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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It offered a soft haven for kids, in sharp contrast to the louder, more animated competition. The final episode of what his widow called “a comfortable lap” aired in August 2001.\u003c/p>\n\u003cp>PBS stations around the country still air “Mister Rogers’ Neighborhood” and some can be found on the PBS Kids video app. There are DVD collections on Amazon and episodes stream on Amazon Prime.\u003c/p>\n\u003cp>Fred Rogers’ effect on popular culture was profound: Eddie Murphy parodied him on “Saturday Night Live” in the 1980s and one of Rogers’ trademark zip-up sweaters hangs in the Smithsonian’s National Museum of American History. He’s had a category dedicated to him on “Jeopardy.”\u003c/p>\n\u003cp>2018, the 50th anniversary of when Rogers first appeared on TV screens, prompted a PBS special, a new postage stamp, the feature-length documentary “Won’t You Be My Neighbor?” and, a year later, the Tom Hanks-led biopic “A Beautiful Day in the Neighborhood.”\u003c/p>\n\u003cp>Born Sara Joanne Byrd in 1928, Joanne Rogers met her future husband at Rollins College in Florida. After Fred Rogers’ death, she helped develop the Fred Rogers Center Center for Early Learning and Children’s Media at St. Vincent College in his hometown of Latrobe, Pennsylvania.\u003c/p>\n\u003cp>“Joanne and Fred were Pennsylvania treasures committed to improving our communities and the lives of our children. We will never forget their legacy of kindness,” Pennsylvania Gov. Tom Wolf said in a statement.\u003c/p>\n\u003cp>She is survived by two sons, James Byrd Rogers and John Rogers.\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Associated Press reporter Michael Rubinkam contributed to this report from Pennsylvania.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Like many kids in the 1980s, I grew up learning how to accept whom I was by watching \u003cem>Mister Rogers’ Neighborhood\u003c/em>.\u003c/p>\n\u003cp>I remember it all: the trolley, the fish tank, the cardigans, the ritual changing of the shoes. Then there were the people who made the show so memorable: Mister Rogers, Lady Aberlin, Mr. McFeely and, of course, Officer Clemmons.\u003c/p>\n\u003cfigure id=\"attachment_13879709\" class=\"wp-caption alignright\" style=\"max-width: 296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM.png\" alt=\"‘Officer Clemmons: More Than a Song,’ by François S. Clemmons\" width=\"296\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM.png 296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM-160x243.png 160w\" sizes=\"auto, (max-width: 296px) 100vw, 296px\">\u003cfigcaption class=\"wp-caption-text\">‘Officer Clemmons: More Than a Song,’ by François S. Clemmons\u003c/figcaption>\u003c/figure>\n\u003cp>Now we have an occasion to talk about the man behind Officer Clemmons—Dr. François S. Clemmons—whose ambition, artistry, pain and struggle informed the character. I admit I was a little wary of reviewing \u003cem>Officer Clemmons: A Memoir\u003c/em> at first—because if I didn’t like it, I would be professionally obligated to say so. Then I would have to pan a book by a man who played an important role in a children’s program central to my childhood—and, well, I didn’t want to be that guy.\u003c/p>\n\u003cp>The good news is that it’s quite a good book, full of resonant moments and artistic insights, with only a few overly explanatory passages. Clemmons’ memoir is often disarming in its intimacy and honesty. He vividly recalls his struggle with his homosexuality and his surviving of frequent racism—in some of the book’s most affecting and powerful moments—as well as his noteworthy career ascent in musical performance.\u003c/p>\n\u003cp>He also lays out why and how he set out to write his memoir in the first place. Of all the writing on Fred Rogers, he notes, none of it was written by a “black, gay, ordained person of the theater” who had spent decades working with arguably the most famous and highly regarded person in children’s programming. “Our relationship,” Clemmons writes, “was sustained, intense, and elbow-to-elbow. For me, you [Rogers] fulfilled the role of mentor, fan, and surrogate father.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Clemmons was born in the rural South and, as a boy, moved with his family to Youngstown, Ohio. From childhood to adolescence, pain, racism, and homophobia were regular obstacles in Clemmons’ life. Yet the imagination and dedication to art he cultivated early in his life set him on a path forward. He steadily made progress toward his musical goals by leaving, for him, the stifling grimness of Youngstown and opening a new chapter of his life at the highly regarded conservatory at Oberlin College.\u003c/p>\n\u003cp>Then he met Fred Rogers, while pursuing graduate studies in music at Carnegie Mellon and singing at Third Presbyterian Church in Pittsburgh. He writes:\u003c/p>\n\u003cblockquote>\u003cp>“My clearest memory of that occasion was of Fred Rogers’s sincerity and the deep look, bordering on passion, in his gentle blue eyes. He nailed me when he took my hand, turned his head slightly, and paused, as though he was waiting for me to say something. I waited too, because it was he who had come over to talk to me. He took his time and spoke of my lovely voice, my compelling interpretations, and the genuine effect the songs had had on him during the service. I smiled and returned his warmth and sincerity. It was easy to accept his praise. There was something serious yet comforting and disarming about him. His eyes hugged me without touching me.”\u003c/p>\u003c/blockquote>\n\u003cp>Even though Rogers had an undeniably unique way of distilling complex emotions into humanistic balm, his relationship with Clemmons couldn’t help but be a little complicated. Clemmons, for instance, expressed reservations about performing in the role of a police officer, given the levels of historical distrust African Americans have rightly felt for many in law enforcement. Clemmons also recounts a time Rogers, out of concern for the public viability of his show and Clemmons’ career during a time prior to broader LGTBQ acceptance, encouraged Clemmons to consider staying in the closet and maybe even marrying a woman. He writes that Rogers told him:\u003c/p>\n\u003cblockquote>\u003cp>“I want you to know Franç, that if you’re gay, it doesn’t matter to me at all. Whatever you say and do is fine with me, but if you’re going to be on the show as an important member of \u003cem>The Neighborhood\u003c/em>, you can’t be out as gay…I wish it were different, but you can’t have it both ways. Not now anyway. Talent can give you so much in this life, but that sexuality thing can take it all away.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s a complicated situation, but it’s even more distressing and tragic to consider it from Clemmons’ perspective.\u003c/p>\n\u003cp>But even after he moved to New York City in pursuit of opera, Clemmons still flew back to Pittsburgh to film episodes of the show, owing to a feeling of dedication to Fred Rogers and his mission. He shared Rogers’ seriousness of purpose, his commitment to producing something meaningful for the personal and spiritual enrichment of others. And his trust in Rogers’ mentorship grew slowly over time. “I found it hard to believe,” he writes, “that a white man would make that kind of deep commitment to a black man like myself. It was like a lifetime commitment to me… Mentorship was for life in my humble opinion, and that was Fred.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=bWUCowuKS40\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>To so many, Dr. François S. Clemmons was Officer Clemmons from \u003cem>Mister Rogers’ Neighborhood\u003c/em>—a place where make-believe was about building self-knowledge through love, patience, and the embrace of every person’s uniquely vulnerable humanity. But the show wasn’t Clemmons’ story—this memoir is. In the book, he doesn’t ask you to be his neighbor, but rather just to hear his story: One of a man of profound strength and talent who stood up, sang out, and, after great struggle, was heard.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like many kids in the 1980s, I grew up learning how to accept whom I was by watching \u003cem>Mister Rogers’ Neighborhood\u003c/em>.\u003c/p>\n\u003cp>I remember it all: the trolley, the fish tank, the cardigans, the ritual changing of the shoes. Then there were the people who made the show so memorable: Mister Rogers, Lady Aberlin, Mr. McFeely and, of course, Officer Clemmons.\u003c/p>\n\u003cfigure id=\"attachment_13879709\" class=\"wp-caption alignright\" style=\"max-width: 296px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13879709\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM.png\" alt=\"‘Officer Clemmons: More Than a Song,’ by François S. Clemmons\" width=\"296\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM.png 296w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/05/Screen-Shot-2020-05-04-at-1.38.05-PM-160x243.png 160w\" sizes=\"auto, (max-width: 296px) 100vw, 296px\">\u003cfigcaption class=\"wp-caption-text\">‘Officer Clemmons: More Than a Song,’ by François S. Clemmons\u003c/figcaption>\u003c/figure>\n\u003cp>Now we have an occasion to talk about the man behind Officer Clemmons—Dr. François S. Clemmons—whose ambition, artistry, pain and struggle informed the character. I admit I was a little wary of reviewing \u003cem>Officer Clemmons: A Memoir\u003c/em> at first—because if I didn’t like it, I would be professionally obligated to say so. Then I would have to pan a book by a man who played an important role in a children’s program central to my childhood—and, well, I didn’t want to be that guy.