://www.youtube.com/watch?v=zoYgCg6i9C8\">Despacito\u003c/a>” remix (2017) by \u003ca href=\"https://www.npr.org/artists/570187253/luis-fonsi\">Luis Fonsi\u003c/a> and \u003ca href=\"https://www.npr.org/artists/639536683/daddy-yankee\">Daddy Yankee\u003c/a> featuring \u003ca href=\"https://www.npr.org/artists/125915323/justin-bieber\">Justin Bieber\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So how exactly did a 20-year-old, who less than a year ago had no name recognition and only some amateur music, earn this milestone? In part because he knows how to play \u003ca href=\"https://www.npr.org/2019/07/18/743121439/lil-nas-x-old-town-road-billie-eilish-bad-guy-remix-billboard-charts\">the chart game\u003c/a>. \u003cem>Billboard \u003c/em>has a nebulous remix policy which allows remixes of a song to contribute to the chart tally of the original, as long as the remix is musically similar enough; \u003cem>Billboard\u003c/em> senior director of charts Gary Trust says remixes can’t deviate too far in composition in order to count together, but he didn’t get into the details of the internal deliberation process. In this case, it appears changing the name, dropping a collaborator — this is the only remix without Billy Ray Cyrus — and adding new verses still falls within the policy.\u003c/p>\n\u003cp>“Old Town Road” now has five official versions, the latest of which was released last week, likely in an attempt to push listening numbers up into a record-breaking week — the same tactic Lil Nas X employed the week prior, by dropping a Young Thug and Mason Ramsey \u003ca href=\"https://youtu.be/loSuMqwQA38\">remix\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>And this time, Lil Nas X surely figured he had a guaranteed strategy to ensure he clinched the record, by enlisting the help of an artist from one of the biggest bands in the world. That new version, “\u003ca href=\"https://www.npr.org/2019/07/25/745192192/so-its-come-to-this-bts-rapper-rm-leads-lil-nas-x-down-seoul-town-road\">Seoul Town Road\u003c/a>,” was a collaboration with RM (whose real name is Kim Nam-joon), who fronts the wildly popular K-pop group \u003ca href=\"https://www.npr.org/artists/554496915/bts\">BTS\u003c/a>. In five days, the song racked up over 400 million streams on Spotify (the album version of the Billy Ray Cyrus remix has about 538 million), and likely was the glue holding “Old Town Road” in the chart’s top slot.\u003c/p>\n\u003cp>Prior to week 16, Billie Eilish tried out Lil Nas X’s strategy by releasing a Justin Bieber remix of her No. 2 song, “\u003ca href=\"https://youtu.be/2pnXjQCegVc\">bad guy\u003c/a>.” Bieber has boosted songs before — such as “Despacito” — but he wasn’t enough this time. New music from other veteran chart-toppers, like Taylor Swift, Ed Sheeran and Post Malone, also couldn’t touch Lil Nas X in the last couple weeks.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At this point, it’s a running joke that the remixes will never end and “Old Town Road” will never fall. On the day of this latest remix, Lil Nas X \u003ca href=\"https://twitter.com/LilNasX/status/1154227360566259713\">tweeted\u003c/a> “last one i PROMISSEE” — but there is evidence at least one other exists. A version with rapper Lil Wayne leaked last week, which Wayne told \u003ca href=\"https://www.xxlmag.com/news/2019/07/lil-wayne-lil-baby-funeral-album/\">\u003cem>XXL\u003c/em>\u003c/a> was an official remix. The leak is an unpolished snippet of Wayne rapping over the version that includes Young Thug’s verse (yeah, Wayne remixed a remix of the first remix). And celebrities — including \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_DollyParton_status_1151635738846355456&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=o4PGyage313KvO8adgQtnUU5vEp9z57li90gD0laJ_4&m=2pbxuxVsMuD3-OQu5UrdUwbZNgj41eJCQG-UxjdmCQQ&s=OHLJ60t9r3LKQT5XC0PLJDZa_wk0CR7lYWWCzAk9haM&e=\">Dolly Parton\u003c/a> and \u003ca href=\"https://twitter.com/MariahCarey/status/1149899172495200256?ref_src=twsrc%5Etfw%7Ctwcamp%5Etweetembed%7Ctwterm%5E1149899172495200256&ref_url=https%3A%2F%2Fwww.billboard.com%2Farticles%2Fnews%2F8519767%2Fmariah-carey-responds-lil-nas-x-old-town-road-remix-invitation\">Mariah Carey\u003c/a>, to start — have been chiding all across social media about getting in on the fun, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Lil Nas X’s winning social media presence and curated personal brand (that \u003cem>yee-haw\u003c/em> aesthetic) also drives the success of “Old Town Road.” The song originally jumped onto the charts in March by going viral on TikTok. In the Internet age, virality can define a song’s success on the charts and beyond. One of the first truly viral, come-from-nothing-to-something songs to top the charts was the “Harlem Shake” in 2013 (oh, yeah, forgot about that, did you?). At the time, it was the first song to hit No. 1 by an artist who was essentially unknown beforehand (it’s by Baauer, who hasn’t been on any U.S. charts since), assisted by a new formula from Billboard that factored YouTube plays into chart positions.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The sale of the photo archive of Ebony and Jet magazines chronicling African American history is generating relief among some who worried the historic images may be lost.