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"content": "\u003cp>In any given week, teams of high-priced lawyers fan out across the country to defend Bill Cosby amid a cascade of sexual assault allegations, defamation claims and insurance disputes.\u003c/p>\n\u003cp>The disgraced TV star is spending millions in a frenzied bid not just to stay out of prison but to salvage what is left of his reputation. Legal experts say he has nothing to lose.\u003c/p>\n\u003cp>“This thing’s going to be tied up in litigation anyway, so you might as well look like you’re the aggrieved party,” said Professor Laurie Levenson of Loyola Law School in Los Angeles. “The best defense is a good offense.”\u003c/p>\n\u003cp>The biggest threat facing the comedian is the lone criminal case against him, involving allegations he drugged and sexually violated Andrea Constand at his suburban Philadelphia home more than a decade ago. Cosby, 78, could get 10 years in prison if convicted.\u003c/p>\n\u003cp>Unless he can convince the Pennsylvania Supreme Court that a previous district attorney made a binding promise that Cosby would never be prosecuted, the comic and his cadre of high-priced litigators will be back in court Tuesday for his long-delayed preliminary hearing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cosby also is contending with two sexual assault lawsuits, two disputes over whether his homeowner policies should cover his legal expenses, and a dozen defamation claims brought by women who came forward too late to sue over sexual assault but say they were smeared by Cosby or his representatives.\u003c/p>\n\u003cp>The criminal and civil cases have generated countless spinoff battles over such things as whether Cosby’s wife can be questioned at a deposition and whether Constand’s recent cooperation with police violated the confidentiality agreement surrounding the financial settlement she reached with Cosby in 2006.\u003c/p>\n\u003cp>The lawsuits stretch from Los Angeles to Pittsburgh to Worcester, Massachusetts, not too far from where Cosby and his wife, Camille, have a home. In the past two years alone, some two dozen Cosby lawyers have done his bidding in a variety of courts, arguing in front of local magistrates, a state supreme court and federal appeals court judges.\u003c/p>\n\u003cp>His attorneys have flown from California to Philadelphia, for example, for a brief hearing over who can see the file from Constand’s original 2005 police complaint. And they have gathered from Los Angeles, Washington and Philadelphia to pack the defense table for the so-far unsuccessful bid to get the criminal charges thrown out over the purported non-prosecution agreement.\u003c/p>\n\u003cp>“I’m sure he’s angry that he thought he made a deal with someone … and then all of a sudden the whole thing blows up on him and his whole reputation is ruined,” said celebrity lawyer Larry R. Feldman of Los Angeles, who is not involved in the Cosby case but represented a 13-year-old who sued Michael Jackson. “I’m not worried about him financially, but nobody at this stage of his life and his career, I’m sure, wants to be defending these types of claims.”\u003c/p>\n\u003cp>Joseph Cammarata, a lawyer for seven women suing Cosby in Massachusetts, said he isn’t concerned about the size of Cosby’s legal team, which he jokingly called an “economic recovery plan for lawyers.”\u003c/p>\n\u003cp>“Only one person can speak at a time. In no way, shape or form do I think I am at a disadvantage,” Cammarata said.\u003c/p>\n\u003cp>A spokesman for the legal team, Andrew Wyatt, told The Associated Press that none of the lawyers could comment on the scope of Cosby’s legal battles. However, Cammarata said in court that he was told that Cosby’s insurance company shelled out $2 million in one 15-month period for Cosby’s legal bills in his case alone.\u003c/p>\n\u003cp>Cosby’s insurer, AIG, is fighting Cosby’s efforts to have two $1 million homeowner policies, along with $35 million in excess liability coverage, kick in. AIG argues that its policies exclude coverage for sexual assault cases; Cosby’s lawyers say these are defamation cases.\u003c/p>\n\u003cp>The litigation filed around the country is almost dizzying.\u003c/p>\n\u003cp>In California, for example, Cosby faces a lawsuit filed by Judy Huth, who says she was sexually assaulted at the Playboy Mansion around 1974 when she was 15. In a defamation case, model Janice Dickinson claims Cosby drugged and raped her in Lake Tahoe in 1982. Cosby has denied any wrongdoing.\u003c/p>\n\u003cp>In Massachusetts, Cosby faces three defamation lawsuits by nine women who say they were branded liars. 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"content": "\u003cp>[contextly_sidebar id=\"IeeHemsM2jtqydzUC4P1dY8jYsioF8d4\"]Kanye goes on another rant. We've read and heard that statement hundreds of times, but today that statement is greeted by a few surprising new words: Kanye goes on another rant \u003cem>on a fluffy, feel-good daytime talk show where nothing edgy is ever supposed to happen.\u003c/em>\u003c/p>\n\u003cp>On the agenda this time around: how he probably shouldn't have asked Mark Zuckerberg for money on a social platform that wasn't Facebook, the challenge of selling bone density machines, the power of multi-disciplinary artists, the power of dope sh*t, #OscarsSoWhite, shoes, synesthesia, Picasso being dead, Steve Jobs being dead, Walt Disney being dead, why being likable is not important, how working with Pay Less could stop bullying, why we did Michael Jackson wrong, and more.\u003c/p>\n\u003cp>Watch Kanye do what he does best and then gingerly cap things off with a “I’m sorry, daytime television. I’m sorry for the realness” :\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Fu7xk2aAcDY\u003c/p>\n\u003cp>And if you want more Yeezy, watch him refuse to play a dumb game by exclaiming \"Balls, balls, balls!\"\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3n_-4o6tE5o\u003c/p>\n\n",
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"content": "\u003cp>[contextly_sidebar id=\"FaARTEEebf8kf9CsjKgre5rylCuMpN3T\"]After three months of fierce competition, RuPaul finally crowned America’s Next Drag Superstar Monday night in a pre-taped reunion special. Every year, some complain about how unmoved the winner appears to be, upon hearing the news of her victory. There’s a reason for that.\u003c/p>\n\u003cp>For the past five seasons, the producers of \u003cem>RuPaul’s Drag Race\u003c/em> film three separate outcomes to avoid spoilers. (Rumor has it that we have the loose-lipped Season 3 winner Raja to thank for this new arrangement.) So now the queens find out who the true winner is by watching the episode, just like us!\u003c/p>\n\u003cp>With that in mind, the televised crowning ceremony seems less vital. No matter how good of an actor one is, it’s impossible for a queen to accurately project how they will feel and act upon winning until it actually happens.\u003c/p>\n\u003cp>Thankfully, the kind people at Logo taped the final three queens watching the finale last night. Check out their reactions:\u003c/p>\n\u003cp>http://www.logotv.com/video-clips/ea5xwi/rupauls-drag-race-top-three-queens-watch-the-finale-live\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>After three months of fierce competition, RuPaul finally crowned America’s Next Drag Superstar Monday night in a pre-taped reunion special. Every year, some complain about how unmoved the winner appears to be, upon hearing the news of her victory. There’s a reason for that.\u003c/p>\n\u003cp>For the past five seasons, the producers of \u003cem>RuPaul’s Drag Race\u003c/em> film three separate outcomes to avoid spoilers. (Rumor has it that we have the loose-lipped Season 3 winner Raja to thank for this new arrangement.) So now the queens find out who the true winner is by watching the episode, just like us!\u003c/p>\n\u003cp>With that in mind, the televised crowning ceremony seems less vital. No matter how good of an actor one is, it’s impossible for a queen to accurately project how they will feel and act upon winning until it actually happens.\u003c/p>\n\u003cp>Thankfully, the kind people at Logo taped the final three queens watching the finale last night. Check out their reactions:\u003c/p>\n\u003cp>http://www.logotv.com/video-clips/ea5xwi/rupauls-drag-race-top-three-queens-watch-the-finale-live\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>On a recent March morning at his home in a New Jersey suburb, Anthony Mendez was on his living room couch with his 9-year-old daughter. He was watching the previous night’s episode of \u003cem>Jane the Virgin\u003c/em>, studying his own performance as the show’s unseen narrator.\u003c/p>\n\u003cp>“I’m like, ‘That’s Daddy,’ and she’s on her computer, not even looking up. She says, ‘I know.’ And I’m like, ‘That’s Daddy — you’re not even impressed?’ And she’s like, ‘I’m on YouTube,’ ” Mendez says. His daughter — one of three kids — runs a YouTube channel where she vlogs about makeup with her sister.\u003c/p>\n\u003cp>This is the sort of thing Mendez says helps keep him grounded.\u003c/p>\n\u003cp>Still, Mendez’s ability to turn an omniscient narrator into one of \u003cem>Jane\u003c/em>‘s funniest characters has gotten him plenty of attention. He’s been described by people as \u003ca href=\"http://www.slate.com/blogs/browbeat/2015/05/11/jane_the_virgin_s_narrator_is_the_best_thing_about_the_cw_show.html\" target=\"_blank\" rel=\"noopener\">“the best thing about the show\u003c/a>” and “\u003ca href=\"http://www.nytimes.com/2015/08/20/arts/television/jane-the-virgin-narrator-on-his-role-and-his-emmy-nomination.html?_r=0\" target=\"_blank\" rel=\"noopener\">one of the show’s most entertaining characters\u003c/a>,” and is \u003ca href=\"http://forums.previously.tv/topic/20930-latin-lover-narrator-dramatic-pause-typed-sounds-almost-certainly-not-a-virgin-bang-hashtag-hotness/\">growing a small cult following\u003c/a> on the Internet.\u003c/p>\n\u003cp>His voice-overs recap the show’s dramatic, telenovela-style plots: Jane, a 23-year-old virgin, was accidentally artificially inseminated; the father just happens to be a playboy hotel owner she once kissed; the doctor who accidentally inseminated her is the father’s \u003cem>sister\u003c/em>; and so on and so on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3JPNVHRNCrY\u003c/p>\n\u003cp>But Mendez’s performance is unique from other narrator roles because of its comedic timing and punch. In an episode in which Jane goes to her high school reunion, Mendez’s voice swoops in to introduce us to Stephanie Kovakovich, a mean girl who Jane used to beef with. A string of text — as if the narrator is typing it — appears on screen: \u003cem>Stephanie Kovakobitch\u003c/em>. “Oops,” the narrator apologizes, correcting his typing. “No, I meant it,” he says, changing it back to \u003cem>Kovakobitch\u003c/em>.\u003c/p>\n\u003cp>(Real-life Mendez is just as playful as his character. Before I arrive at his apartment, he posts a humble-braggy video to Snapchat and Instagram, in which he announces he has to clean his apartment before his NPR interview. The video pans to him nudging a plastic container under his bed.)\u003c/p>\n\u003cp>https://www.instagram.com/p/BDV4Un5otHd/\u003c/p>\n\u003cp>But his journey in finding this voice — one that encourages him to play with an accent instead of dampen it — came after years of career change and trying to fit himself to a mold.\u003c/p>\n\u003ch3>Finding His Voice\u003c/h3>\n\u003cp>\u003cstrong>\u003c/strong>A typical kid, Mendez loved comics. They fed his imagination and were a break from a more serious, less typical childhood: He sold headstones at the family business — and even designed a six-crypt mausoleum as he got older. Mendez’s dad, who immigrated to the states from the Dominican Republic, worked in a tombstone factory before opening his own business, and hoped Mendez would take it over with his three other brothers.\u003c/p>\n\u003cp>But Mendez had other ideas. He studied architecture — the most creative major he thought he could get away with — for a short while at the New Jersey Institute of Technology. After that, he tried pursuing a career in producing reggae, struggling so much in the early 2000s he thought he’d be homeless.