\u003c/p>\n\u003cp>The good news is that it’s quite a good book, full of resonant moments and artistic insights, with only a few overly explanatory passages. Clemmons’ memoir is often disarming in its intimacy and honesty. He vividly recalls his struggle with his homosexuality and his surviving of frequent racism—in some of the book’s most affecting and powerful moments—as well as his noteworthy career ascent in musical performance.\u003c/p>\n\u003cp>He also lays out why and how he set out to write his memoir in the first place. Of all the writing on Fred Rogers, he notes, none of it was written by a “black, gay, ordained person of the theater” who had spent decades working with arguably the most famous and highly regarded person in children’s programming. “Our relationship,” Clemmons writes, “was sustained, intense, and elbow-to-elbow. For me, you [Rogers] fulfilled the role of mentor, fan, and surrogate father.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Clemmons was born in the rural South and, as a boy, moved with his family to Youngstown, Ohio. From childhood to adolescence, pain, racism, and homophobia were regular obstacles in Clemmons’ life. Yet the imagination and dedication to art he cultivated early in his life set him on a path forward. He steadily made progress toward his musical goals by leaving, for him, the stifling grimness of Youngstown and opening a new chapter of his life at the highly regarded conservatory at Oberlin College.\u003c/p>\n\u003cp>Then he met Fred Rogers, while pursuing graduate studies in music at Carnegie Mellon and singing at Third Presbyterian Church in Pittsburgh. He writes:\u003c/p>\n\u003cblockquote>\u003cp>“My clearest memory of that occasion was of Fred Rogers’s sincerity and the deep look, bordering on passion, in his gentle blue eyes. He nailed me when he took my hand, turned his head slightly, and paused, as though he was waiting for me to say something. I waited too, because it was he who had come over to talk to me. He took his time and spoke of my lovely voice, my compelling interpretations, and the genuine effect the songs had had on him during the service. I smiled and returned his warmth and sincerity. It was easy to accept his praise. There was something serious yet comforting and disarming about him. His eyes hugged me without touching me.”\u003c/p>\u003c/blockquote>\n\u003cp>Even though Rogers had an undeniably unique way of distilling complex emotions into humanistic balm, his relationship with Clemmons couldn’t help but be a little complicated. Clemmons, for instance, expressed reservations about performing in the role of a police officer, given the levels of historical distrust African Americans have rightly felt for many in law enforcement. Clemmons also recounts a time Rogers, out of concern for the public viability of his show and Clemmons’ career during a time prior to broader LGTBQ acceptance, encouraged Clemmons to consider staying in the closet and maybe even marrying a woman. He writes that Rogers told him:\u003c/p>\n\u003cblockquote>\u003cp>“I want you to know Franç, that if you’re gay, it doesn’t matter to me at all. Whatever you say and do is fine with me, but if you’re going to be on the show as an important member of \u003cem>The Neighborhood\u003c/em>, you can’t be out as gay…I wish it were different, but you can’t have it both ways. Not now anyway. Talent can give you so much in this life, but that sexuality thing can take it all away.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s a complicated situation, but it’s even more distressing and tragic to consider it from Clemmons’ perspective.\u003c/p>\n\u003cp>But even after he moved to New York City in pursuit of opera, Clemmons still flew back to Pittsburgh to film episodes of the show, owing to a feeling of dedication to Fred Rogers and his mission. He shared Rogers’ seriousness of purpose, his commitment to producing something meaningful for the personal and spiritual enrichment of others. And his trust in Rogers’ mentorship grew slowly over time. “I found it hard to believe,” he writes, “that a white man would make that kind of deep commitment to a black man like myself. It was like a lifetime commitment to me… Mentorship was for life in my humble opinion, and that was Fred.”\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/bWUCowuKS40'\n title='//www.youtube.com/embed/bWUCowuKS40'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>To so many, Dr. François S. Clemmons was Officer Clemmons from \u003cem>Mister Rogers’ Neighborhood\u003c/em>—a place where make-believe was about building self-knowledge through love, patience, and the embrace of every person’s uniquely vulnerable humanity. But the show wasn’t Clemmons’ story—this memoir is. In the book, he doesn’t ask you to be his neighbor, but rather just to hear his story: One of a man of profound strength and talent who stood up, sang out, and, after great struggle, was heard.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2020 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Officer+Clemmons%2C+Mister+Rogers%27+Neighborhood+Policeman+Pal%2C+Tells+His+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kelly Clarkson and Fred Rogers. Both are much-loved national treasures who embody family values and wholesome hearts. So it made perfect sense on Tuesday when everyone’s favorite \u003cem>American Idol\u003c/em> winner covered Mister Rogers’ classic “Won’t You Be My Neighbor?”\u003c/p>\n\u003cp>Clarkson gave the theme tune a soulful, easy listening vibe as part of her \u003ca href=\"https://www.nbc.com/kelly-clarkson-show\" target=\"_blank\" rel=\"noopener noreferrer\">daytime talk show\u003c/a> on NBC. The cover was chosen to tie in with Tuesday’s guest, Tom Hanks, who was appearing in support of his role playing Rogers in the new movie \u003ca href=\"https://www.imdb.com/title/tt3224458/\" target=\"_blank\" rel=\"noopener noreferrer\">\u003cem>A Beautiful Day in the Neighborhood\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>You can hear Kelly’s laid back jazzy take on the song below. (And if you pay close attention, you’ll notice some very special outfits in the audience…)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Nngz6cAKsaE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>On the face of it, director Marielle Heller’s exhilaratingly impolite indie resume doesn’t make her an intuitive fit for a movie about the nicest man in the world — let alone a big studio picture starring nice Tom Hanks.\u003c/p>\n\u003cp>Heller’s 2015 feature debut, \u003cem>The Diary of a Teenage Girl\u003c/em>, was voiced by a sorry-not-sorry young woman who initiates an affair with her mother’s boyfriend. In her second, last year’s \u003cem>Can You Ever Forgive Me?\u003c/em>, Heller cast the beloved Melissa McCarthy as the robustly unlikable real-life literary forger Lee Israel. Next to Mister Rogers — in the eyes of many, a saint and a children’s hero — these two seem not to stack up.\u003c/p>\n\u003cp>Heller is not much into saints, but she delights in ill-fitting outliers. And Fred Rogers, in his slow and soft-voiced way, was a willing anachronism to the brash new late-sixties world that greeted the arrival on PBS of his earnestly old-fangled children’s television show, \u003cem>Mr. Rogers’ Neighborhood\u003c/em>. Rogers’ real-life buddy, journalist Tom Junod (Matthew Rhys plays Junod’s cinematic stand-in “Lloyd Vogel” in Heller’s film) lovingly described the kid-show-host as “a rather peculiar man.”\u003c/p>\n\u003cp> [aside tag='fred-rogers, mister-rogers, fredrogers, misterrogers' label='Learning from Mister Rogers']\u003c/p>\n\u003cp>So he was, and how much more so he seems now, in today’s quarrelsome noise. Rogers was a Presbyterian minister and theologian whose on-set uniform was a comfy cardigan, tie, and sneakers. Turned off by the shrieking pie-in-the face cartoons that were standard children’s television fare, he slowed the pace way down, listened to children’s darkest fears and anxieties without wishing them away, and showed them how to manage those fears. The roots of his empathy in his own troubled childhood were beautifully told in Morgan Neville’s lovely 2018 documentary, \u003cem>Won’t You Be My Neighbor?\u003c/em>, which became the top-grossing biographical documentary ever.\u003c/p>\n\u003cp>\u003cem>A Beautiful Day\u003c/em> is not that story; it’s not really Fred’s story at all. The movie is a kind of procedural that shows how Rogers worked — persnickety and willfully distractible, he drove his adoring crew round the bend — on and off the set the set of his show, in this case to free an unhappy man of an enormous psychological burden he’d carried all his life. Inspired by Junod’s 1998 \u003cem>Esquire\u003c/em> cover, the film turns on the unexpected friendship that grew between the two men out of an assignment that the hard-hitting news reporter was forced into by his hard-nosed editor. (Were he alive today, I’m sure Fred would join me in saying: So nice to see you again, Christine Lahti!). Sensitively played by Rhys (\u003cem>The Americans\u003c/em>), Lloyd is a glum and grumpy fellow despite his glitzy job and new fatherhood with a supportive wife (Susan Kelechi Watson).