\u003c/p>\n\u003cp>But it’s also causing some to mourn since the images, including photos of Emmett Till in 1955 after he was killed and ones documenting the rise of the Rev. Martin Luther King Jr., won’t fully be in the hands an African American-owned entity. Ebony and Jet, for more than half a century, stood as the epitome of black-owned business.\u003c/p>\n\u003cp>“You have to do what you have to do,” Roy Douglas Malonson, publisher of the Houston-based \u003ca href=\"https://aframnews.com/\">African American News & Issues\u003c/a> newspaper, said. “But it’s sad because we lose control forever.”\u003c/p>\n\u003cp>The Ford Foundation, the John D. and Catherine T. McArthur Foundation, The J. Paul Getty Trust and the Andrew W. Mellon Foundation are buying the archive for $30 million as part of an auction to pay off secured creditors of Johnson Publishing Company.\u003c/p>\n\u003cp>[aside postID='arts_13854692' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/04/Kathleen-Cleaver-shown-in-a-film-from-the-Henry-J.-Williams-Jr.-Film-Collection.-Courtesy-African-American-Museum-Library-768x573.png' target='_blank']\u003c/p>\n\u003cp>Chicago-based Johnson Publishing, the owner of the archives and former publisher of the magazines, filed for Chapter 7 bankruptcy protection in April.\u003c/p>\n\u003cp>The foundations plan to donate the more than 4 million prints and negatives to the Smithsonian National Museum of African American History and Culture and the Getty Research Institute.\u003c/p>\n\u003cp>The Smithsonian is expected to be the public steward of what is considered one of the most significant collections of photographs cataloging African American life. Getty will be tasked with digitally preserving the trove, some of which remains a mystery.\u003c/p>\n\u003cp>The deal was shepherded by the presidents of the Ford and Mellon foundations. The two are among the nonprofit sector’s most prominent black leaders and are themselves a rarity in the near exclusively white world of big-money philanthropy.\u003c/p>\n\u003cp>Both Darren Walker and Elizabeth Alexander said the sale was important to them personally as African Americans.\u003c/p>\n\u003cp>“What it means to be in a position to be able to be helpful in safeguarding this treasure and our shared history overwhelms me with joy,” Alexander said. “It is very significant.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Adrienne Samuels Gibbs, a former staff of \u003cem>Ebony\u003c/em> magazine'] “It wasn’t about all poverty and suffering. It was about joy.”[/pullquote]\u003c/p>\n\u003cp>Besides black newspapers in cities across the nation, few media outlets dedicated resources to cover events and people connected to African American lifestyle and news as Ebony and Jet magazines. Ebony began publishing regularly just after the end of World War II while the smaller-sized Jet began in 1951 when African Americans in many regions still lived under racial segregation.\u003c/p>\n\u003cp>Adrienne Samuels Gibbs, a former Ebony magazine staffer, said Ebony and Jet dutifully captured the environment that African Americans were forced to endure over the years.\u003c/p>\n\u003cp>The collection of 4 million images chronicles the civil rights movement and the lives of prominent figures such as Miles Davis, Muhammad Ali, Nina Simone, and Coretta Scott King at her husband’s funeral. It was Jet in 1955 that published a photo of the open coffin of Emmett Till, showing the effects of the fatal beating the 14-year-old Chicago boy suffered at the hands of white men in Mississippi for allegedly whistling at a white woman.\u003c/p>\n\u003cp>Gibbs said the photos also show everyday black life — from children playing in city parks to elders praying at rural churches.\u003c/p>\n\u003cp>“It wasn’t about all poverty and suffering. It was about joy,” Gibbs said.\u003c/p>\n\u003cp>[aside postID='arts_13862274' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/07/Jet_GettyImages-450349680-1020x680.jpg' target='_blank']\u003c/p>\n\u003cp>Ivey McClelland, 57, a musician in Albuquerque, New Mexico, said Ebony and Jet were found in every black home she knew while growing up in Los Angeles. “My uncle, bless his heart, had around 30 to 40 years’ worth of Jet magazines,” she said. “He got them for ‘The Beauty of the Week’.”\u003c/p>\n\u003cp>But McClelland said the magazines remained dear to her heart for their images connected to key moments in black history. She and her grandmother were in Michigan and Canada when the Watts Riots of 1965 erupted. The first still images she saw of her community in Los Angeles damaged by fires were in Jet, she said.\u003c/p>\n\u003cp>“My mother kept the special issues of Martin Luther King’s assassination,” McClelland said. “That’s why I hope these foundations save these archives and don’t do anything to appropriate the images.”\u003c/p>\n\u003cp>Yalanda Lattimore, the host of \u003ca href=\"https://podcasts.apple.com/us/podcast/buzz-it-or-bash-it-with-dryerbuzz/id1455650111\">“Buzz it or Bash It with DryerBuzz,”\u003c/a> an Atlanta-based podcast on black issues, said she has been warning listeners and readers of her blog that the archive was in trouble.\u003c/p>\n\u003cp>“It hurts my heart that Ebony had to sell these archives,” said Lattimore, 53. “But I’m glad foundations are involved. Foundations are the ones who help save archives connected to black history, so I’m hopeful.”\u003c/p>\n\u003cp>The foundations said whatever the future holds for the Ebony and Jet titles, they are thrilled to have helped secure the magazines’ legacy forever.