\u003c/p>\n\u003cp>“In your mind, you’re like, ‘No, I’m gonna show them, I’m gonna show them,’ ” Mendez recalls feeling about his parents, who hadn’t wanted him to leave their business. “But, you know, it takes eight to 10 years to show them, so at the beginning when I was struggling, they said, ‘Come back to the family business,’ and I actually agreed to do it.”\u003c/p>\n\u003cp>But Mendez said he had a nightmare that stopped him from returning. He dreamed he was trapped and anxious, working at a headstone factory forever.\u003c/p>\n\u003cfigure id=\"attachment_11587904\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-1180x786.jpg\" alt=\"Mendez stands in his bedroom recording studio.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11587904\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mendez stands in his bedroom recording studio. \u003ccite>(Photo: Emily Bogle/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So he fell back on something he had all along: his voice. People always said there was a Mendez voice — his grandfather, his father, his brothers all had it — that was deep and booming.\u003c/p>\n\u003cp>“In high school when I would read in Spanish, especially, some of the girls would ask me to do it again … and that kind of took me back, like, ‘Huh, there’s something there,’ ” Mendez says.\u003c/p>\n\u003cp>He signed up for voice-over classes and learned his Dominican-New York-New Jersey upbringing made things complicated. During one class, he’d just finished recording a track in the studio and his classmates were on the other side of the glass, observing. They thought he couldn’t hear their reaction to his voice-over.\u003c/p>\n\u003cp>“You heard everyone in the room talking about, ‘What accent is that?’ where they had never heard someone in voice-over who had an urban, Latino, New York, New Jersey mixture. So they were like, ‘That’s urban. That’s urban,’ ” Mendez says. This insistence on labeling him one thing — which \u003ca href=\"http://www.huffingtonpost.com/anthony-mendez/any-voiceover-actor-american-latino-need-follow_b_8281352.html\" target=\"_blank\" rel=\"noopener\">he’s written about before\u003c/a> — was an issue he ran into with talent managers, too. He was sent African-American voice-over roles and Spanish-speaking ones, but rarely received ones meant for the general market.\u003c/p>\n\u003cp>“[Managers] were like, ‘Oh, you’ve got an accent. You’re not gonna do it,’ ” Mendez says. His goal was to learn to talk without his accent but not lose it entirely.\u003c/p>\n\u003cp>So in his makeshift studio, in the bedroom he shares with his wife, recording out of a small closet that’s lined with board games and books to absorb the sound, he created a workout he calls VO 90 X — like boot camp for your voice — with which he spent 30 minutes daily for 90 days, intensely working on sounds.\u003c/p>\n\u003cp>His L’s, N’s, M’s and R’s, he says, are weaker than standard American English. He studied how people’s inflections and tongue placements change depending on what accents they’re taking on. “Grandmother” in standard American English has different syllable emphasis — “GRAND-mother” — than the word spoken with, say, English with a Dominican accent — “Grand-MO-ther.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/477737210/478209804\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>And it worked. Mendez began booking gigs with brands like \u003ca href=\"http://www.bustle.com/articles/47235-who-is-the-jane-the-virgin-narrator-youve-definitely-heard-anthony-mendezs-voice-before\" target=\"_blank\" rel=\"noopener\">CNN, Miller Lite and Target\u003c/a>, lending his voice to ads in both Spanish and English.\u003c/p>\n\u003cp>A few years ago, he got an email invitation to audition for a TV show — \u003cem>Jane the Virgin\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11587906\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-1180x786.jpg\" alt=\"Mendez reads from a 'Jane the Virgin' script in his bedroom recording studio. He records his voice-overs mostly from his home.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11587906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mendez reads from a ‘Jane the Virgin’ script in his bedroom recording studio. He records his voice-overs mostly from his home. \u003ccite>(Photo: Emily Bogle/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It said telenovela announcer with a Hispanic accent. The role literally said ‘Latin Lover Narrator.’ And I was like, I don’t wanna do this. This sounds like a joke. Stereotypical stuff. So I put it away,” he says. At first glance, Mendez thought it was yet another role poking fun at Latinos.\u003c/p>\n\u003cp>Then, later that day — before he had to pick his kids up from school — he pulled up the email again, and decided to give the audition a shot. Not knowing much about the narrator — \u003ca href=\"http://www.tvguide.com/news/jane-the-virgin-narrator/\" target=\"_blank\" rel=\"noopener\">who he was\u003c/a>, even — Mendez debated how the voice would sound.\u003c/p>\n\u003cp>“Initially I was going to do a standard telenovela announcer, which is what I call the Spanish Dracula, the ‘Telemundo guy,’ ” Mendez says. “I said an hour show with that guy is going to get really super annoying.”\u003c/p>\n\u003cp>He didn’t want the narrator to sound stereotypical, but he wanted people to hear a real connection to the Spanish language.\u003c/p>\n\u003cp>When asked about how his own father feels about his career, Mendez is equivocal. He says his parents, who returned to the Dominican Republic, don’t really watch \u003cem>Jane the Virgin\u003c/em>, but they understand he’s made a mark in a difficult industry. He might have left the family headstone business, but at least he’s successful on his own terms.\u003c/p>\n\u003cp>These days, as \u003cem>Jane \u003c/em>begins its between-season hiatus, Mendez is busy with his other voice-over gigs. And in a throwback to when he was a kid, he’s working on a \u003ca href=\"http://www.miketomb.tv/\">motion comic series\u003c/a> — a mix between audio book and animation — called \u003cem>Mike Tomb\u003c/em>. It’s about a Dominican-American guy named Mike Gonzalez.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Gonzalez’s goal? To break from the family tombstone industry and become a poet. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+The+Narrator+Of+%27Jane+The+Virgin%27+Found+His+Voice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On a recent March morning at his home in a New Jersey suburb, Anthony Mendez was on his living room couch with his 9-year-old daughter. He was watching the previous night’s episode of \u003cem>Jane the Virgin\u003c/em>, studying his own performance as the show’s unseen narrator.\u003c/p>\n\u003cp>“I’m like, ‘That’s Daddy,’ and she’s on her computer, not even looking up. She says, ‘I know.’ And I’m like, ‘That’s Daddy — you’re not even impressed?’ And she’s like, ‘I’m on YouTube,’ ” Mendez says. His daughter — one of three kids — runs a YouTube channel where she vlogs about makeup with her sister.\u003c/p>\n\u003cp>This is the sort of thing Mendez says helps keep him grounded.\u003c/p>\n\u003cp>Still, Mendez’s ability to turn an omniscient narrator into one of \u003cem>Jane\u003c/em>‘s funniest characters has gotten him plenty of attention. He’s been described by people as \u003ca href=\"http://www.slate.com/blogs/browbeat/2015/05/11/jane_the_virgin_s_narrator_is_the_best_thing_about_the_cw_show.html\" target=\"_blank\" rel=\"noopener\">“the best thing about the show\u003c/a>” and “\u003ca href=\"http://www.nytimes.com/2015/08/20/arts/television/jane-the-virgin-narrator-on-his-role-and-his-emmy-nomination.html?_r=0\" target=\"_blank\" rel=\"noopener\">one of the show’s most entertaining characters\u003c/a>,” and is \u003ca href=\"http://forums.previously.tv/topic/20930-latin-lover-narrator-dramatic-pause-typed-sounds-almost-certainly-not-a-virgin-bang-hashtag-hotness/\">growing a small cult following\u003c/a> on the Internet.\u003c/p>\n\u003cp>His voice-overs recap the show’s dramatic, telenovela-style plots: Jane, a 23-year-old virgin, was accidentally artificially inseminated; the father just happens to be a playboy hotel owner she once kissed; the doctor who accidentally inseminated her is the father’s \u003cem>sister\u003c/em>; and so on and so on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/3JPNVHRNCrY'\n title='//www.youtube.com/embed/3JPNVHRNCrY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But Mendez’s performance is unique from other narrator roles because of its comedic timing and punch. In an episode in which Jane goes to her high school reunion, Mendez’s voice swoops in to introduce us to Stephanie Kovakovich, a mean girl who Jane used to beef with. A string of text — as if the narrator is typing it — appears on screen: \u003cem>Stephanie Kovakobitch\u003c/em>. “Oops,” the narrator apologizes, correcting his typing. “No, I meant it,” he says, changing it back to \u003cem>Kovakobitch\u003c/em>.\u003c/p>\n\u003cp>(Real-life Mendez is just as playful as his character. Before I arrive at his apartment, he posts a humble-braggy video to Snapchat and Instagram, in which he announces he has to clean his apartment before his NPR interview. The video pans to him nudging a plastic container under his bed.)\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>But his journey in finding this voice — one that encourages him to play with an accent instead of dampen it — came after years of career change and trying to fit himself to a mold.\u003c/p>\n\u003ch3>Finding His Voice\u003c/h3>\n\u003cp>\u003cstrong>\u003c/strong>A typical kid, Mendez loved comics. They fed his imagination and were a break from a more serious, less typical childhood: He sold headstones at the family business — and even designed a six-crypt mausoleum as he got older. Mendez’s dad, who immigrated to the states from the Dominican Republic, worked in a tombstone factory before opening his own business, and hoped Mendez would take it over with his three other brothers.\u003c/p>\n\u003cp>But Mendez had other ideas. He studied architecture — the most creative major he thought he could get away with — for a short while at the New Jersey Institute of Technology. After that, he tried pursuing a career in producing reggae, struggling so much in the early 2000s he thought he’d be homeless.\u003c/p>\n\u003cp>“In your mind, you’re like, ‘No, I’m gonna show them, I’m gonna show them,’ ” Mendez recalls feeling about his parents, who hadn’t wanted him to leave their business. “But, you know, it takes eight to 10 years to show them, so at the beginning when I was struggling, they said, ‘Come back to the family business,’ and I actually agreed to do it.”\u003c/p>\n\u003cp>But Mendez said he had a nightmare that stopped him from returning. He dreamed he was trapped and anxious, working at a headstone factory forever.\u003c/p>\n\u003cfigure id=\"attachment_11587904\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-1180x786.jpg\" alt=\"Mendez stands in his bedroom recording studio.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11587904\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0358_custom-f98798f24ed4a7a842af7ca906ee58a4dd33a3da-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mendez stands in his bedroom recording studio. \u003ccite>(Photo: Emily Bogle/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>So he fell back on something he had all along: his voice. People always said there was a Mendez voice — his grandfather, his father, his brothers all had it — that was deep and booming.\u003c/p>\n\u003cp>“In high school when I would read in Spanish, especially, some of the girls would ask me to do it again … and that kind of took me back, like, ‘Huh, there’s something there,’ ” Mendez says.\u003c/p>\n\u003cp>He signed up for voice-over classes and learned his Dominican-New York-New Jersey upbringing made things complicated. During one class, he’d just finished recording a track in the studio and his classmates were on the other side of the glass, observing. They thought he couldn’t hear their reaction to his voice-over.