\u003c/p>\n\u003cp>Within minutes of their first phone call, Rogers (Tom Hanks) senses that Lloyd is in unresolved emotional trouble. The movie’s running joke, and its tenderly serious point, is Fred’s gently firm switch of the spotlight back on his resistant interlocutor, reframing the questions Lloyd is wrongly asking. Heller sprinkles the action with realist scenes of Lloyd’s current struggles with his absentee father (Chris Cooper), a feckless drunk trying ham-fistedly to make amends. But the film is also a fantasy, and in lesser hands than Heller’s, the visual devices that carry us through \u003cem>A Beautiful Day\u003c/em> — toy-filled miniature models of The Neighborhood and the cities both men travel through — might register as unbearably coy.\u003c/p>\n\u003cp>In fact the sets feel organic to Rogers’ central belief that in order to become fully functioning adults, everyone — especially the suffering children that he and Lloyd once were — should remember what it felt like to be a child. Lloyd, who has built an impregnable fort around his pain and rage toward his father, finds himself imaginatively folded into the puppet-littered sets Rogers has built for his younger audience. Some of this is played for laughs, others to warm the heart. But lest you think Heller gilds the lily, Junod’s article is there to verify some of the movie’s seemingly improbable moments, among them a scene in which Fred is serenaded with one of his own songs by passengers in his subway car. Even if you think Rogers’ psychological model is simplistic, you can’t help but climb aboard.\u003c/p>\n\u003cp>Operating with a shrewd mix of imitation and interpretation, Hanks deepens Fred Rogers from a man-child with a prankish sense of humor into a healer whose struggles with his own demons (as an overweight child he was bullied and called “Fat Freddie”) have led him to empathize with, as Lloyd puts it, “broken people like me.” Hanks’s sincere performance argues for a heartening lack of space between Rogers’ public and private personas, between himself and his puppets. He understood the darkness in children’s lives and gave them — and all the damaged Lloyds and Freds of this world — a way to grow into adults who understand that being good is endlessly renewable hard work. Welcome to a much-needed neighborhood.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So he was, and how much more so he seems now, in today’s quarrelsome noise. Rogers was a Presbyterian minister and theologian whose on-set uniform was a comfy cardigan, tie, and sneakers. Turned off by the shrieking pie-in-the face cartoons that were standard children’s television fare, he slowed the pace way down, listened to children’s darkest fears and anxieties without wishing them away, and showed them how to manage those fears. The roots of his empathy in his own troubled childhood were beautifully told in Morgan Neville’s lovely 2018 documentary, \u003cem>Won’t You Be My Neighbor?\u003c/em>, which became the top-grossing biographical documentary ever.\u003c/p>\n\u003cp>\u003cem>A Beautiful Day\u003c/em> is not that story; it’s not really Fred’s story at all. The movie is a kind of procedural that shows how Rogers worked — persnickety and willfully distractible, he drove his adoring crew round the bend — on and off the set the set of his show, in this case to free an unhappy man of an enormous psychological burden he’d carried all his life. Inspired by Junod’s 1998 \u003cem>Esquire\u003c/em> cover, the film turns on the unexpected friendship that grew between the two men out of an assignment that the hard-hitting news reporter was forced into by his hard-nosed editor. (Were he alive today, I’m sure Fred would join me in saying: So nice to see you again, Christine Lahti!). Sensitively played by Rhys (\u003cem>The Americans\u003c/em>), Lloyd is a glum and grumpy fellow despite his glitzy job and new fatherhood with a supportive wife (Susan Kelechi Watson).\u003c/p>\n\u003cp>Within minutes of their first phone call, Rogers (Tom Hanks) senses that Lloyd is in unresolved emotional trouble. The movie’s running joke, and its tenderly serious point, is Fred’s gently firm switch of the spotlight back on his resistant interlocutor, reframing the questions Lloyd is wrongly asking. Heller sprinkles the action with realist scenes of Lloyd’s current struggles with his absentee father (Chris Cooper), a feckless drunk trying ham-fistedly to make amends. But the film is also a fantasy, and in lesser hands than Heller’s, the visual devices that carry us through \u003cem>A Beautiful Day\u003c/em> — toy-filled miniature models of The Neighborhood and the cities both men travel through — might register as unbearably coy.\u003c/p>\n\u003cp>In fact the sets feel organic to Rogers’ central belief that in order to become fully functioning adults, everyone — especially the suffering children that he and Lloyd once were — should remember what it felt like to be a child. Lloyd, who has built an impregnable fort around his pain and rage toward his father, finds himself imaginatively folded into the puppet-littered sets Rogers has built for his younger audience. Some of this is played for laughs, others to warm the heart. But lest you think Heller gilds the lily, Junod’s article is there to verify some of the movie’s seemingly improbable moments, among them a scene in which Fred is serenaded with one of his own songs by passengers in his subway car. Even if you think Rogers’ psychological model is simplistic, you can’t help but climb aboard.\u003c/p>\n\u003cp>Operating with a shrewd mix of imitation and interpretation, Hanks deepens Fred Rogers from a man-child with a prankish sense of humor into a healer whose struggles with his own demons (as an overweight child he was bullied and called “Fat Freddie”) have led him to empathize with, as Lloyd puts it, “broken people like me.” Hanks’s sincere performance argues for a heartening lack of space between Rogers’ public and private personas, between himself and his puppets. He understood the darkness in children’s lives and gave them — and all the damaged Lloyds and Freds of this world — a way to grow into adults who understand that being good is endlessly renewable hard work. Welcome to a much-needed neighborhood.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Director \u003ca href=\"https://www.npr.org/2015/08/13/431997207/a-diary-unlocked-a-teenage-coming-of-age-story-put-on-film\">Marielle Heller\u003c/a> remembers tuning into \u003cem>Mister Rogers’ Neighborhood\u003c/em> as a kid, but it wasn’t until she was an adult watching the show with her 3-year-old son that she fully appreciated the host’s gentle, direct manner. Watching an episode in which Rogers finds that a pet fish has died, Heller was struck by the way he addressed the audience.\u003c/p>\n\u003cp>“He wasn’t afraid of any of the hardest parts of childhood or talking about the most uncomfortable things,” she says. It’s “a radical notion, but he tells kids the truth.”\u003c/p>\n\u003cp>Heller’s new film, \u003cem>A Beautiful Day in the Neighborhood,\u003c/em> was inspired by the true story of Rogers’ relationship with journalist Tom Junod, who was assigned to profile Rogers in 1998 for a special issue of \u003cem>Esquire \u003c/em>on \u003ca href=\"https://www.esquire.com/entertainment/tv/a27134/can-you-say-hero-esq1198/\">American Heroes\u003c/a>. Junod had acquired a reputation for saying the unsayable in his profiles and for his cynicism. The two men—one known for kindness; the other more of a cynic—formed an unlikely friendship.\u003c/p>\n\u003cp>Heller is adamant that her film, which stars \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a> and \u003ca href=\"https://www.npr.org/2014/05/10/311276121/welsh-actor-keeps-soviet-secrets-in-the-americans\">Matthew Rhys\u003c/a>, is not a biopic; rather, it’s a study in how Rogers, who died in 2003, interacted with and impacted the people around him.\u003c/p>\n\u003cp>“He elicited real, fundamental, catalytic change out of people who he came into contact with,” she says. “He had this way of kind of shaking people to their core and breaking them down in some way—and changing them.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-VLEPhfEN2M\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why Rogers’ widow, Joanne, told Heller she didn’t want him portrayed as a saint \u003c/strong>\u003c/p>\n\u003cp>She said, “It’s important you don’t think of him as a saint. And the reason it’s important you don’t think of him that way is then his message is unattainable. What he was aiming for is unattainable.” And something about that just clicked for me. So we put that verbatim into the movie, because it made it so clear.\u003c/p>\n\u003cp>The reason that they want us to know Fred was a person is because then we can all aim to be more like him. And that’s what he was hoping for, was that we would all see the ways in which we could choose kindness. We could all see the ways in which we could choose to be more empathetic, and that we could listen to each other more, and we could see that everybody was a child once, and see that everybody has value. And so it was never about exalting him above anybody else or making it that somehow he did things other people couldn’t do. The point was that we all could.