\u003c/p>\n\u003cp>“The good news here is that this archive — regardless of the future success of the Johnson publications — will be successful. This archive will be the legacy of the Johnson Publishing Company,” Walker said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Chicago-based Johnson Publishing, the owner of the archives and former publisher of the magazines, filed for Chapter 7 bankruptcy protection in April.\u003c/p>\n\u003cp>The foundations plan to donate the more than 4 million prints and negatives to the Smithsonian National Museum of African American History and Culture and the Getty Research Institute.\u003c/p>\n\u003cp>The Smithsonian is expected to be the public steward of what is considered one of the most significant collections of photographs cataloging African American life. Getty will be tasked with digitally preserving the trove, some of which remains a mystery.\u003c/p>\n\u003cp>The deal was shepherded by the presidents of the Ford and Mellon foundations. The two are among the nonprofit sector’s most prominent black leaders and are themselves a rarity in the near exclusively white world of big-money philanthropy.\u003c/p>\n\u003cp>Both Darren Walker and Elizabeth Alexander said the sale was important to them personally as African Americans.\u003c/p>\n\u003cp>“What it means to be in a position to be able to be helpful in safeguarding this treasure and our shared history overwhelms me with joy,” Alexander said. “It is very significant.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Besides black newspapers in cities across the nation, few media outlets dedicated resources to cover events and people connected to African American lifestyle and news as Ebony and Jet magazines. Ebony began publishing regularly just after the end of World War II while the smaller-sized Jet began in 1951 when African Americans in many regions still lived under racial segregation.\u003c/p>\n\u003cp>Adrienne Samuels Gibbs, a former Ebony magazine staffer, said Ebony and Jet dutifully captured the environment that African Americans were forced to endure over the years.\u003c/p>\n\u003cp>The collection of 4 million images chronicles the civil rights movement and the lives of prominent figures such as Miles Davis, Muhammad Ali, Nina Simone, and Coretta Scott King at her husband’s funeral. It was Jet in 1955 that published a photo of the open coffin of Emmett Till, showing the effects of the fatal beating the 14-year-old Chicago boy suffered at the hands of white men in Mississippi for allegedly whistling at a white woman.\u003c/p>\n\u003cp>Gibbs said the photos also show everyday black life — from children playing in city parks to elders praying at rural churches.\u003c/p>\n\u003cp>“It wasn’t about all poverty and suffering. It was about joy,” Gibbs said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ivey McClelland, 57, a musician in Albuquerque, New Mexico, said Ebony and Jet were found in every black home she knew while growing up in Los Angeles. “My uncle, bless his heart, had around 30 to 40 years’ worth of Jet magazines,” she said. “He got them for ‘The Beauty of the Week’.”\u003c/p>\n\u003cp>But McClelland said the magazines remained dear to her heart for their images connected to key moments in black history. She and her grandmother were in Michigan and Canada when the Watts Riots of 1965 erupted. The first still images she saw of her community in Los Angeles damaged by fires were in Jet, she said.\u003c/p>\n\u003cp>“My mother kept the special issues of Martin Luther King’s assassination,” McClelland said. “That’s why I hope these foundations save these archives and don’t do anything to appropriate the images.”\u003c/p>\n\u003cp>Yalanda Lattimore, the host of \u003ca href=\"https://podcasts.apple.com/us/podcast/buzz-it-or-bash-it-with-dryerbuzz/id1455650111\">“Buzz it or Bash It with DryerBuzz,”\u003c/a> an Atlanta-based podcast on black issues, said she has been warning listeners and readers of her blog that the archive was in trouble.\u003c/p>\n\u003cp>“It hurts my heart that Ebony had to sell these archives,” said Lattimore, 53. “But I’m glad foundations are involved. Foundations are the ones who help save archives connected to black history, so I’m hopeful.”\u003c/p>\n\u003cp>The foundations said whatever the future holds for the Ebony and Jet titles, they are thrilled to have helped secure the magazines’ legacy forever.\u003c/p>\n\u003cp>“The good news here is that this archive — regardless of the future success of the Johnson publications — will be successful. This archive will be the legacy of the Johnson Publishing Company,” Walker said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the interview clip that opens \u003cem>Mike Wallace is Here\u003c/em>, a documentary about the legendarily feisty \u003cem>60 Minutes\u003c/em> interrogator, Bill O’Reilly is shown a clip where he berates his guests, telling most of them to “shut up.” To Wallace, this is evidence that O’Reilly is more an Op-ed columnist than a journalist, interested in other voices only as a means to assert his own. O’Reilly gives two telling, if contradictory, responses at once: “You’re a dinosaur,” he says. And then “You’re the driving force behind my career.”