\u003c/p>\n\u003cp>“You heard everyone in the room talking about, ‘What accent is that?’ where they had never heard someone in voice-over who had an urban, Latino, New York, New Jersey mixture. So they were like, ‘That’s urban. That’s urban,’ ” Mendez says. This insistence on labeling him one thing — which \u003ca href=\"http://www.huffingtonpost.com/anthony-mendez/any-voiceover-actor-american-latino-need-follow_b_8281352.html\" target=\"_blank\" rel=\"noopener\">he’s written about before\u003c/a> — was an issue he ran into with talent managers, too. He was sent African-American voice-over roles and Spanish-speaking ones, but rarely received ones meant for the general market.\u003c/p>\n\u003cp>“[Managers] were like, ‘Oh, you’ve got an accent. You’re not gonna do it,’ ” Mendez says. His goal was to learn to talk without his accent but not lose it entirely.\u003c/p>\n\u003cp>So in his makeshift studio, in the bedroom he shares with his wife, recording out of a small closet that’s lined with board games and books to absorb the sound, he created a workout he calls VO 90 X — like boot camp for your voice — with which he spent 30 minutes daily for 90 days, intensely working on sounds.\u003c/p>\n\u003cp>His L’s, N’s, M’s and R’s, he says, are weaker than standard American English. He studied how people’s inflections and tongue placements change depending on what accents they’re taking on. “Grandmother” in standard American English has different syllable emphasis — “GRAND-mother” — than the word spoken with, say, English with a Dominican accent — “Grand-MO-ther.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"http://www.npr.org/player/embed/477737210/478209804\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>And it worked. Mendez began booking gigs with brands like \u003ca href=\"http://www.bustle.com/articles/47235-who-is-the-jane-the-virgin-narrator-youve-definitely-heard-anthony-mendezs-voice-before\" target=\"_blank\" rel=\"noopener\">CNN, Miller Lite and Target\u003c/a>, lending his voice to ads in both Spanish and English.\u003c/p>\n\u003cp>A few years ago, he got an email invitation to audition for a TV show — \u003cem>Jane the Virgin\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_11587906\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-1180x786.jpg\" alt=\"Mendez reads from a 'Jane the Virgin' script in his bedroom recording studio. He records his voice-overs mostly from his home.\" width=\"640\" height=\"426\" class=\"size-large wp-image-11587906\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/05/anthony-mendez-0395_custom-16bb71b61bea4f4b12ea43c0a15edb74f84a07d8-960x639.jpg 960w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Mendez reads from a ‘Jane the Virgin’ script in his bedroom recording studio. He records his voice-overs mostly from his home. \u003ccite>(Photo: Emily Bogle/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It said telenovela announcer with a Hispanic accent. The role literally said ‘Latin Lover Narrator.’ And I was like, I don’t wanna do this. This sounds like a joke. Stereotypical stuff. So I put it away,” he says. At first glance, Mendez thought it was yet another role poking fun at Latinos.\u003c/p>\n\u003cp>Then, later that day — before he had to pick his kids up from school — he pulled up the email again, and decided to give the audition a shot. Not knowing much about the narrator — \u003ca href=\"http://www.tvguide.com/news/jane-the-virgin-narrator/\" target=\"_blank\" rel=\"noopener\">who he was\u003c/a>, even — Mendez debated how the voice would sound.\u003c/p>\n\u003cp>“Initially I was going to do a standard telenovela announcer, which is what I call the Spanish Dracula, the ‘Telemundo guy,’ ” Mendez says. “I said an hour show with that guy is going to get really super annoying.”\u003c/p>\n\u003cp>He didn’t want the narrator to sound stereotypical, but he wanted people to hear a real connection to the Spanish language.\u003c/p>\n\u003cp>When asked about how his own father feels about his career, Mendez is equivocal. He says his parents, who returned to the Dominican Republic, don’t really watch \u003cem>Jane the Virgin\u003c/em>, but they understand he’s made a mark in a difficult industry. He might have left the family headstone business, but at least he’s successful on his own terms.\u003c/p>\n\u003cp>These days, as \u003cem>Jane \u003c/em>begins its between-season hiatus, Mendez is busy with his other voice-over gigs. And in a throwback to when he was a kid, he’s working on a \u003ca href=\"http://www.miketomb.tv/\">motion comic series\u003c/a> — a mix between audio book and animation — called \u003cem>Mike Tomb\u003c/em>. It’s about a Dominican-American guy named Mike Gonzalez.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Gonzalez’s goal? To break from the family tombstone industry and become a poet. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=How+The+Narrator+Of+%27Jane+The+Virgin%27+Found+His+Voice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Heavy Dose of Glitter, Pyrotechnics and Politics at Eurovision 2016",
"headTitle": "A Heavy Dose of Glitter, Pyrotechnics and Politics at Eurovision 2016 | KQED",
"content": "\u003cp>Another year, another grand spectacle at the Eurovision Song Contest.\u003c/p>\n\u003cp>At Saturday’s Grand Final in Stockholm, Sweden, there were \u003ca href=\"https://www.youtube.com/watch?v=cB8eSLyffsI\" target=\"_blank\" rel=\"noopener\">pyrotechnics and glitter\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=5ymFX91HwM0\" target=\"_blank\" rel=\"noopener\">power ballads\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=PQqUTigWKHY\" target=\"_blank\" rel=\"noopener\">light-up dresses\u003c/a> and costumes that \u003ca href=\"https://www.youtube.com/watch?v=8QUM-_EbE2o\" target=\"_blank\" rel=\"noopener\">rendered performers immobile\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=idUxTqmCFR0\" target=\"_blank\" rel=\"noopener\">Cypriot rockers performing\u003c/a> in smoke-filled cages, and \u003ca href=\"https://www.youtube.com/watch?v=XgGahKsBtts\" target=\"_blank\" rel=\"noopener\">British boy bands\u003c/a>. There \u003ca href=\"https://www.youtube.com/watch?v=nL066Rp7J7k\" target=\"_blank\" rel=\"noopener\">were capes\u003c/a>. (Unfortunately, there were no \u003ca href=\"https://www.youtube.com/watch?v=pM07r57QqGg\" target=\"_blank\" rel=\"noopener\">holograms of wolves\u003c/a> – Belarus was eliminated in the Semi-Final.)\u003c/p>\n\u003cp>The annual contest pits more than 40 countries against each other, as the Two-Way has reported \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/13/477810126/lightshows-fire-nudity-glitter-wolves-welcome-to-eurovision-2016\" target=\"_blank\" rel=\"noopener\">in this handy primer.\u003c/a> It draws tens of millions more viewers than the Super Bowl.\u003c/p>\n\u003cp>If you missed the live event yesterday, you can catch it on demand \u003ca href=\"http://www.logotv.com/full-episodes/51pift/eurovision-song-contest-2016-the-61st-annual-eurovision-song-contest-grand-final-ep-1\" target=\"_blank\" rel=\"noopener\">here\u003c/a> via its U.S. broadcaster, Logo.\u003c/p>\n\u003cp>Ukraine’s Jamala was the unexpected winner with her haunting song “1944,” which recounts the mass deportation of Crimean Tatars under Stalin’s orders during World War II.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=B-rnM-MwRHY\u003c/p>\n\u003cp>To say this song is serious is an understatement. In fact, this is how it opens: “When strangers\u003cstrong> \u003c/strong>are coming / They come to your house / They kill you all, and say ‘we’re not guilty.’ … You think you are gods, but everyone dies.'”\u003c/p>\n\u003cp>Politics are never far from the glittery surface at Eurovision – indeed, \u003ca href=\"http://www.theguardian.com/tv-and-radio/2016/may/14/ukraine-wins-eurovision-jamala-1944\" target=\"_blank\" rel=\"noopener\">The Guardian says\u003c/a> it was “seen by many as the most politicised version of the competition to date.” Many have interpreted “1944” as a thinly-veiled anti-Russian anthem, considering Russia’s annexation of Crimea two years ago. \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/13/477810126/lightshows-fire-nudity-glitter-wolves-welcome-to-eurovision-2016\" target=\"_blank\" rel=\"noopener\">As we reported,\u003c/a> Jamala, who is Tatar, maintains the song is “personal.”\u003c/p>\n\u003cp>However, speaking to \u003cem>the Guardian\u003c/em> after her win, she says it has current relevance:\u003c/p>\n\u003cblockquote>\n\u003cp>“Of course it’s about 2014 as well. These two years have added so much sadness to my life. Imagine – you’re a creative person, a singer, but you can’t go home for two years. You see your grandfather on Skype, who is 90 years old and ill, but you can’t visit him. What am I supposed to do: just sing nice songs and forget about it? Of course I can’t do that.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After her win, \u003ca href=\"http://www.eurovision.tv/live/live_the_winners_press_conference_with_jamala\" target=\"_blank\" rel=\"noopener\">she told reporters that\u003c/a> “I was sure that, if you sing about truth, it can really touch people. And I was right.” She added that she dedicated the performance to her great-grandmother and said she prepared for the performance by listening to the soundtrack of \u003cem>Schindler’s List.\u003c/em>\u003c/p>\n\u003cp>Russian officials have complained about the song, \u003ca href=\"http://www.telegraph.co.uk/tv/2016/05/11/jamalas-ukraine-eurovision-song-stirs-up-russia/\" target=\"_blank\" rel=\"noopener\">\u003cem>the Telegraph \u003c/em>reports\u003c/a>, but “the Geneva-based organisers decided the song was not in breach of the competition’s rules against political speech.”\u003c/p>\n\u003cp>Russia is probably particularly unhappy with the result considering it was their entry that was heavily favored to win. Sergey Lazarev deployed particularly strong visuals (Wings! Glaciers! Lightning! Space!) in his performance of “You Are The Only One:”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=e94dst20C9Y\u003c/p>\n\u003cp>Russia ended up in third, and Australia took the second-place spot.\u003c/p>\n\u003cp>Reporter Andrew Jones was in the arena in Stockholm and describes the suspense to The Two-Way:\u003c/p>\n\u003cblockquote>\n\u003cp>“There was lots of tension in the reveal. It’s a new format, which meant that it wasn’t clear until the very last result was read. So people were hunched forward in their seats staring at the results screen, unsure of what was going to happen.”\u003c/p>\n\u003c/blockquote>\n\u003cp>He adds that Australia had actually been in the top spot with only the votes of industry professionals counted, “and people were genuinely surprised when they lost their lead when the tele-voting was factored in.”\u003c/p>\n\u003cp>Here’s Australia’s entry, Dami Im’s soaring ballad “Sound of Silence,” which was the critic’s favorite:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5ymFX91HwM0\u003c/p>\n\u003cp>Wondering why Australia is a part of the European contest? As we reported: “it’s basically because the Land Down Under is obsessed with the contest — and has been for a long time — so the [European Broadcasting Union] gave them an honorary membership of sorts.”\u003c/p>\n\u003cp>Eurovision also confronted the weighty topic of the refugee crisis \u003ca href=\"https://www.youtube.com/watch?v=YtF5WL5fhjA&index=6&list=PLxeDWjW-1i33tiF8CDPL40cQQC41sKmwm\" target=\"_blank\" rel=\"noopener\">with a dance highlighting their plight\u003c/a>. The performance (which aired during the U.S. broadcast between a Justin Timberlake interview and a spoof rendition of a perfect Eurovision act) shows the dancers apparently going through traumatic events before they are eventually presented with water to wash their ash-covered faces. They are then embraced by audience members and disappear in the crowd.