\u003c/p>\n\u003cp>\u003cstrong>On helping Tom Hanks embody Fred Rogers \u003c/strong>\u003c/p>\n\u003cp>The positive thing going into this was obviously the way the public feels about Tom Hanks has a similar quality to how we feel about Mister Rogers. So there was a warmth that we were starting with, there was so much that was already done there, but the truth of the matter is, Tom is a very different person energetically than Mister Rogers. He’s very funny. He’s very charming. He’s actually got a loud booming voice and walks into a room and you know he’s there. He shakes everyone’s hand. He cracks jokes. He’s boisterous. He’s really vibrant, and it’s never awkward when you’re talking to Tom Hanks. I’ve never seen him have an awkward conversation with anybody.\u003c/p>\n\u003cp>And what we figured out in our research about Fred was that he really was comfortable sitting in silence and awkwardness, and he would ask questions to people and he would wait for an answer no matter how long it took, and he wouldn’t fill that silence in. And he had a stillness to him, too. So a lot of what I had to do, especially in the beginning, was to kind of reign Tom’s natural buoyancy back, and settle him into a kind of zen-like state where he was being hyper-present in every moment.\u003c/p>\n\u003cp>\u003cstrong>On finding the right pacing for the movie\u003c/strong>\u003c/p>\n\u003cp>Fred had a very specific cadence. I don’t think anybody could’ve watched his show and not noticed that he spoke at a different pace than the rest of the world. And we heard from a number of people that when you would be with Fred, it felt like time would slow down. He kind of controlled time, in a way.\u003c/p>\n\u003cp>Part of the casting of \u003ca href=\"https://www.npr.org/2014/05/10/311276121/welsh-actor-keeps-soviet-secrets-in-the-americans\">Matthew Rhys\u003c/a> was I wanted to cast somebody who had a different pace. It was about these two men who were sort of foils to each other coming together and having these sort of emotional duels. So Matthew, he is somebody who moves very quickly. His mind is always racing, and he’s got a lot of energy pulsing through his body, so the idea was, in our rehearsals and also in the way that we shot these scenes, between these two men, it was about really kind of controlling time.\u003c/p>\n\u003cp>When there were pauses, they were carefully crafted. I had to kind of force them to pause even longer than they were comfortable pausing. But it was also about what was happening in those pauses. What are the emotional back-and-forths that are happening? What was just penetrated? What memory is being triggered? What are you thinking about in that moment, and when will you respond, and how carefully will you respond?\u003c/p>\n\u003cp>\u003cstrong>On watching the \u003c/strong>\u003cem>\u003cstrong>Mister Rogers\u003c/strong>\u003c/em>\u003cstrong> episode about death with her son \u003c/strong>\u003c/p>\n\u003cp>We were having a snow day, and so he was home from school. But it was a day that I kind of set aside that I was going to watch a lot of episodes of \u003cem>Mister Rogers\u003c/em>. So I asked Wylie if he wanted to watch some episodes with me. And I let him pick out based on the kind of thumbnails on the Internet. And he picked the fish one because he was very obsessed with underwater stuff, ocean stuff. But I knew just looking at the icon that the fish one, this is the episode about death. And I thought, “Are we going to go here? Okay.”\u003c/p>\n\u003cp>So in the episode, Mister Rogers goes to feed the fish and one of the fish is dead. And he tries to revive it and he puts it in some salt water and he sloshes it around and it kind of limply sloshes around and he says, “It looks like it’s moving, but it’s not actually moving.” And he buries the fish. And he tells the story about his dog, Mitzi, who died when he was a kid.\u003c/p>\n\u003cp>And I just watched my kid watch this episode, knowing that we hadn’t spoken really very much about death, and as Mister Rogers is telling the story about the dog dying Wylie he looks at me with this kind of skeptical look and goes, “Dogs don’t die!” I had this like Mister Rogers in my head and went, “Well, no, dogs do die.” And I told, I guess, what’s a little bit of a stretch of the truth, but I said, “You know, when they’re very old and their bodies are tired, you know, dogs do die and and cats die.” And we have two cats. And he looked at me and went, “Cats? Cats die?” And I said, “Yeah.” And he said, “But we have great cats!” …\u003c/p>\n\u003cp>And I held him and I was crying. And all I could figure out to say was, “I know this hurts. I know this is so painful. I don’t know what to say. But this, this really hurts.” … Then later that night, as I was putting him to bed, the dreaded question came, which was, “Well, what about people?” The way he said it was. “People don’t get dead, do they?” And then we had our kind of second round of weeping that happened that came out of this episode of\u003cem> Mister Rogers\u003c/em>.\u003c/p>\n\u003cp>I don’t think I handled it great, and I still feel sort of guilty for how this all came up. I felt like was it too young for us to kind of go there? But I also felt like all I had to guide me was Fred telling me, “We let the kids guide these conversations, listen and tell them the truth.” And so that’s what I tried to do.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Heidi Saman and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Beautiful+Day%27+Director+On+Mister+Rogers%27+%27Radical+Notion%27%3A+Telling+Kids+The+Truth&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Director \u003ca href=\"https://www.npr.org/2015/08/13/431997207/a-diary-unlocked-a-teenage-coming-of-age-story-put-on-film\">Marielle Heller\u003c/a> remembers tuning into \u003cem>Mister Rogers’ Neighborhood\u003c/em> as a kid, but it wasn’t until she was an adult watching the show with her 3-year-old son that she fully appreciated the host’s gentle, direct manner. Watching an episode in which Rogers finds that a pet fish has died, Heller was struck by the way he addressed the audience.\u003c/p>\n\u003cp>“He wasn’t afraid of any of the hardest parts of childhood or talking about the most uncomfortable things,” she says. It’s “a radical notion, but he tells kids the truth.”\u003c/p>\n\u003cp>Heller’s new film, \u003cem>A Beautiful Day in the Neighborhood,\u003c/em> was inspired by the true story of Rogers’ relationship with journalist Tom Junod, who was assigned to profile Rogers in 1998 for a special issue of \u003cem>Esquire \u003c/em>on \u003ca href=\"https://www.esquire.com/entertainment/tv/a27134/can-you-say-hero-esq1198/\">American Heroes\u003c/a>. Junod had acquired a reputation for saying the unsayable in his profiles and for his cynicism. The two men—one known for kindness; the other more of a cynic—formed an unlikely friendship.\u003c/p>\n\u003cp>Heller is adamant that her film, which stars \u003ca href=\"https://www.npr.org/2016/04/26/475573489/tom-hanks-says-self-doubt-is-a-high-wire-act-that-we-all-walk\">Tom Hanks\u003c/a> and \u003ca href=\"https://www.npr.org/2014/05/10/311276121/welsh-actor-keeps-soviet-secrets-in-the-americans\">Matthew Rhys\u003c/a>, is not a biopic; rather, it’s a study in how Rogers, who died in 2003, interacted with and impacted the people around him.\u003c/p>\n\u003cp>“He elicited real, fundamental, catalytic change out of people who he came into contact with,” she says. “He had this way of kind of shaking people to their core and breaking them down in some way—and changing them.”\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/-VLEPhfEN2M'\n title='//www.youtube.com/embed/-VLEPhfEN2M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003chr>\n\u003ch3>\u003cstrong>Interview highlights \u003c/strong>\u003c/h3>\n\u003cp>\u003cstrong>On why Rogers’ widow, Joanne, told Heller she didn’t want him portrayed as a saint \u003c/strong>\u003c/p>\n\u003cp>She said, “It’s important you don’t think of him as a saint. And the reason it’s important you don’t think of him that way is then his message is unattainable. What he was aiming for is unattainable.” And something about that just clicked for me. So we put that verbatim into the movie, because it made it so clear.\u003c/p>\n\u003cp>The reason that they want us to know Fred was a person is because then we can all aim to be more like him. And that’s what he was hoping for, was that we would all see the ways in which we could choose kindness. We could all see the ways in which we could choose to be more empathetic, and that we could listen to each other more, and we could see that everybody was a child once, and see that everybody has value. And so it was never about exalting him above anybody else or making it that somehow he did things other people couldn’t do. The point was that we all could.\u003c/p>\n\u003cp>\u003cstrong>On helping Tom Hanks embody Fred Rogers \u003c/strong>\u003c/p>\n\u003cp>The positive thing going into this was obviously the way the public feels about Tom Hanks has a similar quality to how we feel about Mister Rogers. So there was a warmth that we were starting with, there was so much that was already done there, but the truth of the matter is, Tom is a very different person energetically than Mister Rogers. He’s very funny. He’s very charming. He’s actually got a loud booming voice and walks into a room and you know he’s there. He shakes everyone’s hand. He cracks jokes. He’s boisterous. He’s really vibrant, and it’s never awkward when you’re talking to Tom Hanks. I’ve never seen him have an awkward conversation with anybody.\u003c/p>\n\u003cp>And what we figured out in our research about Fred was that he really was comfortable sitting in silence and awkwardness, and he would ask questions to people and he would wait for an answer no matter how long it took, and he wouldn’t fill that silence in. And he had a stillness to him, too. 