\u003c/p>\n\u003cp>https://youtu.be/dDSq2fF9flk\u003c/p>\n\u003cp>With this scene, director Avi Belkin establishes the same tough-but-fair attitude toward Wallace that Wallace himself has used to describe his hard-nosed approach to broadcasting. Getting called a “dinosaur” by a bloviating pundit like Bill O’Reilly is likely a badge of honor for Wallace, who can be said to represent the old-school journalistic integrity that he picked up early in his tenure at CBS, alongside the trusted and avuncular Walter Cronkite. But “You’re the driving force behind my career” connects Wallace with a performative style that’s more about creating riveting television than learning substantive truths. And that’s the ambiguous space in which this mesmerizing film operates.\u003c/p>\n\u003cp>Belkin keeps much of \u003cem>Mike Wallace is Here\u003c/em> inside the television box, building a profile clip by clip and holding Wallace in dialogue with himself. In a one-on-one interview with Wallace, his \u003cem>60 Minutes\u003c/em> colleague Morley Safer offers the most intimate, end-of-the-line questions about his career, but mostly as a prelude for Belkin to do the exploring. Enough footage exists of Wallace in action that no traditional talking-head interviews are necessary, which gives the impression of a life lived entirely in front of the camera, at the expense of everything and everyone else. He worked to move the cultural dialogue forward. He also worked to serve his ego and secure his own legacy.\u003c/p>\n\u003cp>One longstanding mark against Wallace is that he didn’t come from a journalistic background. He just wanted to be on television. Before and between gigs as a serious broadcaster, he’s shown appearing as a pitchman for Parliament cigarettes, Ajax cleaning powder, and Revlon make-up, and that commercial vigor is baked into his persona. His reputation as the ultimate “gotcha” journalist, earned first on groundbreaking shows like \u003cem>Night Beat\u003c/em> and \u003cem>The Mike Wallace Interview\u003c/em>, is tied both to an instinct for good theater and a no-nonsense hunger for the bottom line. He was going to get his answers or make his subjects sweat profusely through their denials and dissembling.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wallace’s commercialism made it difficult for him to gain respect in Cronkite’s newsroom in the ’60s, but his fortunes changed dramatically when Don Hewitt, an executive producer, approached him in 1968 with the idea for \u003cem>60 Minutes\u003c/em>, a show inspired by the format of \u003cem>Life \u003c/em>magazine. The show performed dismally at first, but when Watergate broke, it pounced on the secondary and tertiary characters in the investigation, many of them sources Wallace knew from his time covering Richard Nixon’s presidential campaign. As \u003cem>60 Minutes\u003c/em> grew into a perennial ratings giant, so too did Wallace’s prominence as an interrogator who could keep eyes glued to the set.\u003c/p>\n\u003cp>\u003cem>Mike Wallace is Here\u003c/em> runs through the greatest hits of Wallace’s career, like his audacious interview with Ayatollah Khomeini during the hostage crisis and an exposé on General William Westmoreland that brought a $120 million libel suit against CBS. But many of the clips Belkin digs up are mirrors that reflect some insight into Wallace himself, like an exchange with Larry King where they discuss the contrast between their interview styles before getting to some uncomfortable similarities in their personal priorities. King accounts for his multiple divorces by saying he’d respond to an urgent call from CNN before an urgent call from his wife. Wallace repeatedly admits to his failings as a husband and father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Belkin arrives at a subtle and complicated assessment of Wallace’s legacy that ties back to that first exchange with O’Reilly. The film makes the case that Wallace’s dogged commitment to getting answers is journalism in its purest form, holding powerful public figures to account. It also makes the case that Wallace opened the door for charlatans to swallow up air time and turn themselves into the stars of their own primetime dramas. He may have been the best interviewer on TV, but he never transcended the medium.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the interview clip that opens \u003cem>Mike Wallace is Here\u003c/em>, a documentary about the legendarily feisty \u003cem>60 Minutes\u003c/em> interrogator, Bill O’Reilly is shown a clip where he berates his guests, telling most of them to “shut up.” To Wallace, this is evidence that O’Reilly is more an Op-ed columnist than a journalist, interested in other voices only as a means to assert his own. O’Reilly gives two telling, if contradictory, responses at once: “You’re a dinosaur,” he says. And then “You’re the driving force behind my career.”\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/dDSq2fF9flk'\n title='//www.youtube.com/embed/dDSq2fF9flk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>With this scene, director Avi Belkin establishes the same tough-but-fair attitude toward Wallace that Wallace himself has used to describe his hard-nosed approach to broadcasting. Getting called a “dinosaur” by a bloviating pundit like Bill O’Reilly is likely a badge of honor for Wallace, who can be said to represent the old-school journalistic integrity that he picked up early in his tenure at CBS, alongside the trusted and avuncular Walter Cronkite. But “You’re the driving force behind my career” connects Wallace with a performative style that’s more about creating riveting television than learning substantive truths. And that’s the ambiguous space in which this mesmerizing film operates.