\u003c/p>\n\u003cp>Mans Zelmerlow, this year’s co-presenter and last year’s winner, says: “It is more necessary than ever before that we unite and join together, and that is literally what we do in Eurovision, where most of the countries in Europe meet together. …We obviously want to touch upon [the crisis]: anything else would be to bury your head in the sand,” \u003ca href=\"http://www.theguardian.com/tv-and-radio/2016/may/08/eurovision-2016-latex-chiffon-politics-joe-jake\" target=\"_blank\" rel=\"noopener\">The Guardian reported\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The winning act gets to host the next year’s competition – so that means next year’s event will take place in Kiev. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Heavy+Dose+Of+Glitter%2C+Pyrotechnics+and+Politics+At+Eurovision+2016&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Ukraine's Jamala is this year's winner with a haunting song about the mass deportation of Crimean Tatars during World War II. Politics are never far from the surface at the European song contest.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Another year, another grand spectacle at the Eurovision Song Contest.\u003c/p>\n\u003cp>At Saturday’s Grand Final in Stockholm, Sweden, there were \u003ca href=\"https://www.youtube.com/watch?v=cB8eSLyffsI\" target=\"_blank\" rel=\"noopener\">pyrotechnics and glitter\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=5ymFX91HwM0\" target=\"_blank\" rel=\"noopener\">power ballads\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=PQqUTigWKHY\" target=\"_blank\" rel=\"noopener\">light-up dresses\u003c/a> and costumes that \u003ca href=\"https://www.youtube.com/watch?v=8QUM-_EbE2o\" target=\"_blank\" rel=\"noopener\">rendered performers immobile\u003c/a>. There were \u003ca href=\"https://www.youtube.com/watch?v=idUxTqmCFR0\" target=\"_blank\" rel=\"noopener\">Cypriot rockers performing\u003c/a> in smoke-filled cages, and \u003ca href=\"https://www.youtube.com/watch?v=XgGahKsBtts\" target=\"_blank\" rel=\"noopener\">British boy bands\u003c/a>. There \u003ca href=\"https://www.youtube.com/watch?v=nL066Rp7J7k\" target=\"_blank\" rel=\"noopener\">were capes\u003c/a>. (Unfortunately, there were no \u003ca href=\"https://www.youtube.com/watch?v=pM07r57QqGg\" target=\"_blank\" rel=\"noopener\">holograms of wolves\u003c/a> – Belarus was eliminated in the Semi-Final.)\u003c/p>\n\u003cp>The annual contest pits more than 40 countries against each other, as the Two-Way has reported \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/13/477810126/lightshows-fire-nudity-glitter-wolves-welcome-to-eurovision-2016\" target=\"_blank\" rel=\"noopener\">in this handy primer.\u003c/a> It draws tens of millions more viewers than the Super Bowl.\u003c/p>\n\u003cp>If you missed the live event yesterday, you can catch it on demand \u003ca href=\"http://www.logotv.com/full-episodes/51pift/eurovision-song-contest-2016-the-61st-annual-eurovision-song-contest-grand-final-ep-1\" target=\"_blank\" rel=\"noopener\">here\u003c/a> via its U.S. broadcaster, Logo.\u003c/p>\n\u003cp>Ukraine’s Jamala was the unexpected winner with her haunting song “1944,” which recounts the mass deportation of Crimean Tatars under Stalin’s orders during World War II.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/B-rnM-MwRHY'\n title='//www.youtube.com/embed/B-rnM-MwRHY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>To say this song is serious is an understatement. In fact, this is how it opens: “When strangers\u003cstrong> \u003c/strong>are coming / They come to your house / They kill you all, and say ‘we’re not guilty.’ … You think you are gods, but everyone dies.'”\u003c/p>\n\u003cp>Politics are never far from the glittery surface at Eurovision – indeed, \u003ca href=\"http://www.theguardian.com/tv-and-radio/2016/may/14/ukraine-wins-eurovision-jamala-1944\" target=\"_blank\" rel=\"noopener\">The Guardian says\u003c/a> it was “seen by many as the most politicised version of the competition to date.” Many have interpreted “1944” as a thinly-veiled anti-Russian anthem, considering Russia’s annexation of Crimea two years ago. \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/05/13/477810126/lightshows-fire-nudity-glitter-wolves-welcome-to-eurovision-2016\" target=\"_blank\" rel=\"noopener\">As we reported,\u003c/a> Jamala, who is Tatar, maintains the song is “personal.”\u003c/p>\n\u003cp>However, speaking to \u003cem>the Guardian\u003c/em> after her win, she says it has current relevance:\u003c/p>\n\u003cblockquote>\n\u003cp>“Of course it’s about 2014 as well. These two years have added so much sadness to my life. Imagine – you’re a creative person, a singer, but you can’t go home for two years. You see your grandfather on Skype, who is 90 years old and ill, but you can’t visit him. What am I supposed to do: just sing nice songs and forget about it? Of course I can’t do that.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After her win, \u003ca href=\"http://www.eurovision.tv/live/live_the_winners_press_conference_with_jamala\" target=\"_blank\" rel=\"noopener\">she told reporters that\u003c/a> “I was sure that, if you sing about truth, it can really touch people. And I was right.” She added that she dedicated the performance to her great-grandmother and said she prepared for the performance by listening to the soundtrack of \u003cem>Schindler’s List.\u003c/em>\u003c/p>\n\u003cp>Russian officials have complained about the song, \u003ca href=\"http://www.telegraph.co.uk/tv/2016/05/11/jamalas-ukraine-eurovision-song-stirs-up-russia/\" target=\"_blank\" rel=\"noopener\">\u003cem>the Telegraph \u003c/em>reports\u003c/a>, but “the Geneva-based organisers decided the song was not in breach of the competition’s rules against political speech.”\u003c/p>\n\u003cp>Russia is probably particularly unhappy with the result considering it was their entry that was heavily favored to win. Sergey Lazarev deployed particularly strong visuals (Wings! Glaciers! Lightning! Space!) in his performance of “You Are The Only One:”\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/e94dst20C9Y'\n title='//www.youtube.com/embed/e94dst20C9Y'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Russia ended up in third, and Australia took the second-place spot.\u003c/p>\n\u003cp>Reporter Andrew Jones was in the arena in Stockholm and describes the suspense to The Two-Way:\u003c/p>\n\u003cblockquote>\n\u003cp>“There was lots of tension in the reveal. It’s a new format, which meant that it wasn’t clear until the very last result was read. So people were hunched forward in their seats staring at the results screen, unsure of what was going to happen.”\u003c/p>\n\u003c/blockquote>\n\u003cp>He adds that Australia had actually been in the top spot with only the votes of industry professionals counted, “and people were genuinely surprised when they lost their lead when the tele-voting was factored in.”\u003c/p>\n\u003cp>Here’s Australia’s entry, Dami Im’s soaring ballad “Sound of Silence,” which was the critic’s favorite:\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/5ymFX91HwM0'\n title='//www.youtube.com/embed/5ymFX91HwM0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Wondering why Australia is a part of the European contest? As we reported: “it’s basically because the Land Down Under is obsessed with the contest — and has been for a long time — so the [European Broadcasting Union] gave them an honorary membership of sorts.”\u003c/p>\n\u003cp>Eurovision also confronted the weighty topic of the refugee crisis \u003ca href=\"https://www.youtube.com/watch?v=YtF5WL5fhjA&index=6&list=PLxeDWjW-1i33tiF8CDPL40cQQC41sKmwm\" target=\"_blank\" rel=\"noopener\">with a dance highlighting their plight\u003c/a>. The performance (which aired during the U.S. broadcast between a Justin Timberlake interview and a spoof rendition of a perfect Eurovision act) shows the dancers apparently going through traumatic events before they are eventually presented with water to wash their ash-covered faces. They are then embraced by audience members and disappear in the crowd.\u003c/p>\n\u003cp>Mans Zelmerlow, this year’s co-presenter and last year’s winner, says: “It is more necessary than ever before that we unite and join together, and that is literally what we do in Eurovision, where most of the countries in Europe meet together. …We obviously want to touch upon [the crisis]: anything else would be to bury your head in the sand,” \u003ca href=\"http://www.theguardian.com/tv-and-radio/2016/may/08/eurovision-2016-latex-chiffon-politics-joe-jake\" target=\"_blank\" rel=\"noopener\">The Guardian reported\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The winning act gets to host the next year’s competition – so that means next year’s event will take place in Kiev. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Heavy+Dose+Of+Glitter%2C+Pyrotechnics+and+Politics+At+Eurovision+2016&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "is-klingon-a-living-language-thats-for-human-courts-to-decide",
"title": "Is Klingon a Living Language? That's for (Human) Courts to Decide",
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"headTitle": "Is Klingon a Living Language? That’s for (Human) Courts to Decide | KQED",
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"content": "\u003cp>A new lawsuit is boldly going where no man has gone before.\u003c/p>\n\u003cp>Paramount Pictures and CBS are suing the producers of a Star Trek fan film for copyright infringement. The studios own the copyright to the Star Trek franchise, including six television shows and 12 movies.\u003c/p>\n\u003cp>They’re suing Axanar Productions along with executive producer Alec Peters over their 2014 short film \u003cem>Prelude to Axanar\u003c/em>, and the planned full-length \u003cem>Axanar\u003c/em>. Peters raised more than $101,000 on Kickstarter to make the first film, and Axanar Productions says they’ve raised more than $1 million in total.\u003c/p>\n\u003cp>The movies are set in the Star Trek universe and serve as a prequel to the original series from the 1960s. \u003cem>Axanar\u003c/em> takes place 21 years before Captain Kirk came on the scene and tells the story of Garth of Izar, “the legendary Starfleet captain who is Captain Kirk’s hero.” For the true Trekkies, here are more \u003ca href=\"http://www.axanarproductions.com/about/the-story/\" target=\"_blank\" rel=\"noopener\">details from the filmmakers\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Axanar tells the story of Garth and his crew during the Four Years War, the war with the Klingon Empire that almost tore the Federation apart. Garth’s victory at Axanar solidified the Federation and allowed it to become the entity we know in Kirk’s time.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Fan films exist in a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=103673352\" target=\"_blank\" rel=\"noopener\">legal gray area\u003c/a>. There have been several \u003ca href=\"https://en.wikipedia.org/wiki/Star_Trek_fan_productions\" target=\"_blank\" rel=\"noopener\">fan productions\u003c/a> of Star Trek shows over the years. \u003ca href=\"http://www.wired.com/2014/07/star-trek-axanar-fan-film/\" target=\"_blank\" rel=\"noopener\">According to Wired\u003c/a>, Paramount “has traditionally allowed these fan-made projects to move forward, as long as they agree not to sell anything — including tickets, merchandise, or copies of the finished film or series.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in December 2015, the studios filed a complaint against Axanar. In a follow-up brief, they identify “infringing elements,” including original Star Trek characters, races and species (like Klingons and Vulcans), uniforms, planets, the Starship Enterprise (which is of course the \u003ca href=\"https://en.wikipedia.org/wiki/Starship_Enterprise\" target=\"_blank\" rel=\"noopener\">NCC-1701\u003c/a>), logos — and the Klingon language.\u003c/p>\n\u003cp>The way the court decides on the last item on that list has big legal implications. The Language Creation Society \u003ca href=\"https://www.scribd.com/doc/310744493/035-1-Brief-of-Amicus-Curiae-1?secret_password=I5JAsrdYbwE8oTIe5zPx\" target=\"_blank\" rel=\"noopener\">filed an amicus\u003c/a> brief in support of the filmmakers. It argues that since Klingon was invented in the 1980s, the language has expanded beyond its origins — there’s even a \u003ca href=\"http://www.kli.org/\" target=\"_blank\" rel=\"noopener\">Klingon Language Institute\u003c/a>. They say there’s enough vocabulary in the language to translate Shakespeare’s \u003cem>Hamlet\u003c/em>. Klingon “took on a life of its own — a life that the Copyright Act has no power to control,” they say.