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So Matthew, he is somebody who moves very quickly. His mind is always racing, and he’s got a lot of energy pulsing through his body, so the idea was, in our rehearsals and also in the way that we shot these scenes, between these two men, it was about really kind of controlling time.\u003c/p>\n\u003cp>When there were pauses, they were carefully crafted. I had to kind of force them to pause even longer than they were comfortable pausing. But it was also about what was happening in those pauses. What are the emotional back-and-forths that are happening? What was just penetrated? What memory is being triggered? What are you thinking about in that moment, and when will you respond, and how carefully will you respond?\u003c/p>\n\u003cp>\u003cstrong>On watching the \u003c/strong>\u003cem>\u003cstrong>Mister Rogers\u003c/strong>\u003c/em>\u003cstrong> episode about death with her son \u003c/strong>\u003c/p>\n\u003cp>We were having a snow day, and so he was home from school. But it was a day that I kind of set aside that I was going to watch a lot of episodes of \u003cem>Mister Rogers\u003c/em>. So I asked Wylie if he wanted to watch some episodes with me. And I let him pick out based on the kind of thumbnails on the Internet. And he picked the fish one because he was very obsessed with underwater stuff, ocean stuff. But I knew just looking at the icon that the fish one, this is the episode about death. And I thought, “Are we going to go here? Okay.”\u003c/p>\n\u003cp>So in the episode, Mister Rogers goes to feed the fish and one of the fish is dead. And he tries to revive it and he puts it in some salt water and he sloshes it around and it kind of limply sloshes around and he says, “It looks like it’s moving, but it’s not actually moving.” And he buries the fish. And he tells the story about his dog, Mitzi, who died when he was a kid.\u003c/p>\n\u003cp>And I just watched my kid watch this episode, knowing that we hadn’t spoken really very much about death, and as Mister Rogers is telling the story about the dog dying Wylie he looks at me with this kind of skeptical look and goes, “Dogs don’t die!” I had this like Mister Rogers in my head and went, “Well, no, dogs do die.” And I told, I guess, what’s a little bit of a stretch of the truth, but I said, “You know, when they’re very old and their bodies are tired, you know, dogs do die and and cats die.” And we have two cats. And he looked at me and went, “Cats? Cats die?” And I said, “Yeah.” And he said, “But we have great cats!” …\u003c/p>\n\u003cp>And I held him and I was crying. And all I could figure out to say was, “I know this hurts. I know this is so painful. I don’t know what to say. But this, this really hurts.” … Then later that night, as I was putting him to bed, the dreaded question came, which was, “Well, what about people?” The way he said it was. “People don’t get dead, do they?” And then we had our kind of second round of weeping that happened that came out of this episode of\u003cem> Mister Rogers\u003c/em>.\u003c/p>\n\u003cp>I don’t think I handled it great, and I still feel sort of guilty for how this all came up. I felt like was it too young for us to kind of go there? But I also felt like all I had to guide me was Fred telling me, “We let the kids guide these conversations, listen and tell them the truth.” And so that’s what I tried to do.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Well, if Tom Hanks playing Mr. Rogers doesn’t get your week off to the right start, I don’t know what will.\u003c/p>\n\u003cp>In the trailer for \u003cem>A Beautiful Day in the Neighborhood\u003c/em>, released this morning, Hanks plays Fred Rogers in all his wholesome glory—complimenting strangers on the subway, discussing the complexity of feelings, and yes, tossing his shoe from one hand to the other.\u003c/p>\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/-VLEPhfEN2M'\n title='//www.youtube.com/embed/-VLEPhfEN2M'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The film is released Thanksgiving 2019. In the meantime, catch up on \u003ca href=\"https://www.kqed.org/news/11756665/5-things-you-didnt-know-about-tom-hanks-east-bay-roots\" rel=\"noopener\" target=\"_blank\">all of Tom Hanks’ East Bay roots\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s hard to imagine anyone sending hate mail to Fred Rogers, but there was one episode of \u003cem>Mister Rogers’ Neighborhood \u003c/em>that brought the beloved children’s TV star a bit of blowback: “He did an episode about Santa Claus,” explains filmmaker Morgan Neville. “And he didn’t like the idea that there was somebody who snuck into your house in the middle of the night … so he told kids the truth … and a lot of parents wrote a lot of angry letters.”\u003c/p>\n\u003cp>Santa aside, Rogers generally flew “under the radar,” Neville says, even when he was engaging kids in conversations that some adults considered well beyond their years. With a toy trolley, talking puppets and a simple set, the show had low production value, but the host was “cutting edge,” the filmmaker explains, in respecting the emotional intelligence of children; helping them grapple with “grown-up” issues such as death, divorce and disturbing current events.\u003c/p>\n\u003cp>Aimed at toddlers and preschoolers, \u003cem>Mister Rogers’ Neighborhood \u003c/em>made its nationwide debut in 1968 and aired for more than three decades. It’s now the subject of a new documentary called\u003cem> Won’t You Be My Neighbor?, \u003c/em>directed by Neville.\u003c/p>\n\u003cp>“Most of us have a relationship with Fred Rogers that predates our memory …” Neville says. “It’s very deep in us and he speaks to us almost like our own inner child.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how Rogers discovered television during a visit home during college\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>He came back to visit his parents for spring break in 1948 and his parents had gotten a television — one of the first televisions in the neighborhood — and he watched it on this spring break and said: \u003cem>My God, this is an incredible invention and I can’t believe how it’s being misused.\u003c/em>\u003c/p>\n\u003cp>And he really changed his entire life course. … He realized that television was going to be this device that was going to be transformative and also that there were going to be generations of children being raised by this device and somebody had to use television to do something more than just sell sugar and toys to kids.\u003c/p>\n\u003cp>\u003cstrong>On being “cutting edge” in respecting the emotional maturity of children\u003c/strong>\u003c/p>\n\u003cp>What he’s doing is not just providing joy for children but really trying to allay fear. When he looked at children what he realized is that most adults condescend to children. When bad things happen they say, “Don’t worry about it,” or “It wasn’t anything.” And kids are way too smart and intuitive to not know when those things are happening. So what he decided to do is to level with kids — to really speak to them honestly and say, “Yes something bad happened, but let me tell you why, and let me explain it in age-appropriate terms.” Because he really felt that fear was was the most destructive force in our society.\u003c/p>\n\u003cp>\u003cstrong>On whether he was as nice as he appeared on television\u003c/strong>\u003c/p>\n\u003cp>This is the the question I get more than any other question. … There’s a letter that I found from a 5-year-old boy to Mister Rogers that said, “Dear Mister Rogers, Are you for real?” … and I think that’s the fundamental question we all have. … And the reality is: Yes, he is 100 percent for real.\u003c/p>\n\u003cp>If there’s a difference between Mister Rogers and Fred Rogers the man, it’s that Fred’s actually more amazing than Mister Rogers — he’s a more profound, deep, willful, intellectual person than Mister Rogers. …\u003c/p>\n\u003cp>We’ve seen so many of our cultural figures fall and there’s almost this expectation of somebody who is really promoting kindness … that there \u003cem>has \u003c/em>to be something dark behind him. And, in fact, the miraculous thing is that he is exactly who he seems.\u003c/p>\n\u003cfigure id=\"attachment_13834789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-800x543.jpg\" alt=\"Mister Rogers invited Officer Clemmons to share a wading pool at a time when that could still be considered radical.\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1920x1302.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1180x800.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-960x651.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-520x353.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mister Rogers invited Officer Clemmons to share a wading pool at a time when that could still be considered radical. \u003ccite>(John Beale/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On \u003c/strong>\u003ca href=\"https://vimeo.com/141427439\">\u003cstrong>the episode\u003c/strong>\u003c/a>\u003cstrong> when Mr. Rogers invited an African-American police officer, played by \u003c/strong>\u003ca href=\"https://www.npr.org/2016/03/11/469846519/walking-the-beat-in-mr-rogers-neighborhood-where-a-new-day-began-together\">\u003cstrong>François Clemmons\u003c/strong>\u003c/a>\u003cstrong>, to rest his feet in a wading pool on a hot day\u003c/strong>\u003c/p>\n\u003cp>He was, in his own quiet, subtle way trying to model how we should treat each other. It’s really the thing he’s doing over and over with: Won’t you be my neighbor? What he’s asking is: How do we treat each other? What kind of neighborhood are we going to have? What are the rules by which we live in a society together?