\u003c/p>\n\u003cp>Belkin keeps much of \u003cem>Mike Wallace is Here\u003c/em> inside the television box, building a profile clip by clip and holding Wallace in dialogue with himself. In a one-on-one interview with Wallace, his \u003cem>60 Minutes\u003c/em> colleague Morley Safer offers the most intimate, end-of-the-line questions about his career, but mostly as a prelude for Belkin to do the exploring. Enough footage exists of Wallace in action that no traditional talking-head interviews are necessary, which gives the impression of a life lived entirely in front of the camera, at the expense of everything and everyone else. He worked to move the cultural dialogue forward. He also worked to serve his ego and secure his own legacy.\u003c/p>\n\u003cp>One longstanding mark against Wallace is that he didn’t come from a journalistic background. He just wanted to be on television. Before and between gigs as a serious broadcaster, he’s shown appearing as a pitchman for Parliament cigarettes, Ajax cleaning powder, and Revlon make-up, and that commercial vigor is baked into his persona. His reputation as the ultimate “gotcha” journalist, earned first on groundbreaking shows like \u003cem>Night Beat\u003c/em> and \u003cem>The Mike Wallace Interview\u003c/em>, is tied both to an instinct for good theater and a no-nonsense hunger for the bottom line. He was going to get his answers or make his subjects sweat profusely through their denials and dissembling.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Wallace’s commercialism made it difficult for him to gain respect in Cronkite’s newsroom in the ’60s, but his fortunes changed dramatically when Don Hewitt, an executive producer, approached him in 1968 with the idea for \u003cem>60 Minutes\u003c/em>, a show inspired by the format of \u003cem>Life \u003c/em>magazine. The show performed dismally at first, but when Watergate broke, it pounced on the secondary and tertiary characters in the investigation, many of them sources Wallace knew from his time covering Richard Nixon’s presidential campaign. As \u003cem>60 Minutes\u003c/em> grew into a perennial ratings giant, so too did Wallace’s prominence as an interrogator who could keep eyes glued to the set.\u003c/p>\n\u003cp>\u003cem>Mike Wallace is Here\u003c/em> runs through the greatest hits of Wallace’s career, like his audacious interview with Ayatollah Khomeini during the hostage crisis and an exposé on General William Westmoreland that brought a $120 million libel suit against CBS. But many of the clips Belkin digs up are mirrors that reflect some insight into Wallace himself, like an exchange with Larry King where they discuss the contrast between their interview styles before getting to some uncomfortable similarities in their personal priorities. King accounts for his multiple divorces by saying he’d respond to an urgent call from CNN before an urgent call from his wife. Wallace repeatedly admits to his failings as a husband and father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Belkin arrives at a subtle and complicated assessment of Wallace’s legacy that ties back to that first exchange with O’Reilly. The film makes the case that Wallace’s dogged commitment to getting answers is journalism in its purest form, holding powerful public figures to account. It also makes the case that Wallace opened the door for charlatans to swallow up air time and turn themselves into the stars of their own primetime dramas. He may have been the best interviewer on TV, but he never transcended the medium.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Well, if Tom Hanks playing Mr. Rogers doesn’t get your week off to the right start, I don’t know what will.\u003c/p>\n\u003cp>In the trailer for \u003cem>A Beautiful Day in the Neighborhood\u003c/em>, released this morning, Hanks plays Fred Rogers in all his wholesome glory—complimenting strangers on the subway, discussing the complexity of feelings, and yes, tossing his shoe from one hand to the other.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-VLEPhfEN2M\u003c/p>\n\u003cp>The film is released Thanksgiving 2019. In the meantime, catch up on \u003ca href=\"https://www.kqed.org/news/11756665/5-things-you-didnt-know-about-tom-hanks-east-bay-roots\" rel=\"noopener\" target=\"_blank\">all of Tom Hanks’ East Bay roots\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, or read about each event below. \u003c/p>\n\u003cp>\u003cstrong>BBQ’in While Black\u003c/strong>: The huge celebration at Lake Merritt returns on Sunday, July 21, even bigger than ever to reclaim black space along the shoreline. (Read KQED columnist \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" rel=\"noopener\" target=\"_blank\">Pendarvis Harshaw on last year’s celebration\u003c/a>.) \u003ca href=\"https://www.kqed.org/arts/13861227/grill-against-gentrification-at-bbqn-while-black\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Art Book Fair\u003c/strong>: Three days, over 100 exhibitors, and thousands upon thousands of art books, zines, periodicals, monographs—it’s nuts. Friday–Sunday, July 19–21, at Minnesota Street Project in San Francsico. \u003ca href=\"https://sfartbookfair.