\u003c/p>\n\u003cp>The studios say they own the “fictional language.”\u003c/p>\n\u003cp>The reason this matters — whether you can copyright a language — is related to programming. Is computer code a language, and can you copyright it? It goes to a long-running case between Oracle and Google. The \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/paramount-claims-crowdfunded-star-trek-874985\" target=\"_blank\" rel=\"noopener\">Hollywood Reporter summarizes\u003c/a>: “In a nutshell, Oracle looks to protect its Java API code from Google’s attempt to use some of it for its Android software. A federal appeals court ruled in May 2014 that one could indeed copyright an API, leading to a collective freak-out by many in the tech industry.” \u003ca href=\"http://www.slate.com/articles/technology/future_tense/2015/06/oracle_v_google_klingon_and_copyrighting_language.single.html\" target=\"_blank\" rel=\"noopener\">Charles Duan at Slate\u003c/a> explains that “computer networking technology depends on languages, like the Wi-Fi protocol, so that multiple computers can communicate and understand one another.” If languages can be copyrighted, it would stifle innovation and create monopolies, he argues.\u003c/p>\n\u003cp>The Supreme Court didn’t take up the case.\u003c/p>\n\u003cp>Meanwhile, a court date in the case involving Paramount, CBS and Axanar is set for May 2017. The filmmakers picked up some big endorsements, though. Justin Lin, director of the upcoming — authorized — \u003cem>Star Trek: Beyond\u003c/em>, tweeted his support:\u003c/p>\n\u003cp>https://twitter.com/trailingjohnson/status/709285689095917568\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And Mark Okrand, who created Klingon in 1984, and published the \u003ca href=\"http://www.amazon.com/Klingon-Dictionary-Star-Trek/dp/067174559X\" target=\"_blank\" rel=\"noopener\">first Klingon dictionary\u003c/a> in 1985, agrees. “Languages are something that you should use and you should feel free to use them and be encouraged to use them,” he tells NPR’s Michel Martin. “And not worry about someone standing over your shoulder saying: yes, you can say that; no, you can’t; yes, you can use that language; no, you can’t. Of course you can, and you should.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+Klingon+A+Living+Language%3F+That%27s+For+%28Human%29+Courts+To+Decide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A new lawsuit is boldly going where no man has gone before.\u003c/p>\n\u003cp>Paramount Pictures and CBS are suing the producers of a Star Trek fan film for copyright infringement. The studios own the copyright to the Star Trek franchise, including six television shows and 12 movies.\u003c/p>\n\u003cp>They’re suing Axanar Productions along with executive producer Alec Peters over their 2014 short film \u003cem>Prelude to Axanar\u003c/em>, and the planned full-length \u003cem>Axanar\u003c/em>. Peters raised more than $101,000 on Kickstarter to make the first film, and Axanar Productions says they’ve raised more than $1 million in total.\u003c/p>\n\u003cp>The movies are set in the Star Trek universe and serve as a prequel to the original series from the 1960s. \u003cem>Axanar\u003c/em> takes place 21 years before Captain Kirk came on the scene and tells the story of Garth of Izar, “the legendary Starfleet captain who is Captain Kirk’s hero.” For the true Trekkies, here are more \u003ca href=\"http://www.axanarproductions.com/about/the-story/\" target=\"_blank\" rel=\"noopener\">details from the filmmakers\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Axanar tells the story of Garth and his crew during the Four Years War, the war with the Klingon Empire that almost tore the Federation apart. Garth’s victory at Axanar solidified the Federation and allowed it to become the entity we know in Kirk’s time.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Fan films exist in a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=103673352\" target=\"_blank\" rel=\"noopener\">legal gray area\u003c/a>. There have been several \u003ca href=\"https://en.wikipedia.org/wiki/Star_Trek_fan_productions\" target=\"_blank\" rel=\"noopener\">fan productions\u003c/a> of Star Trek shows over the years. \u003ca href=\"http://www.wired.com/2014/07/star-trek-axanar-fan-film/\" target=\"_blank\" rel=\"noopener\">According to Wired\u003c/a>, Paramount “has traditionally allowed these fan-made projects to move forward, as long as they agree not to sell anything — including tickets, merchandise, or copies of the finished film or series.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in December 2015, the studios filed a complaint against Axanar. In a follow-up brief, they identify “infringing elements,” including original Star Trek characters, races and species (like Klingons and Vulcans), uniforms, planets, the Starship Enterprise (which is of course the \u003ca href=\"https://en.wikipedia.org/wiki/Starship_Enterprise\" target=\"_blank\" rel=\"noopener\">NCC-1701\u003c/a>), logos — and the Klingon language.\u003c/p>\n\u003cp>The way the court decides on the last item on that list has big legal implications. The Language Creation Society \u003ca href=\"https://www.scribd.com/doc/310744493/035-1-Brief-of-Amicus-Curiae-1?secret_password=I5JAsrdYbwE8oTIe5zPx\" target=\"_blank\" rel=\"noopener\">filed an amicus\u003c/a> brief in support of the filmmakers. It argues that since Klingon was invented in the 1980s, the language has expanded beyond its origins — there’s even a \u003ca href=\"http://www.kli.org/\" target=\"_blank\" rel=\"noopener\">Klingon Language Institute\u003c/a>. They say there’s enough vocabulary in the language to translate Shakespeare’s \u003cem>Hamlet\u003c/em>. Klingon “took on a life of its own — a life that the Copyright Act has no power to control,” they say.\u003c/p>\n\u003cp>The studios say they own the “fictional language.”\u003c/p>\n\u003cp>The reason this matters — whether you can copyright a language — is related to programming. Is computer code a language, and can you copyright it? It goes to a long-running case between Oracle and Google. The \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/paramount-claims-crowdfunded-star-trek-874985\" target=\"_blank\" rel=\"noopener\">Hollywood Reporter summarizes\u003c/a>: “In a nutshell, Oracle looks to protect its Java API code from Google’s attempt to use some of it for its Android software. A federal appeals court ruled in May 2014 that one could indeed copyright an API, leading to a collective freak-out by many in the tech industry.” \u003ca href=\"http://www.slate.com/articles/technology/future_tense/2015/06/oracle_v_google_klingon_and_copyrighting_language.single.html\" target=\"_blank\" rel=\"noopener\">Charles Duan at Slate\u003c/a> explains that “computer networking technology depends on languages, like the Wi-Fi protocol, so that multiple computers can communicate and understand one another.” If languages can be copyrighted, it would stifle innovation and create monopolies, he argues.\u003c/p>\n\u003cp>The Supreme Court didn’t take up the case.\u003c/p>\n\u003cp>Meanwhile, a court date in the case involving Paramount, CBS and Axanar is set for May 2017. The filmmakers picked up some big endorsements, though. Justin Lin, director of the upcoming — authorized — \u003cem>Star Trek: Beyond\u003c/em>, tweeted his support:\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>\u003c/p>\n\u003cp>And Mark Okrand, who created Klingon in 1984, and published the \u003ca href=\"http://www.amazon.com/Klingon-Dictionary-Star-Trek/dp/067174559X\" target=\"_blank\" rel=\"noopener\">first Klingon dictionary\u003c/a> in 1985, agrees. “Languages are something that you should use and you should feel free to use them and be encouraged to use them,” he tells NPR’s Michel Martin. “And not worry about someone standing over your shoulder saying: yes, you can say that; no, you can’t; yes, you can use that language; no, you can’t. Of course you can, and you should.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Is+Klingon+A+Living+Language%3F+That%27s+For+%28Human%29+Courts+To+Decide&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A look back at some of the most memorable celebrity apologies, a crash course in Cinco de Mayo's origins, and a take on the sad implications of Lil Kim's facial transformation.\u003c/p>\n\u003cp>[audio src=\"https://dts.podtrac.com/redirect.mp3/www.kqed.org/.stream/mp3splice/radio/thecooler/2016/05/Cinco.mp3\" title=\"Sorry Not Sorry: The Best and Worst Celebrity Apologies\" program=\"The Cooler\" image=\"https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2017/03/clo.jpg\"]\u003c/p>\n\u003caside class=\"aligncenter\">\n\u003cdiv>\u003ca href=\"https://itunes.apple.com/us/podcast/the-cooler/id1041117499?mt=2\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/DownloadOniTunes_100x100.png\" width=\"75px\">\u003c/a> \u003ca href=\"https://play.google.com/music/m/Ig3hk6qa4fzcgjp2kagptfgu4u4?t=The_Cooler\" target=\"_blank\">\u003cimg class=\"alignnone\" src=\"https://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/Google_Play_100x100.png\" width=\"75px\">\u003c/a>\u003c/div>\n\u003c/aside>\n\u003cp>This week, we're getting into the true meaning behind Cinco de Mayo.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://ww2.kqed.org/pop/2016/05/04/think-you-know-what-cinco-de-mayo-means-youre-probably-wrong/\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Inspired by Johnny Depp and Amber Heard's \u003ca href=\"https://www.youtube.com/watch?v=ORpBAIB9j64\">bizarre apology\u003c/a> for smuggling their dogs into Australia, we look back at some of the most memorable celebrity apologies.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/leo-sorry.gif\">\u003cimg class=\"aligncenter size-full wp-image-23816\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/leo-sorry.gif\" alt=\"leo-sorry\" width=\"500\" height=\"219\">\u003c/a>\u003c/p>\n\u003cp>We discuss the sad implications of Lil Kim's facial transformation.\u003c/p>\n\u003cp>http://www.theguardian.com/commentisfree/2016/apr/27/lil-kim-whiter-look-misogynoir-colourism-anti-blackness\u003c/p>\n\u003cp>And we cap things off with a little respek:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X-_cX0yuXTw\u003c/p>\n\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Inspired by Johnny Depp and Amber Heard's \u003ca href=\"https://www.youtube.com/watch?v=ORpBAIB9j64\">bizarre apology\u003c/a> for smuggling their dogs into Australia, we look back at some of the most memorable celebrity apologies.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/leo-sorry.gif\">\u003cimg class=\"aligncenter size-full wp-image-23816\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/05/leo-sorry.gif\" alt=\"leo-sorry\" width=\"500\" height=\"219\">\u003c/a>\u003c/p>\n\u003cp>We discuss the sad implications of Lil Kim's facial transformation.\u003c/p>\n\u003cp>http://www.theguardian.com/commentisfree/2016/apr/27/lil-kim-whiter-look-misogynoir-colourism-anti-blackness\u003c/p>\n\u003cp>And we cap things off with a little respek:\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/X-_cX0yuXTw'\n title='//www.youtube.com/embed/X-_cX0yuXTw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "Why Do Reality TV Stars Insist on Making Music?",