\u003c/p>\n\u003cp>That’s his subtle way of saying: There’s nothing wrong with sharing a pool with a person of a different race. In fact, at the end of that scene, Fred takes his towel and dries François’ feet, you know, as Jesus did with the disciples … and none of that was by accident. It was all by design. Fred knew exactly what he was doing.\u003c/p>\n\u003cp>\u003cstrong>On not shying away from difficult topics and current events\u003c/strong>\u003c/p>\n\u003cp>He dealt with divorce and death. … He knew that children experience these things and he felt like his mission was not to tell kids that everything’s all right, but to tell kids that bad things do happen and this is how you can process them. …\u003c/p>\n\u003cp>[After Robert F. Kennedy was assassinated in 1968] Fred knew that children would be home and they would know that this bad thing had happened. And so he quickly put together an episode that aired [ahead of the televised funeral] … where he could explain to people how to speak to their children about something as horrific as an assassination.\u003c/p>\n\u003cp>And that was really Fred in a nutshell. … He did it again and again. He did things around the Challenger disaster, the Gulf War, 9/11, Reagan’s assassination attempt. … He really felt like it was in those moments he was really doing the best of what he wanted to do. That \u003cem>that’s\u003c/em> when people really needed him.\u003c/p>\n\u003cp>\u003cstrong>On remembering that Rogers was human\u003c/strong>\u003c/p>\n\u003cp>He wasn’t a saint. He was a human who had insecurities and doubts and made mistakes. And, really, throughout his entire life, from his earliest days to his deathbed, was wondering if he had done enough. … I think it’s important to understand that he was human and not a saint, because if you sanctify somebody like Fred Rogers it means that we don’t have to try and live up to him.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Fatma Tanis and Mallory Yu produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mister+Rogers+Talked+Frankly+With+Kids+About+%27Grown-Up%27+Issues+That+Weren%27t&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s hard to imagine anyone sending hate mail to Fred Rogers, but there was one episode of \u003cem>Mister Rogers’ Neighborhood \u003c/em>that brought the beloved children’s TV star a bit of blowback: “He did an episode about Santa Claus,” explains filmmaker Morgan Neville. “And he didn’t like the idea that there was somebody who snuck into your house in the middle of the night … so he told kids the truth … and a lot of parents wrote a lot of angry letters.”\u003c/p>\n\u003cp>Santa aside, Rogers generally flew “under the radar,” Neville says, even when he was engaging kids in conversations that some adults considered well beyond their years. With a toy trolley, talking puppets and a simple set, the show had low production value, but the host was “cutting edge,” the filmmaker explains, in respecting the emotional intelligence of children; helping them grapple with “grown-up” issues such as death, divorce and disturbing current events.\u003c/p>\n\u003cp>Aimed at toddlers and preschoolers, \u003cem>Mister Rogers’ Neighborhood \u003c/em>made its nationwide debut in 1968 and aired for more than three decades. It’s now the subject of a new documentary called\u003cem> Won’t You Be My Neighbor?, \u003c/em>directed by Neville.\u003c/p>\n\u003cp>“Most of us have a relationship with Fred Rogers that predates our memory …” Neville says. “It’s very deep in us and he speaks to us almost like our own inner child.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On how Rogers discovered television during a visit home during college\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>He came back to visit his parents for spring break in 1948 and his parents had gotten a television — one of the first televisions in the neighborhood — and he watched it on this spring break and said: \u003cem>My God, this is an incredible invention and I can’t believe how it’s being misused.\u003c/em>\u003c/p>\n\u003cp>And he really changed his entire life course. … He realized that television was going to be this device that was going to be transformative and also that there were going to be generations of children being raised by this device and somebody had to use television to do something more than just sell sugar and toys to kids.\u003c/p>\n\u003cp>\u003cstrong>On being “cutting edge” in respecting the emotional maturity of children\u003c/strong>\u003c/p>\n\u003cp>What he’s doing is not just providing joy for children but really trying to allay fear. When he looked at children what he realized is that most adults condescend to children. When bad things happen they say, “Don’t worry about it,” or “It wasn’t anything.” And kids are way too smart and intuitive to not know when those things are happening. So what he decided to do is to level with kids — to really speak to them honestly and say, “Yes something bad happened, but let me tell you why, and let me explain it in age-appropriate terms.” Because he really felt that fear was was the most destructive force in our society.\u003c/p>\n\u003cp>\u003cstrong>On whether he was as nice as he appeared on television\u003c/strong>\u003c/p>\n\u003cp>This is the the question I get more than any other question. … There’s a letter that I found from a 5-year-old boy to Mister Rogers that said, “Dear Mister Rogers, Are you for real?” … and I think that’s the fundamental question we all have. … And the reality is: Yes, he is 100 percent for real.\u003c/p>\n\u003cp>If there’s a difference between Mister Rogers and Fred Rogers the man, it’s that Fred’s actually more amazing than Mister Rogers — he’s a more profound, deep, willful, intellectual person than Mister Rogers. …\u003c/p>\n\u003cp>We’ve seen so many of our cultural figures fall and there’s almost this expectation of somebody who is really promoting kindness … that there \u003cem>has \u003c/em>to be something dark behind him. And, in fact, the miraculous thing is that he is exactly who he seems.\u003c/p>\n\u003cfigure id=\"attachment_13834789\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13834789\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-800x543.jpg\" alt=\"Mister Rogers invited Officer Clemmons to share a wading pool at a time when that could still be considered radical.\" width=\"800\" height=\"543\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-800x543.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-768x521.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1020x692.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1200x814.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1920x1302.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-1180x800.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-960x651.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-240x163.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19-520x353.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/5053.22_fred_francois_pool_10_rc_enl-5eaebc8a0960cd617689f90938f82777c952ef19.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mister Rogers invited Officer Clemmons to share a wading pool at a time when that could still be considered radical. \u003ccite>(John Beale/Focus Features)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On \u003c/strong>\u003ca href=\"https://vimeo.com/141427439\">\u003cstrong>the episode\u003c/strong>\u003c/a>\u003cstrong> when Mr. Rogers invited an African-American police officer, played by \u003c/strong>\u003ca href=\"https://www.npr.org/2016/03/11/469846519/walking-the-beat-in-mr-rogers-neighborhood-where-a-new-day-began-together\">\u003cstrong>François Clemmons\u003c/strong>\u003c/a>\u003cstrong>, to rest his feet in a wading pool on a hot day\u003c/strong>\u003c/p>\n\u003cp>He was, in his own quiet, subtle way trying to model how we should treat each other. It’s really the thing he’s doing over and over with: Won’t you be my neighbor? What he’s asking is: How do we treat each other? What kind of neighborhood are we going to have? What are the rules by which we live in a society together?\u003c/p>\n\u003cp>That’s his subtle way of saying: There’s nothing wrong with sharing a pool with a person of a different race. In fact, at the end of that scene, Fred takes his towel and dries François’ feet, you know, as Jesus did with the disciples … and none of that was by accident. It was all by design. Fred knew exactly what he was doing.\u003c/p>\n\u003cp>\u003cstrong>On not shying away from difficult topics and current events\u003c/strong>\u003c/p>\n\u003cp>He dealt with divorce and death. … He knew that children experience these things and he felt like his mission was not to tell kids that everything’s all right, but to tell kids that bad things do happen and this is how you can process them. …\u003c/p>\n\u003cp>[After Robert F. Kennedy was assassinated in 1968] Fred knew that children would be home and they would know that this bad thing had happened. And so he quickly put together an episode that aired [ahead of the televised funeral] … where he could explain to people how to speak to their children about something as horrific as an assassination.