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Rates of Disappearance’\u003c/strong>: Artist Marshall Elliott’s sculpture about radioactivity, international signal codes, measurement and submarines at an apartment gallery in Vallejo is our small, out-of-the-way pick for the week. Opening reception is Saturday, July 20, at Brittany Gallery. \u003ca href=\"https://www.instagram.com/brittany.vallejo.art/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Hellman Summer Stomp\u003c/strong>: A fun, anything-goes band dedicated to the life and music of Warren Hellman, who made a pile of money in finance and used it to \u003ca href=\"https://www.kqed.org/arts/13810342/where-have-all-the-warren-hellmans-gone\" rel=\"noopener\" target=\"_blank\">found the Hardly Strictly Bluegrass Festival\u003c/a> in San Francisco—a free, non-corporate event for the people. Expect plenty of pickin’ and grinnin’ on Sunday, July 21, at the Sweetwater Music Hall in Mill Valley. \u003ca href=\"https://www.sweetwatermusichall.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Haunted: Gothic Tales by Women’\u003c/strong>: SFMOMA’s Modern Cinema series returns with a slate of films based on gothic stories by women. Our recommendation is \u003cem>Interview With the Vampire\u003c/em>, which screens on Saturday, July 20, and stars the holy trinity of ’90s idols: Christian Slater, Tom Cruise, and Brad Pitt. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-gothic-film/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>40th Street Block Party\u003c/strong>: Who are The Coverups, you ask? The headlining band at this Oakland block party in Temescal is a kinda-secret side project of Billie Joe Armstrong from Green Day, playing classic punk and rock songs—the Replacements, the Misfits, David Bowie and many, many others. After \u003ca href=\"https://twitter.com/gmeline/status/972013256545001473\" rel=\"noopener\" target=\"_blank\">a string of shows at tiny, sweaty bars\u003c/a>, this is their first big outdoor show. That’s Saturday, July 20, in Oakland. \u003ca href=\"https://temescaldistrict.org/events/40th-street-block-party-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time for the weekend!\u003c/p>\n\u003cp>Looking for things to do? Listen to KQED Arts’ Gabe Meline and Sarah Hotchkiss discuss their critic’s picks for this weekend at the audio link above, or read about each event below. \u003c/p>\n\u003cp>\u003cstrong>BBQ’in While Black\u003c/strong>: The huge celebration at Lake Merritt returns on Sunday, July 21, even bigger than ever to reclaim black space along the shoreline. (Read KQED columnist \u003ca href=\"https://www.kqed.org/arts/13832886/were-still-here-bbqn-while-black-draws-out-oaklanders-in-force\" rel=\"noopener\" target=\"_blank\">Pendarvis Harshaw on last year’s celebration\u003c/a>.) \u003ca href=\"https://www.kqed.org/arts/13861227/grill-against-gentrification-at-bbqn-while-black\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>The San Francisco Art Book Fair\u003c/strong>: Three days, over 100 exhibitors, and thousands upon thousands of art books, zines, periodicals, monographs—it’s nuts. Friday–Sunday, July 19–21, at Minnesota Street Project in San Francsico. \u003ca href=\"https://sfartbookfair.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Rates of Disappearance’\u003c/strong>: Artist Marshall Elliott’s sculpture about radioactivity, international signal codes, measurement and submarines at an apartment gallery in Vallejo is our small, out-of-the-way pick for the week. Opening reception is Saturday, July 20, at Brittany Gallery. \u003ca href=\"https://www.instagram.com/brittany.vallejo.art/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Hellman Summer Stomp\u003c/strong>: A fun, anything-goes band dedicated to the life and music of Warren Hellman, who made a pile of money in finance and used it to \u003ca href=\"https://www.kqed.org/arts/13810342/where-have-all-the-warren-hellmans-gone\" rel=\"noopener\" target=\"_blank\">found the Hardly Strictly Bluegrass Festival\u003c/a> in San Francisco—a free, non-corporate event for the people. Expect plenty of pickin’ and grinnin’ on Sunday, July 21, at the Sweetwater Music Hall in Mill Valley. \u003ca href=\"https://www.sweetwatermusichall.com/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003cstrong>‘Haunted: Gothic Tales by Women’\u003c/strong>: SFMOMA’s Modern Cinema series returns with a slate of films based on gothic stories by women. Our recommendation is \u003cem>Interview With the Vampire\u003c/em>, which screens on Saturday, July 20, and stars the holy trinity of ’90s idols: Christian Slater, Tom Cruise, and Brad Pitt. \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-gothic-film/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>40th Street Block Party\u003c/strong>: Who are The Coverups, you ask? The headlining band at this Oakland block party in Temescal is a kinda-secret side project of Billie Joe Armstrong from Green Day, playing classic punk and rock songs—the Replacements, the Misfits, David Bowie and many, many others. After \u003ca href=\"https://twitter.com/gmeline/status/972013256545001473\" rel=\"noopener\" target=\"_blank\">a string of shows at tiny, sweaty bars\u003c/a>, this is their first big outdoor show. That’s Saturday, July 20, in Oakland. \u003ca href=\"https://temescaldistrict.org/events/40th-street-block-party-2019/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>The Farewell \u003c/em>opens with five cheeky words: “based on an actual lie.” This funny, melancholy ensemble drama was inspired by an experience that the writer-director Lulu Wang and her family went through years ago, when they were told that Wang’s grandmother was terminally ill. They decided to keep her in the dark about her diagnosis, hoping to spare her unnecessary fear and anxiety — an extreme decision, perhaps, but one that the movie suggests is hardly unheard of among Chinese families.