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"content": "\u003cp>[contextly_auto_sidebar]\u003c/p>\n\u003cp>Back in the good old days, the music-career-on-the-side was an endeavor only attempted by actors. The TV actors did it in an attempt to take their careers to the next level -- we’re looking at you, \u003ca href=\"https://www.youtube.com/watch?v=9g5h8jrceec\">Brian Austin Green\u003c/a> and giving you serious side eye, \u003ca href=\"https://www.youtube.com/watch?v=8ti8-vEM3U8\">Uncle Jesse\u003c/a> -- but the movie guys often did it in an attempt to claw back some street cred after accidentally becoming millionaires.\u003c/p>\n\u003cp>In the ‘90s, this meant watching Keanu Reeves staring at his feet in \u003ca href=\"https://www.youtube.com/watch?v=H7TSnE1b-Bs\">Dogstar\u003c/a>, and Johnny Depp collaborating with a Butthole Surfer and trying to look casual about it (that band was called \u003ca href=\"https://www.youtube.com/watch?v=UVKkWvNQzxE\">P\u003c/a>, in case you erased it from memory). At the time, we all assumed these lackluster attempts to break into rock ‘n’ roll were just about the worst things we’d ever deal with in the world of celebrity music crossovers – but that’s because, at the time, reality TV was just a \u003ca href=\"https://vimeo.com/19177327\">\u003cem>Real World\u003c/em>\u003c/a>-shaped twinkle in MTV’s eye.\u003c/p>\n\u003cfigure id=\"attachment_23648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-23648\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/maxresdefault-800x450.jpg\" alt=\"Keanu Reeves, in Dogstar. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keanu Reeves, in Dogstar.\u003c/figcaption>\u003c/figure>\n\u003cp>Since the advent of reality television, however, celebrities who were famous for nothing more than living with a camera crew started consistently assuming that the fastest way to a more credible career was via the medium of music. In the early days, this happened repeatedly and, without fail, each and every reality star thought that their music career would be different; that they somehow would get one over on a public who, they refused to acknowledge, really, really didn’t want to hear them sing in the first place.\u003c/p>\n\u003cp>When this phenomena first started in the early 2000s, it became apparent very quickly that even when reality stars made a real effort to put out something musically solid -- or at least something that wouldn’t immediately get you scrambling to the mute button on your TV--- they were still met with indifference and not a small amount of disapproval from the peanut gallery.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In 2002, emerging on the back of the enormously successful \u003ca href=\"https://en.wikipedia.org/wiki/The_Osbournes\">\u003cem>The Osbournes\u003c/em>\u003c/a>, Kelly Osbourne’s wooden performance in the video for \"\u003ca href=\"https://www.youtube.com/watch?v=WUb5JihqZZQ#t=70\">Papa Don’t Preach\u003c/a>\" might have erred on the side of cringeworthy, but the actual song was on par with -- perhaps even better than --anything Avril Lavigne was doing with more success that year. Osbourne’s follow-up singles, “\u003ca href=\"https://www.youtube.com/watch?v=j8nng0Anvig\">Shut Up\u003c/a>” and “Come Dig Me Out”, certainly out-paced and outsmarted Lavigne’s \"\u003ca href=\"https://www.youtube.com/watch?v=5NPBIwQyPWE\">Complicated\u003c/a>\" and “\u003ca href=\"https://www.youtube.com/watch?v=TIy3n2b7V9k\">Sk8tr Boi\u003c/a>”:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Q_qE8_BHMrI\u003c/p>\n\u003cp>Still it came to naught.\u003c/p>\n\u003cp>A few years later, Paris Hilton -- who occasionally seemed like an actual Real Human Girl in \u003ca href=\"http://www.imdb.com/title/tt0362153/\">\u003cem>The Simple Life\u003c/em>\u003c/a> -- had a crack at music stardom with “Stars Are Blind” -- a song that was received across the board with a kind shrug, a gentle nod and a muttering of “This actually isn’t that bad.” Which, of course, is code for “I’d listen to this song if Gwen Stefani had recorded it.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=joWpYsKere8\u003c/p>\n\u003cp>In 2008, Heidi Montag (poor, dear Heidi Montag) did put some effort into her \u003ca href=\"https://en.wikipedia.org/wiki/The_Hills_(TV_series)\">\u003cem>Hills\u003c/em>\u003c/a>-adjacent foray into music, copying Paris Hilton’s beachy video and being hailed (by people who were surely being paid to do so) as \"\u003ca href=\"https://www.youtube.com/watch?v=wOgA5D10Hvg\">The NEXT Britney Spears!\u003c/a>\" Sadly, Montag's attempts to not sound like a balloon deflating in slow motion failed. (Poor, dear Heidi Montag.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wHZYGrC40Ko\u003c/p>\n\u003cp>All three stars were forced to abandon their music careers shortly after they’d begun, to the disappointment of almost nobody. But what followed was a contagious idea among other reality stars that (a) anyone could have a go, and (b) since it was clearly going to be short-lived, they could just release any old nonsense. The reality star singles that followed were both infuriating in their laziness and -- silver lining! -- a goldmine of unintentional comedy.\u003c/p>\n\u003cp>First, there was Daisy De La Hoya, one of Brett Michaels’ playthings from his (consistently gag-worthy) \u003ca href=\"https://en.wikipedia.org/wiki/Rock_of_Love_with_Bret_Michaels_(season_2)\">\u003cem>Rock Of Love\u003c/em>\u003c/a> dating show. Ms. De La Hoya decided in 2009 that the quickest way to a rock ‘n’ roll career was singing a song titled “Suck It” featuring the immortal refrain: “Girls, they wanna be me! Boys, they wanna do me!” It was just as head-desk terrible as you might imagine, but there was, at least, also a strong possibility that every time you heard this, you laughed until the breath left your lungs.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8tul_1hRphI\u003c/p>\n\u003cp>Not to be outdone on the trashiness scale, \u003ca href=\"https://en.wikipedia.org/wiki/Jersey_Shore_(TV_series)\">\u003cem>Jersey Shore\u003c/em>\u003c/a>’s Pauly D decided to release “Beat Dat Beat” a year later. It was a Pitbull-inspired tropical house nightmare with spoken word sections about tanning, being Italian and “only dealing with 9s and 10s in the DJ booth.” It was like Marky Mark & The Funky Bunch went on a bender, stopped being able to do backflips and just started complaining about ugly people:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=y0Gpt12psAA\u003c/p>\n\u003cp>Just when we thought things couldn’t get worse, Kim Kardashian’s “Jam” half-emerged. That’s right! This atrocity was so bad, not even the Kardashians wanted it released, even after airing \u003ca href=\"https://www.youtube.com/watch?v=d2uzScEbcws\">Kim in the recording studio\u003c/a> during an episode of \u003ca href=\"http://www.eonline.com/shows/kardashians\">\u003cem>Keeping Up With The Kardashians\u003c/em>\u003c/a>. To this day, it’s impossible to find an entirely finished video to accompany the track. Not even The Dream, a vat of body oil and Kim K’s perfect derriere crawling through a service tunnel could disguise the fact that her singing(?) voice was even more profoundly irritating than the one she speaks with. But hey, rosé up in the air, everybody! (ROSÉ!)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gHp7sq1Tzn0\u003c/p>\n\u003cp>Astonishingly, in the years that have followed, we’ve only seen the bar set increasingly lower, thanks almost entirely to the squawking banshees of \u003cem>The Real Housewives\u003c/em> franchise. Here’s New York’s Kim Zolciak with “Tardy For The Party,” closely resembling that friend of your mom’s that always drinks too much on national holidays, then passes out on the front lawn:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gIeb7tY3Z6s\u003c/p>\n\u003cp>Another NYC housewife, Countess Luann, went one step further with “Money Can’t Buy You Class,” a track that features so many layers of Auto-Tune, it sounds like she recorded it with her face submerged in a mop bucket. Money can't buy you talent either, sweet cheeks!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kEDvlSAMhQU\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>Even bit-players from \u003cem>The Real Housewives\u003c/em> got in on recording singles. Do you know who \u003ca href=\"https://www.youtube.com/watch?v=nbRlRUlXWz0#t=20\">Simon Van Kempen\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KUcQq1sbWsM#t=63\">Miss Lawrence\u003c/a> are? We don’t either. But someone let those fools into recording booths because, apparently, being on reality television erases the ability to feel shame. Truly, it would now be an impossibility for a reality star to record anything worse than this exercise in humiliation:\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nbRlRUlXWz0\u003c/p>\n\u003cp>Today, it’s possible for actors to cross over into legitimate and nerd-approved music careers in a way that simply wasn’t permitted a decade ago. Perhaps many actors’ efforts just don’t seem so bad now that we’re so consistently exposed to the bottom of the barrel by reality stars. That’s not to say many people are clamoring to listen to \u003ca href=\"http://www.baconbros.com/\">The Bacon Brothers\u003c/a> or \u003ca href=\"http://kevincostnermodernwest.com/\">Kevin Costner & Modern West\u003c/a>, and sweet baby Jesus, we wish we'd never found out about Jada Pinkett Smith’s metal band, \u003ca href=\"https://www.youtube.com/watch?v=f56ZtXrx_nw\">Wicked Wisdom\u003c/a>.\u003c/p>\n\u003cp>Truthfully, the established actors who have succeeded in recording music that isn’t just tolerable, but legitimately great, have done so by collaborating with respected artists and not pandering to the biggest potential audience. The two best examples are Zooey Deschanel’s collaboration with indie darling M. Ward, for \u003ca href=\"http://www.sheandhim.com/\">She & Him\u003c/a>, and Ryan Gosling’s foray into artsy horror-themed experimentation with the surprisingly excellent \u003ca href=\"https://en.wikipedia.org/wiki/Dead_Man%27s_Bones\">Dead Man’s Bones\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=tpYwHfB7eds\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ni75mYuwvlg\u003c/p>\n\u003cp>What Gosling and Deschanel have in common: You can tell that they’re recording music truthfully and with not a small amount of skill. Neither of them has made their music to get their egos stroked (see Russell Crowe’s \u003ca href=\"https://www.youtube.com/watch?v=lNfomuY2ysg\">30 Odd Foot of Grunts\u003c/a>) or to live out some rock star fantasy (see Jared Leto's \u003ca href=\"https://www.youtube.com/watch?v=Zcps2fJKuAI\">30 Seconds to Mars\u003c/a>) -- they’ve done it because they were compelled to.\u003c/p>\n\u003cp>Last week, reality TV's favorite tattoo artist Kat Von D emerged as a guest vocalist on a single by \u003ca href=\"https://en.wikipedia.org/wiki/Prayers_(rock_duo)\">Prayers\u003c/a>, an underground electro-goth outfit that is garnering a fair amount of underground buzz right now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EnA_ADv9J_8\u003c/p>\n\u003cp>\"\u003ca href=\"https://www.youtube.com/watch?v=EnA_ADv9J_8\">Black Leather\u003c/a>\" is Von D’s first foray into music since promising the world an album in 2014, then never actually coming through with one. If she can forge a path into music following her passions rather than her bank balance, she might actually be the first reality star to pull off a real career in music. Also in her favor is the fact that she’s no longer on our televisions every day -- \u003ca href=\"http://www.tlc.com/tv-shows/la-ink/\">\u003cem>LA Ink\u003c/em>\u003c/a> ended all the way back in 2011, and that fact alone gives Von D a shot.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=GV-v2FDhHbI\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Kat Von D is certainly, currently, the reality star most likely to succeed when it comes to branching out into music (she has a multitude of musician friends in respected places and can play actual instruments). But if she can’t do it? Well, I'm not holding my breath -- but it'd be nice to see this trend come to an end, once and for all.\u003c/p>\n\n",