\u003c/p>\n\u003cp>And that was really Fred in a nutshell. … He did it again and again. He did things around the Challenger disaster, the Gulf War, 9/11, Reagan’s assassination attempt. … He really felt like it was in those moments he was really doing the best of what he wanted to do. That \u003cem>that’s\u003c/em> when people really needed him.\u003c/p>\n\u003cp>\u003cstrong>On remembering that Rogers was human\u003c/strong>\u003c/p>\n\u003cp>He wasn’t a saint. He was a human who had insecurities and doubts and made mistakes. And, really, throughout his entire life, from his earliest days to his deathbed, was wondering if he had done enough. … I think it’s important to understand that he was human and not a saint, because if you sanctify somebody like Fred Rogers it means that we don’t have to try and live up to him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Fatma Tanis and Mallory Yu produced and edited this interview for broadcast. Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mister+Rogers+Talked+Frankly+With+Kids+About+%27Grown-Up%27+Issues+That+Weren%27t&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I expect you’ll be wanting to know whether Mr. Rogers was really like that in life. According to \u003cem>Won’t You Be My Neighbor?\u003c/em>, Morgan Neville’s loving portrait of the much-beloved champion of slow television for children, the answer is yes, but it’s complicated. Which is just what you want from a tender tribute that’s anything but a hagiography of the ordained Presbyterian minister who took the pie-in-the-face out of TV-for-tots.\u003c/p>\n\u003cp>Fred Rogers was blown away by television’s potential—but he was disgusted by its corrupt pandering to advertisers and its exploitation of what he considered the worst in human nature—violence, contempt, condescension. So he sloooowed his TV neighborhood all the way down so he could really talk to kids about their lives and, more important, listen to what they had to say.\u003c/p>\n\u003cp>His uniform on and off the set was comfy cardigans and sneakers. His audience was the under-ten demographic with parents in tow. He loved silence; “modulation” was one of his favorite words. Given the noisy, cranky, \u003cem>do-keep-up!\u003c/em> times we live in now, that makes Rogers a tough subject for a documentary. Neville, whose most recent doc, \u003cem>Best of Enemies\u003c/em>, took on verbal prize fighters Gore Vidal and William F. Buckley, and who made the terrific \u003cem>20 Feet From Stardom\u003c/em> about backup singers, is a master of many moods. He has this quiet one down too.\u003c/p>\n\u003cp>Through Rogers’ friend, the cellist Yo-Yo Ma, Neville secured access to the Fred Rogers Company’s enormous archive. Through clips from \u003cem>Mr. Rogers’ Neighborhood\u003c/em>, interviews with friends, family and crew, and footage from his public appearances, you will learn that Rogers was an astute philosopher who pioneered a safe, gentle space for kids in his Pittsburgh studio, but who never shied away from confronting the big issues—war, divorce, death—with puppets who spoke for their fears, anxieties and aggression.\u003c/p>\n\u003cp>https://youtu.be/FhwktRDG_aQ\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In many respects Fred Rogers was the gentle soul he projected on his show. He was many other things to boot, among them an instinctive diplomat. The film brings back the famous footage of Rogers charming the U.S. Senate, in six priceless minutes, into coughing up $20 million for PBS in 1969. \u003cem>Won’t You Be My Neighbor?\u003c/em> offers the antidote to those who dismissed Rogers as too soft and anachronistic for his time back in the 1970s and 1980s. I felt that way myself when I first watched reruns with my daughter when she was small. But you could feel the air settle around you as Rogers walked on set, folded his stork-like frame into a small chair, and beamed his rapt attention at a child with a question or an observation.\u003c/p>\n\u003cp>What shaped Fred Rogers? In Neville’s film you’ll see none of the pat “background” segment that so many docu-portraits serve up to “explain” how their subjects turned out the way their did. We are all so mysteriously more than our upbringings, and Neville leaves the explaining to those who knew this man best to reveal, gradually and in organic context, that as a child he was not allowed to express anger, and that in his teens he was bullied as “Fat Freddie.” These common-enough travails don’t always produce an adult as empathic as Rogers. His faith may have played a part: These days we rarely see the kind of Christian he was—open-minded, inclusive, full of the joys of everyday living (he was a spontaneous kibbitzer on set), yet intensely aware of the fact that becoming a good person was hard work every single day.\u003c/p>\n\u003cp>Nor does Neville render Rogers as a saint. He could be thin-skinned about the inevitable late-night TV parodies of his folksy style. An attempt to create a show for adults failed. He built anti-racism into his children’s show but told a black, gay actor that he could not come out of the closet publicly because it would cost the show its sponsorship. (Rogers came around later to be an advocate for gay rights.) And his two sons lay out in ruefully affectionate detail the challenges of growing up with “the second Christ” as Dad.\u003c/p>\n\u003cp>Watching Neville’s remarkable account of Rogers’ life and work, you can’t help but wonder what this most conciliatory of spirits would make of our climate of chattering hostility today. He would surely have been appalled by the anti-gay zealots who demonstrated outside his funeral. What would he think of \u003cem>SpongeBob SquarePants\u003c/em> (thumbs up, I suspect) or much of the fast-paced, aggressive children’s programming on offer today (thumbs emphatically down)?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For that matter, if Mr. Rogers was a cry in the wilderness four and five decades ago, how would he go over now? One evening several years after my daughter was done with his show for good, I was enjoying a blessed moment of quiet as she and six of her eight-year-old friends over for a slumber party fussed around in their sleeping bags. Then came a rousing chorus of “I love you/You love me/Let’s get together and kill Barney,” followed by peals of rebel-girl laughter. I’m pretty sure Rogers would have ambled in, stroked his chin, wondered aloud if maybe Barney was people too, then gently called lights out. I’d be his neighbor in a heartbeat.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I expect you’ll be wanting to know whether Mr. Rogers was really like that in life. According to \u003cem>Won’t You Be My Neighbor?\u003c/em>, Morgan Neville’s loving portrait of the much-beloved champion of slow television for children, the answer is yes, but it’s complicated. Which is just what you want from a tender tribute that’s anything but a hagiography of the ordained Presbyterian minister who took the pie-in-the-face out of TV-for-tots.\u003c/p>\n\u003cp>Fred Rogers was blown away by television’s potential—but he was disgusted by its corrupt pandering to advertisers and its exploitation of what he considered the worst in human nature—violence, contempt, condescension. So he sloooowed his TV neighborhood all the way down so he could really talk to kids about their lives and, more important, listen to what they had to say.\u003c/p>\n\u003cp>His uniform on and off the set was comfy cardigans and sneakers. His audience was the under-ten demographic with parents in tow. He loved silence; “modulation” was one of his favorite words. Given the noisy, cranky, \u003cem>do-keep-up!\u003c/em> times we live in now, that makes Rogers a tough subject for a documentary. Neville, whose most recent doc, \u003cem>Best of Enemies\u003c/em>, took on verbal prize fighters Gore Vidal and William F. Buckley, and who made the terrific \u003cem>20 Feet From Stardom\u003c/em> about backup singers, is a master of many moods. He has this quiet one down too.\u003c/p>\n\u003cp>Through Rogers’ friend, the cellist Yo-Yo Ma, Neville secured access to the Fred Rogers Company’s enormous archive. Through clips from \u003cem>Mr. Rogers’ Neighborhood\u003c/em>, interviews with friends, family and crew, and footage from his public appearances, you will learn that Rogers was an astute philosopher who pioneered a safe, gentle space for kids in his Pittsburgh studio, but who never shied away from confronting the big issues—war, divorce, death—with puppets who spoke for their fears, anxieties and aggression.\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/FhwktRDG_aQ'\n title='//www.youtube.com/embed/FhwktRDG_aQ'\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>In many respects Fred Rogers was the gentle soul he projected on his show. He was many other things to boot, among them an instinctive diplomat. The film brings back the famous footage of Rogers charming the U.S. Senate, in six priceless minutes, into coughing up $20 million for PBS in 1969. \u003cem>Won’t You Be My Neighbor?\u003c/em> offers the antidote to those who dismissed Rogers as too soft and anachronistic for his time back in the 1970s and 1980s. I felt that way myself when I first watched reruns with my daughter when she was small. But you could feel the air settle around you as Rogers walked on set, folded his stork-like frame into a small chair, and beamed his rapt attention at a child with a question or an observation.