\u003c/p>\n\u003cp>Wang’s on-screen alter ego is Billi, a broke, unemployed New Yorker in her early 30s, played superbly by Awkwafina. Billi moved to the U.S. with her parents when she was 6, but she has fond memories of her early years in the northern Chinese city of Changchun, and she retains a close bond with her paternal grandmother — that’s “Nai Nai” in Chinese.\u003c/p>\n\u003cp>One day she’s visiting her parents, played by Tzi Ma and Diana Lin, and they tell her that Nai Nai has only a few months to live. Billi’s parents go on to explain that the family has decided not to tell Nai Nai her prognosis. Instead, a phony wedding is being thrown for her cousin in China as a hasty excuse for a family reunion.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Farewell | Official Trailer HD | A24\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/RofpAjqwMa8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Billi is urged not to come, as everyone fears that she’ll spill the beans. But she buys a plane ticket anyway, catching her parents and other relatives off-guard. Billi disapproves of the family’s dishonesty, and although she goes along with it, she tries to persuade them to tell Nai Nai the truth. But they dismiss her attitude as typical of her youthful naivete and her self-centered American upbringing. Westerners may grieve with hugs and tears, but in their view, the most profound expressions of love and devotion are the ones that remain unspoken.\u003c/p>\n\u003cp>Wang has a thing for stories about death and deception: She made her feature directing debut with \u003cem>Posthumous\u003c/em>, a 2014 comedy about an artist who fakes his own suicide. In \u003cem>The Farewell\u003c/em>, she mines a lot of humor from the family’s scheme, from the last-minute wedding preparations to the manipulation of Nai Nai’s medical test results. Wang and her actors capture the anxiety of a celebration where no one is really in a celebratory mood, and one false word or move could spell disaster.\u003c/p>\n\u003cp>But \u003cem>The Farewell \u003c/em>doesn’t need a lot of farcical complications to pull us in. Wang knows that it’s fascinating enough to be a fly on the wall at this family gathering. I was reminded of the dim-sum lunches and lavish dinner banquets that took up a good chunk of my Chinese American youth. And yes, I was reminded of my own indomitable grandmother, who, just like Billi’s Nai Nai, knows that the truest way to say “I love you” is to heap food onto your plate, whether you asked for it or not.\u003c/p>\n\u003cp>Billi’s grandmother is played in a pitch-perfect performance by Zhao Shuzhen, who all but glows with stubbornness, exasperation and pride. The bond between grandmother and granddaughter is lovely to behold, and Awkwafina, such a memorable scene stealer in last year’s \u003cem>Crazy Rich Asians\u003c/em>, is a marvel in her first dramatic starring role. Speaking mostly in fluent but slightly faltering Mandarin, she plays Billi as a young woman trapped between two worlds, having never fully recovered from the loneliness of leaving China as a young girl.\u003c/p>\n\u003cp>Billi isn’t the only character wrestling with her cultural identity. The strongest scene is a verbal sparring match involving her parents, aunts and uncles: Some of them cling proudly to their Chinese identity, while others acknowledge the better opportunities they’ve found in America and elsewhere abroad. Wang leaves these arguments unresolved, which is not to say she’s wholly ambivalent. She drops in small, isolated moments of social critique, glimpses of a modern China whose much-touted prosperity has come at an undeniable human cost.\u003c/p>\n\u003cp>As personal as this material must be for Wang, it’s her emotional restraint that paradoxically makes the film so moving. Occasionally she’ll go in for a closeup, but most of the time she likes to frame her characters in group shots, as though asserting the importance of everyone’s point of view. \u003cem>The Farewell \u003c/em>left me thinking about the beautiful imperfection of every family, and the importance of treating our loved ones with decency and humility every chance we get. Our time together is too short, whether we know it or not.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\n\u003cp>[ad fullwidth]\u003c/p>\n\u003c/div>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>The Farewell \u003c/em>opens with five cheeky words: “based on an actual lie.” This funny, melancholy ensemble drama was inspired by an experience that the writer-director Lulu Wang and her family went through years ago, when they were told that Wang’s grandmother was terminally ill. They decided to keep her in the dark about her diagnosis, hoping to spare her unnecessary fear and anxiety — an extreme decision, perhaps, but one that the movie suggests is hardly unheard of among Chinese families.