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"excerpt": "A look back at the few hits (and a whole lot of misses) from TV stars who've decided to get musical. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>[contextly_auto_sidebar]\u003c/p>\n\u003cp>Back in the good old days, the music-career-on-the-side was an endeavor only attempted by actors. The TV actors did it in an attempt to take their careers to the next level -- we’re looking at you, \u003ca href=\"https://www.youtube.com/watch?v=9g5h8jrceec\">Brian Austin Green\u003c/a> and giving you serious side eye, \u003ca href=\"https://www.youtube.com/watch?v=8ti8-vEM3U8\">Uncle Jesse\u003c/a> -- but the movie guys often did it in an attempt to claw back some street cred after accidentally becoming millionaires.\u003c/p>\n\u003cp>In the ‘90s, this meant watching Keanu Reeves staring at his feet in \u003ca href=\"https://www.youtube.com/watch?v=H7TSnE1b-Bs\">Dogstar\u003c/a>, and Johnny Depp collaborating with a Butthole Surfer and trying to look casual about it (that band was called \u003ca href=\"https://www.youtube.com/watch?v=UVKkWvNQzxE\">P\u003c/a>, in case you erased it from memory). At the time, we all assumed these lackluster attempts to break into rock ‘n’ roll were just about the worst things we’d ever deal with in the world of celebrity music crossovers – but that’s because, at the time, reality TV was just a \u003ca href=\"https://vimeo.com/19177327\">\u003cem>Real World\u003c/em>\u003c/a>-shaped twinkle in MTV’s eye.\u003c/p>\n\u003cfigure id=\"attachment_23648\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg class=\"size-medium wp-image-23648\" src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/04/maxresdefault-800x450.jpg\" alt=\"Keanu Reeves, in Dogstar. \" width=\"800\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-800x450.jpg 800w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-400x225.jpg 400w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-768x432.jpg 768w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-1180x664.jpg 1180w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault-960x540.jpg 960w, https://ww2.kqed.org/app/uploads/sites/12/2016/04/maxresdefault.jpg 1280w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keanu Reeves, in Dogstar.\u003c/figcaption>\u003c/figure>\n\u003cp>Since the advent of reality television, however, celebrities who were famous for nothing more than living with a camera crew started consistently assuming that the fastest way to a more credible career was via the medium of music. In the early days, this happened repeatedly and, without fail, each and every reality star thought that their music career would be different; that they somehow would get one over on a public who, they refused to acknowledge, really, really didn’t want to hear them sing in the first place.\u003c/p>\n\u003cp>When this phenomena first started in the early 2000s, it became apparent very quickly that even when reality stars made a real effort to put out something musically solid -- or at least something that wouldn’t immediately get you scrambling to the mute button on your TV--- they were still met with indifference and not a small amount of disapproval from the peanut gallery.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In 2002, emerging on the back of the enormously successful \u003ca href=\"https://en.wikipedia.org/wiki/The_Osbournes\">\u003cem>The Osbournes\u003c/em>\u003c/a>, Kelly Osbourne’s wooden performance in the video for \"\u003ca href=\"https://www.youtube.com/watch?v=WUb5JihqZZQ#t=70\">Papa Don’t Preach\u003c/a>\" might have erred on the side of cringeworthy, but the actual song was on par with -- perhaps even better than --anything Avril Lavigne was doing with more success that year. Osbourne’s follow-up singles, “\u003ca href=\"https://www.youtube.com/watch?v=j8nng0Anvig\">Shut Up\u003c/a>” and “Come Dig Me Out”, certainly out-paced and outsmarted Lavigne’s \"\u003ca href=\"https://www.youtube.com/watch?v=5NPBIwQyPWE\">Complicated\u003c/a>\" and “\u003ca href=\"https://www.youtube.com/watch?v=TIy3n2b7V9k\">Sk8tr Boi\u003c/a>”:\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/Q_qE8_BHMrI'\n title='//www.youtube.com/embed/Q_qE8_BHMrI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Still it came to naught.\u003c/p>\n\u003cp>A few years later, Paris Hilton -- who occasionally seemed like an actual Real Human Girl in \u003ca href=\"http://www.imdb.com/title/tt0362153/\">\u003cem>The Simple Life\u003c/em>\u003c/a> -- had a crack at music stardom with “Stars Are Blind” -- a song that was received across the board with a kind shrug, a gentle nod and a muttering of “This actually isn’t that bad.” Which, of course, is code for “I’d listen to this song if Gwen Stefani had recorded it.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/joWpYsKere8'\n title='//www.youtube.com/embed/joWpYsKere8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 2008, Heidi Montag (poor, dear Heidi Montag) did put some effort into her \u003ca href=\"https://en.wikipedia.org/wiki/The_Hills_(TV_series)\">\u003cem>Hills\u003c/em>\u003c/a>-adjacent foray into music, copying Paris Hilton’s beachy video and being hailed (by people who were surely being paid to do so) as \"\u003ca href=\"https://www.youtube.com/watch?v=wOgA5D10Hvg\">The NEXT Britney Spears!\u003c/a>\" Sadly, Montag's attempts to not sound like a balloon deflating in slow motion failed. (Poor, dear Heidi Montag.)\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/wHZYGrC40Ko'\n title='//www.youtube.com/embed/wHZYGrC40Ko'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>All three stars were forced to abandon their music careers shortly after they’d begun, to the disappointment of almost nobody. But what followed was a contagious idea among other reality stars that (a) anyone could have a go, and (b) since it was clearly going to be short-lived, they could just release any old nonsense. The reality star singles that followed were both infuriating in their laziness and -- silver lining! -- a goldmine of unintentional comedy.\u003c/p>\n\u003cp>First, there was Daisy De La Hoya, one of Brett Michaels’ playthings from his (consistently gag-worthy) \u003ca href=\"https://en.wikipedia.org/wiki/Rock_of_Love_with_Bret_Michaels_(season_2)\">\u003cem>Rock Of Love\u003c/em>\u003c/a> dating show. Ms. De La Hoya decided in 2009 that the quickest way to a rock ‘n’ roll career was singing a song titled “Suck It” featuring the immortal refrain: “Girls, they wanna be me! Boys, they wanna do me!” It was just as head-desk terrible as you might imagine, but there was, at least, also a strong possibility that every time you heard this, you laughed until the breath left your lungs.\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/8tul_1hRphI'\n title='//www.youtube.com/embed/8tul_1hRphI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Not to be outdone on the trashiness scale, \u003ca href=\"https://en.wikipedia.org/wiki/Jersey_Shore_(TV_series)\">\u003cem>Jersey Shore\u003c/em>\u003c/a>’s Pauly D decided to release “Beat Dat Beat” a year later. It was a Pitbull-inspired tropical house nightmare with spoken word sections about tanning, being Italian and “only dealing with 9s and 10s in the DJ booth.” It was like Marky Mark & The Funky Bunch went on a bender, stopped being able to do backflips and just started complaining about ugly people:\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/y0Gpt12psAA'\n title='//www.youtube.com/embed/y0Gpt12psAA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Just when we thought things couldn’t get worse, Kim Kardashian’s “Jam” half-emerged. That’s right! This atrocity was so bad, not even the Kardashians wanted it released, even after airing \u003ca href=\"https://www.youtube.com/watch?v=d2uzScEbcws\">Kim in the recording studio\u003c/a> during an episode of \u003ca href=\"http://www.eonline.com/shows/kardashians\">\u003cem>Keeping Up With The Kardashians\u003c/em>\u003c/a>. To this day, it’s impossible to find an entirely finished video to accompany the track. Not even The Dream, a vat of body oil and Kim K’s perfect derriere crawling through a service tunnel could disguise the fact that her singing(?) voice was even more profoundly irritating than the one she speaks with. But hey, rosé up in the air, everybody! (ROSÉ!)\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/gHp7sq1Tzn0'\n title='//www.youtube.com/embed/gHp7sq1Tzn0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Astonishingly, in the years that have followed, we’ve only seen the bar set increasingly lower, thanks almost entirely to the squawking banshees of \u003cem>The Real Housewives\u003c/em> franchise. Here’s New York’s Kim Zolciak with “Tardy For The Party,” closely resembling that friend of your mom’s that always drinks too much on national holidays, then passes out on the front lawn:\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/gIeb7tY3Z6s'\n title='//www.youtube.com/embed/gIeb7tY3Z6s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Another NYC housewife, Countess Luann, went one step further with “Money Can’t Buy You Class,” a track that features so many layers of Auto-Tune, it sounds like she recorded it with her face submerged in a mop bucket. Money can't buy you talent either, sweet cheeks!\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/kEDvlSAMhQU'\n title='//www.youtube.com/embed/kEDvlSAMhQU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp> \u003c/p>\n\u003cp>Even bit-players from \u003cem>The Real Housewives\u003c/em> got in on recording singles. Do you know who \u003ca href=\"https://www.youtube.com/watch?v=nbRlRUlXWz0#t=20\">Simon Van Kempen\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=KUcQq1sbWsM#t=63\">Miss Lawrence\u003c/a> are? We don’t either. But someone let those fools into recording booths because, apparently, being on reality television erases the ability to feel shame. Truly, it would now be an impossibility for a reality star to record anything worse than this exercise in humiliation:\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/nbRlRUlXWz0'\n title='//www.youtube.com/embed/nbRlRUlXWz0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Today, it’s possible for actors to cross over into legitimate and nerd-approved music careers in a way that simply wasn’t permitted a decade ago. Perhaps many actors’ efforts just don’t seem so bad now that we’re so consistently exposed to the bottom of the barrel by reality stars. That’s not to say many people are clamoring to listen to \u003ca href=\"http://www.baconbros.com/\">The Bacon Brothers\u003c/a> or \u003ca href=\"http://kevincostnermodernwest.com/\">Kevin Costner & Modern West\u003c/a>, and sweet baby Jesus, we wish we'd never found out about Jada Pinkett Smith’s metal band, \u003ca href=\"https://www.youtube.com/watch?v=f56ZtXrx_nw\">Wicked Wisdom\u003c/a>.\u003c/p>\n\u003cp>Truthfully, the established actors who have succeeded in recording music that isn’t just tolerable, but legitimately great, have done so by collaborating with respected artists and not pandering to the biggest potential audience. The two best examples are Zooey Deschanel’s collaboration with indie darling M. Ward, for \u003ca href=\"http://www.sheandhim.com/\">She & Him\u003c/a>, and Ryan Gosling’s foray into artsy horror-themed experimentation with the surprisingly excellent \u003ca href=\"https://en.wikipedia.org/wiki/Dead_Man%27s_Bones\">Dead Man’s Bones\u003c/a>.\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/tpYwHfB7eds'\n title='//www.youtube.com/embed/tpYwHfB7eds'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>https://www.youtube.com/watch?v=Ni75mYuwvlg\u003c/p>\n\u003cp>What Gosling and Deschanel have in common: You can tell that they’re recording music truthfully and with not a small amount of skill. Neither of them has made their music to get their egos stroked (see Russell Crowe’s \u003ca href=\"https://www.youtube.com/watch?v=lNfomuY2ysg\">30 Odd Foot of Grunts\u003c/a>) or to live out some rock star fantasy (see Jared Leto's \u003ca href=\"https://www.youtube.com/watch?v=Zcps2fJKuAI\">30 Seconds to Mars\u003c/a>) -- they’ve done it because they were compelled to.\u003c/p>\n\u003cp>Last week, reality TV's favorite tattoo artist Kat Von D emerged as a guest vocalist on a single by \u003ca href=\"https://en.wikipedia.org/wiki/Prayers_(rock_duo)\">Prayers\u003c/a>, an underground electro-goth outfit that is garnering a fair amount of underground buzz right now.