\u003c/p>\n\u003cp>What shaped Fred Rogers? In Neville’s film you’ll see none of the pat “background” segment that so many docu-portraits serve up to “explain” how their subjects turned out the way their did. We are all so mysteriously more than our upbringings, and Neville leaves the explaining to those who knew this man best to reveal, gradually and in organic context, that as a child he was not allowed to express anger, and that in his teens he was bullied as “Fat Freddie.” These common-enough travails don’t always produce an adult as empathic as Rogers. His faith may have played a part: These days we rarely see the kind of Christian he was—open-minded, inclusive, full of the joys of everyday living (he was a spontaneous kibbitzer on set), yet intensely aware of the fact that becoming a good person was hard work every single day.\u003c/p>\n\u003cp>Nor does Neville render Rogers as a saint. He could be thin-skinned about the inevitable late-night TV parodies of his folksy style. An attempt to create a show for adults failed. He built anti-racism into his children’s show but told a black, gay actor that he could not come out of the closet publicly because it would cost the show its sponsorship. (Rogers came around later to be an advocate for gay rights.) And his two sons lay out in ruefully affectionate detail the challenges of growing up with “the second Christ” as Dad.\u003c/p>\n\u003cp>Watching Neville’s remarkable account of Rogers’ life and work, you can’t help but wonder what this most conciliatory of spirits would make of our climate of chattering hostility today. He would surely have been appalled by the anti-gay zealots who demonstrated outside his funeral. What would he think of \u003cem>SpongeBob SquarePants\u003c/em> (thumbs up, I suspect) or much of the fast-paced, aggressive children’s programming on offer today (thumbs emphatically down)?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For that matter, if Mr. Rogers was a cry in the wilderness four and five decades ago, how would he go over now? One evening several years after my daughter was done with his show for good, I was enjoying a blessed moment of quiet as she and six of her eight-year-old friends over for a slumber party fussed around in their sleeping bags. Then came a rousing chorus of “I love you/You love me/Let’s get together and kill Barney,” followed by peals of rebel-girl laughter. I’m pretty sure Rogers would have ambled in, stroked his chin, wondered aloud if maybe Barney was people too, then gently called lights out. I’d be his neighbor in a heartbeat.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "It's a Beautiful 50th Birthday for 'Mister Rogers' Neighborhood'",
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"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/1178498/1178499\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>Fifty years ago Monday,\u003cstrong> \u003c/strong>when Fred Rogers showed up on national public television as the host of what then was a brand new children’s show called \u003cem>Mister Rogers’ Neighborhood,\u003c/em> TV was a lot different. PBS wasn’t even a network then — not by that name, anyway — and aside from CBS, NBC and ABC, there were only a few independent local channels to watch, if that.\u003c/p>\n\u003cp>But 50 years ago, young kids were pretty much the same. I interviewed Fred Rogers a few times over the years, and one time I asked him about the secret of his success — why his slow, deliberate manner of relating to children, and why seeming to look at them and talk to them directly through the TV lens, connected so strongly with young viewers. This is what he told me:\u003c/p>\n\u003cblockquote>\n\u003cp>Every one of us longs to be in touch with honesty. … I think we’re really attracted to people who will share some of their real self with us.\u003c/p>\n\u003c/blockquote>\n\u003cp>Rogers shared his real self with us from that very first day of \u003cem>Mister Rogers’ Neighborhood,\u003c/em> on Feb. 19, 1968, when he went national on public TV, removed his jacket and dress shoes, slipped on a sweater and sneakers and talked gently about tying shoelaces.\u003c/p>\n\u003cp>\u003cem>Mister Rogers’ Neighborhood\u003c/em> was all about encouragement and support. It loved to educate kids a little, inspire them a lot and, when necessary, calm them down a bit about what may be unspoken fears.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That first week of \u003cem>Mister Rogers\u003c/em> was about change — even in the Neighborhood of Make Believe, where a puppet ruler named King Friday XIII was upset that his subjects were moving their homes around his kingdom. In this week-long story, King Friday becomes so upset that he orders a big wall to be built around the castle to keep everyone out. But eventually, the ruler decides he had nothing to fear and takes down the wall.\u003c/p>\n\u003cp>That was a reassuring story then, and Fred Rogers had hundreds of others. He could calm little kids by telling them they were too big to slip down the bathtub drain, but he also tackled more serious subjects.\u003c/p>\n\u003cp>In the summer of 1968, he took to prime time and had one of his most beloved hand puppet characters, Daniel Striped Tiger, asking for a definition of the word “assassination.” Robert F. Kennedy had just been shot and killed — and Rogers thought even very little children would pick up on how upset the grown-ups around them were, and deserved to be talked to and reassured a little.\u003c/p>\n\u003cp>And at a time when, once again, politicians are talking about defunding public television, it should be noted that Rogers went to Washington to testify before Congress in 1969 about why public TV was so important to young viewers — and to beg for $20 million in public funding.\u003c/p>\n\u003cp>Rogers appeared before gruff committee chair Sen. John Pastore. He described his show, sang a song and recited some poetry — and when he finished, the senator told him he’d earned the $20 million.\u003c/p>\n\u003cp>Fifty years later, the work and legacy of Fred Rogers has not been forgotten. The Fred Rogers Center, where I currently serve on the advisory board, aims to seek out and support new approaches to education and entertainment in the Rogers spirit.\u003c/p>\n\u003cp>The TV company that bears his name continues to produce programs, including the animated\u003cem> Daniel Tiger’s Neighborhood\u003c/em>. You can still get boxed DVD sets of some of the \u003cem>Mister Rogers\u003c/em> shows and specials, which ran on PBS until 2001, two years before his death.\u003c/p>\n\u003cp>And in this golden anniversary year of \u003cem>Mister Rogers’ Neighborhood\u003c/em>, there are many other plans afoot. Monday in his hometown, Latrobe, Pa., St. Vincent College is scheduled to host a screening of the very first \u003cem>Neighborhood\u003c/em> episode. The PBS KIDS network plans to pair other vintage episodes of \u003cem>Mister Rogers’ Neighborhood\u003c/em> with their cartoon \u003cem>Daniel Tig\u003c/em>er equivalents. PBS will also present a retrospective special salute in March, and a new documentary, Morgan Neville’s \u003cem>Won’t You Be My Neighbor?\u003c/em>, is scheduled to be released in theaters nationwide in June.\u003c/p>\n\u003cp>There’s a new biography due in September, the U.S. Postal Service is \u003ca href=\"https://www.npr.org/2018/02/07/583970831/mister-rogers-will-appear-forever-on-a-stamp\">issuing a Fred Rogers stamp\u003c/a> and it’s just been announced that \u003ca href=\"http://variety.com/2018/film/news/tom-hanks-mr-rogers-you-are-my-friend-tristar-1202676746/\">there’s a movie in the works\u003c/a>, with Tom Hanks set to play Rogers. That’s kind of perfect: One of the most-loved children’s hosts in TV history played by one of the most-loved actors in movie history.\u003c/p>\n\u003cp>It’s a lot of fuss, especially for a man who didn’t like to draw attention to himself. But Rogers deserves it. And today, our children’s children still deserve — and need — Fred Rogers.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Click the audio link above to hear Terry Gross’ 1984 interview with Rogers. \u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=It%27s+A+Beautiful+50th+Birthday+For+%27Mister+Rogers%27+Neighborhood%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
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"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
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"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"tvPrimetimeScheduleReducer": {},
"tvMonthlyScheduleReducer": {},
"userAccountReducer": {
"user": {
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"emailStatus": "EMAIL_UNVALIDATED",
"loggedStatus": "LOGGED_OUT",
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"articles": [],
"firstName": null,
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"membershipError": false,
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{
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"membershipLevel": "Prospect",
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"renewalDate": null,
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}
]
},
"authModal": {
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"view": "LANDING_VIEW"
},
"error": null
},
"youthMediaReducer": {},
"checkPleaseReducer": {
"filterData": {},
"restaurantData": []
},
"location": {
"pathname": "/arts/tag/mister-rogers",
"previousPathname": "/"
}
}