\u003c/p>\n\u003cp>Wang’s on-screen alter ego is Billi, a broke, unemployed New Yorker in her early 30s, played superbly by Awkwafina. Billi moved to the U.S. with her parents when she was 6, but she has fond memories of her early years in the northern Chinese city of Changchun, and she retains a close bond with her paternal grandmother — that’s “Nai Nai” in Chinese.\u003c/p>\n\u003cp>One day she’s visiting her parents, played by Tzi Ma and Diana Lin, and they tell her that Nai Nai has only a few months to live. Billi’s parents go on to explain that the family has decided not to tell Nai Nai her prognosis. Instead, a phony wedding is being thrown for her cousin in China as a hasty excuse for a family reunion.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"The Farewell | Official Trailer HD | A24\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/RofpAjqwMa8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Billi is urged not to come, as everyone fears that she’ll spill the beans. But she buys a plane ticket anyway, catching her parents and other relatives off-guard. Billi disapproves of the family’s dishonesty, and although she goes along with it, she tries to persuade them to tell Nai Nai the truth. But they dismiss her attitude as typical of her youthful naivete and her self-centered American upbringing. Westerners may grieve with hugs and tears, but in their view, the most profound expressions of love and devotion are the ones that remain unspoken.\u003c/p>\n\u003cp>Wang has a thing for stories about death and deception: She made her feature directing debut with \u003cem>Posthumous\u003c/em>, a 2014 comedy about an artist who fakes his own suicide. In \u003cem>The Farewell\u003c/em>, she mines a lot of humor from the family’s scheme, from the last-minute wedding preparations to the manipulation of Nai Nai’s medical test results. Wang and her actors capture the anxiety of a celebration where no one is really in a celebratory mood, and one false word or move could spell disaster.\u003c/p>\n\u003cp>But \u003cem>The Farewell \u003c/em>doesn’t need a lot of farcical complications to pull us in. Wang knows that it’s fascinating enough to be a fly on the wall at this family gathering. I was reminded of the dim-sum lunches and lavish dinner banquets that took up a good chunk of my Chinese American youth. And yes, I was reminded of my own indomitable grandmother, who, just like Billi’s Nai Nai, knows that the truest way to say “I love you” is to heap food onto your plate, whether you asked for it or not.\u003c/p>\n\u003cp>Billi’s grandmother is played in a pitch-perfect performance by Zhao Shuzhen, who all but glows with stubbornness, exasperation and pride. The bond between grandmother and granddaughter is lovely to behold, and Awkwafina, such a memorable scene stealer in last year’s \u003cem>Crazy Rich Asians\u003c/em>, is a marvel in her first dramatic starring role. Speaking mostly in fluent but slightly faltering Mandarin, she plays Billi as a young woman trapped between two worlds, having never fully recovered from the loneliness of leaving China as a young girl.\u003c/p>\n\u003cp>Billi isn’t the only character wrestling with her cultural identity. The strongest scene is a verbal sparring match involving her parents, aunts and uncles: Some of them cling proudly to their Chinese identity, while others acknowledge the better opportunities they’ve found in America and elsewhere abroad. Wang leaves these arguments unresolved, which is not to say she’s wholly ambivalent. She drops in small, isolated moments of social critique, glimpses of a modern China whose much-touted prosperity has come at an undeniable human cost.\u003c/p>\n\u003cp>As personal as this material must be for Wang, it’s her emotional restraint that paradoxically makes the film so moving. Occasionally she’ll go in for a closeup, but most of the time she likes to frame her characters in group shots, as though asserting the importance of everyone’s point of view. \u003cem>The Farewell \u003c/em>left me thinking about the beautiful imperfection of every family, and the importance of treating our loved ones with decency and humility every chance we get. Our time together is too short, whether we know it or not.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\n\u003cp>\u003c/p>\u003c/div>",
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"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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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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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"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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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"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/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"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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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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"restaurantIdsSorted": [],
"error": null
},
"userAgentReducer": {
"userAgent": "Mozilla/5.0 AppleWebKit/537.36 (KHTML, like Gecko; compatible; ClaudeBot/1.0; +claudebot@anthropic.com)",
"isBot": true
}
}