\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/EnA_ADv9J_8'\n title='//www.youtube.com/embed/EnA_ADv9J_8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\"\u003ca href=\"https://www.youtube.com/watch?v=EnA_ADv9J_8\">Black Leather\u003c/a>\" is Von D’s first foray into music since promising the world an album in 2014, then never actually coming through with one. If she can forge a path into music following her passions rather than her bank balance, she might actually be the first reality star to pull off a real career in music. Also in her favor is the fact that she’s no longer on our televisions every day -- \u003ca href=\"http://www.tlc.com/tv-shows/la-ink/\">\u003cem>LA Ink\u003c/em>\u003c/a> ended all the way back in 2011, and that fact alone gives Von D a shot.\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/GV-v2FDhHbI'\n title='//www.youtube.com/embed/GV-v2FDhHbI'\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>Kat Von D is certainly, currently, the reality star most likely to succeed when it comes to branching out into music (she has a multitude of musician friends in respected places and can play actual instruments). But if she can’t do it? Well, I'm not holding my breath -- but it'd be nice to see this trend come to an end, once and for all.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Comcast is buying DreamWorks Animation, the film company behind the \u003cem>Shrek\u003c/em>, \u003cem>Madagascar\u003c/em> and \u003cem>Kung Fu Panda\u003c/em> franchises, for approximately $3.55 billion, strengthening its presence in the important and growing business of children’s entertainment.\u003c/p>\n\u003cp>DreamWorks stockholders will receive $41 for each share they own. That’s a 24 percent premium to the company’s Wednesday closing price of $32.20. The companies put the deal’s value at about $3.8 billion.\u003c/p>\n\u003cp>DreamWorks will become part of the Universal Filmed Entertainment Group, which includes Universal Pictures. The studio has churned out hit animated movies through its Illumination label, including the \u003cem>Minions \u003c/em>sequel and it has some Dr. Seuss projects in the works such as \u003cem>How the Grinch Stole Christmas\u003c/em>.\u003c/p>\n\u003cp>The nation’s largest cable company said the deal gives NBCUniversal, a unit of Comcast Corp., a “broader reach to a host of new audiences in the highly competitive kids and family entertainment space, in both TV and film.” In addition to the cartoon franchises, DreamWorks also owns what Comcast called a “thriving TV operation” with its AwesomenessTV network of online video creators and a lengthy contract to create shows for Netflix.\u003c/p>\n\u003cp>The deal solves what Cowen and Co. analyst Doug Creutz “would have been a very difficult succession plan had DWA remained independent, as to a certain extent we think the company had been held together purely through (CEO Jeffrey) Katzenberg’s force of will.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The analyst said that while he is “skeptical about the strategic logic” for Comcast in inking the deal, it is an excellent one for DreamWorks.\u003c/p>\n\u003cp>“Despite some positive recent developments with TV production and the Awesomeness asset, DWA remains a company that has not generated significant earnings since 2010,” Creutz wrote. “We think DWA is worth far less than either Marvel or Lucasfilm, for which Disney paid comparable prices when they acquired those companies.”\u003c/p>\n\u003cp>Once the deal closes, DreamWorks co-founder and CEO Katzenberg will become chairman of DreamWorks New Media. He’ll also serve as a consultant to NBCUniversal. Creutz called it a “happy exit.” Katzenberg owned nearly 10 million shares — meaning he’ll receive over $400 million — and controlled 60 percent of the voting shares in the company, which spun off from DreamWorks Pictures as a publicly traded company in 2004. DreamWorks Pictures, backed by Steven Spielberg, produces live action movies like “Bridge of Spies” and is not part of the deal.\u003c/p>\n\u003cp>Earlier this year, DreamWorks expanded a licensing deal with Netflix Inc. to have the online video service feature more of its series and movies. The expanded licensing agreement announced in January allows Netflix to showcase several new DreamWorks series, including “Trollhunters,” a fantasy created by acclaimed movie director Guillermo del Toro. The deal gives Netflix more video likely to appeal to children, an audience segment that has played an important role in its growing its service to 81.5 million subscribers in the first quarter.\u003c/p>\n\u003cp>The boards of both Comcast and DreamWorks have approved the transaction, which is targeted to close by year’s end.\u003c/p>\n\u003cp>Shares of DreamWorks Animation SKG Inc. leapt $7.76, or 24 percent, to $39.97 while Comcast added 9 cents to $61.39 in afternoon trading.\u003c/p>\n\u003cp>______\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2016 The Associated Press. All rights reserved. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comcast is buying DreamWorks Animation, the film company behind the \u003cem>Shrek\u003c/em>, \u003cem>Madagascar\u003c/em> and \u003cem>Kung Fu Panda\u003c/em> franchises, for approximately $3.55 billion, strengthening its presence in the important and growing business of children’s entertainment.\u003c/p>\n\u003cp>DreamWorks stockholders will receive $41 for each share they own. That’s a 24 percent premium to the company’s Wednesday closing price of $32.20. The companies put the deal’s value at about $3.8 billion.\u003c/p>\n\u003cp>DreamWorks will become part of the Universal Filmed Entertainment Group, which includes Universal Pictures. The studio has churned out hit animated movies through its Illumination label, including the \u003cem>Minions \u003c/em>sequel and it has some Dr. Seuss projects in the works such as \u003cem>How the Grinch Stole Christmas\u003c/em>.\u003c/p>\n\u003cp>The nation’s largest cable company said the deal gives NBCUniversal, a unit of Comcast Corp., a “broader reach to a host of new audiences in the highly competitive kids and family entertainment space, in both TV and film.” In addition to the cartoon franchises, DreamWorks also owns what Comcast called a “thriving TV operation” with its AwesomenessTV network of online video creators and a lengthy contract to create shows for Netflix.\u003c/p>\n\u003cp>The deal solves what Cowen and Co. analyst Doug Creutz “would have been a very difficult succession plan had DWA remained independent, as to a certain extent we think the company had been held together purely through (CEO Jeffrey) Katzenberg’s force of will.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>http://ww2.kqed.org/pop/2016/04/24/beyonce-11-lemonade-lyrics-that-have-jay-z-researching-witness-protection-programs/\u003c/p>\n\u003cp>And we cap things off with a musical bridge between these two legends -- their joint Grammys performance from 2004:\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/YOs_XbVZUiA'\n title='//www.youtube.com/embed/YOs_XbVZUiA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Until next week!\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://itunes.apple.com/us/podcast/id1041117499\" target=\"_blank\">Subscribe and rate us in iTunes\u003c/a>! And find us on \u003ca href=\"https://www.facebook.com/KQED-Pop-336039936485067/timeline/\" target=\"_blank\">Facebook\u003c/a> and \u003ca href=\"https://twitter.com/kqedpop\" target=\"_blank\">Twitter\u003c/a>!\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/261294973&color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[contextly_sidebar id=\"87VcCSNYf0uckIVqBivtSqA0Q5zsjYtd\"]So by now, you've either seen \u003cem>LEMONADE\u003c/em>, heard it or \u003ca href=\"http://ww2.kqed.org/pop/2016/04/23/the-best-twitter-reactions-to-beyonces-visual-album-lemonade/\" target=\"_blank\">just read all about it on Twitter\u003c/a>. In addition to being a bold feminist exploration and celebration of what it means to be a black woman in America, the visual album is also a raw look at distrust, infidelity, and the limits of love. Two-thirds of the album deal with grief and anger over being cheated on, and the specter of divorce looms large. While watching, one expected Beyoncé to surprise drop divorce papers right afterward.\u003c/p>\n\u003cp>If all of this feels familiar, it's because we've been here before with these two. The year was 2014. The couple were in the midst of their joint \u003cem>On the Run\u003c/em> tour. And Beyonce was not happy (or so she wanted us to believe).\u003c/p>\n\u003cp>Every night, she would appear on stage wearing a wedding gown and would tearfully sing a song called \"Resentment,\" which featured lyrics like \"I’ll always remember feeling like I was no good / Like I couldn’t do it for you like that wack bitch could” and “Been ridin’ with you for 12 years / I gotta look at her in her eyes and see she’s had half of me. She ain’t even half of me. That bitch will never be.” She also covered Lauryn Hill's \"Ex Factor\", mournfully singing its mantra of “It ain’t workin, it ain’t workin.” And Jay Z got in on the action too with a line from \"Song Cry\": “I can understand why you want a divorce now.”\u003c/p>\n\u003cp>Everyone was convinced a divorce was imminent and fans clamored to buy tickets to the tour to witness the most prominent marriage in the world crumble before their eyes. We had been there to see them strut their young love back in 2003 in the music video for Bey's debut single \"Crazy In Love,\" we were there when they revealed the Blue Ivy pregnancy at a live awards show, we watched them love up on each other on yachts every time they went on vacation. So it was only natural, in a twisted, parasitic way, to also be there for their undoing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it all ended up being a marketing scheme. They're still together two years later. And they're still together, despite the insane breakup rollercoaster that is \u003cem>LEMONADE\u003c/em>. While manipulating us with this same narrative twice seemed cheap to me at first, ultimately, there is crafty artistic brilliance underneath it all.\u003c/p>\n\u003cp>Back in 2014, \u003ca href=\"http://ww2.kqed.org/pop/2014/08/07/beyonce-and-jay-z-divorce-on-the-run-tour-san-francisco/\" target=\"_blank\">I wrote\u003c/a> the following and it still stands:\u003c/p>\n\u003cblockquote>\u003cp>This entire divorce thing is part publicity stunt, part performance art. Messing with the idea of their marriage and family for profit [is] a cynical move, but perhaps there are two marriages at work here, the one they live at home and the one they live for us on stage. Maybe they feel fine messing with our conception of them because, at the end of the day, we \u003cem>don’t\u003c/em> know them; it’s all fiction. And what makes better fiction than a plot twist or a heartbreaking betrayal? As much as we are obsessed with happily ever after, we sure do get bored of it pretty quickly.\u003c/p>\n\u003cp>Maybe the fantasy they package and present to us holds no real value in their day-to-day reality; maybe they are just playing characters in a modern day opera, putting on the show they know we want to see.\u003c/p>\u003c/blockquote>\n\u003cp>And \u003cem>LEMONADE\u003c/em> definitely delivered in that regard, putting on an operatic spectacle that'll be remembered as a defining moment in music history.\u003c/p>\n\u003cp>So is this the real life? Or is this just fantasy? Who knows and who cares, when it's this genius.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003cem>Thirsty for more LEMONADE? Read up:\u003c/em>\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/04/24/beyonce-11-lemonade-lyrics-that-have-jay-z-researching-witness-protection-programs/\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>http://ww2.kqed.org/pop/2016/04/23/the-best-twitter-reactions-to-beyonces-visual-album-lemonade/\u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"pbs-newshour": {
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},
"perspectives": {
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"order": 14
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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