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"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> really thought I was \u003cem>doing\u003c/em> \u003cem>something\u003c/em> when I took a picture of a nearly finished mural of Tom Hanks and Too $hort and then \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">posted it\u003c/a> to social media. I mean, I really put my phone in my pocket, thinking I actually did something good for people.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>My rationale? The mural was a huge street-side tribute to two vastly different hometown luminaries. I figured it would uplift folks, and help take their minds off the deflating news cycle about the unimpeachable president, the spread of an international virus and the dire housing situation in the Bay Area.\u003c/p>\n\u003cp>Instead, that picture put a number of the issues we’re facing into perspective—issues that I didn’t notice until the mural was gone.\u003c/p>\n\u003cp>It took less than three days for the mural to be covered. All of the work from the artists, whose Instagram handles are \u003ca href=\"https://www.instagram.com/pierremadethat/\">@pierremadethat\u003c/a>, \u003ca href=\"https://www.instagram.com/charles.utero.the3rd/\">@charles.utero.the3rd\u003c/a> and \u003ca href=\"https://www.instagram.com/funkysquash/\">@funkysquash\u003c/a>, on the broad side of the building at San Pablo Avenue and Castro Street was erased.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What once was a short-lived mural depicting a young and spunky Tom Hanks from the movie \u003cem>Big\u003c/em> and an image of Too $hort from the \u003cem>Life Is… Too $hort\u003c/em> era—big donkey rope chain in tow—was gone. Poof! The details in the photo, all the easter eggs in the illustrations that accompanied Hanks’ image: a computer mouse from \u003cem>You’ve Got Mail\u003c/em>, the Wilson ball from \u003cem>Cast Away\u003c/em>, and a nod to \u003cem>Toy Story\u003c/em> in the form of a cowboy hat. Behind $hort were a number of details, too, including a boom box and some unidentified booties of women in thongs.\u003c/p>\n\u003cp>It was homage to two guys who spent their formative years in Oakland, who made it big in entertainment and who speak highly of their East Bay roots in nearly every interview I’ve ever seen. What could be wrong with that?\u003c/p>\n\u003cp>A lot.\u003c/p>\n\u003cfigure id=\"attachment_13874868\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg\" alt=\"A Work in Progress\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Work in Progress. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he level (of) keebler cracker and gmo wheat toast fkery in these pictures is ridiculously pitiful,” wrote Refa One, a well-known activist and artist from West Oakland, in \u003ca href=\"https://www.facebook.com/oakmaroons/posts/2665314293585655?__xts__%5B0%5D=68.ARCEiibWYkc0UOEBORd7mld8IUIZ9ij7SpHPEXZzG11yll845j72wqdXYfahW3B5vQsKg4u66WP0-c3XfOpH-hSrebJr3OfEWbyvN3pZI5v5pi8hCf-aXKKQMRxrdBeE5EKT3v5jLwASZZ-k6DWuosGNZ0aDvO90xfR1DCgapXTSNTwVhwT8jyEFmcMMfT4JNa1zWo_y4mvg3hRCRbu-ogjrzryDjcK4wQetfh8_wkHCJtyDYPwLtTPzf7O5PGu00eRkMGwCSEmsfDLfhgxbd6JODOoija6lnbCrm8IlavCqROMHexOYAfkywNzgKowzQ9ZU6SXuYpTKTfc1pM0E09TC7A&__tn__=-R\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> with the image of the mural. “I’m still processing the amount of thirsty accolades this work is receiving from Negropeans that have embraced defeat by the gentrifying colonizers hell bent on mascot iconography of a displaced BLACK people.”\u003c/p>\n\u003cp>Damn man, I hate to admit it, but I was one of those “Negropeans.”\u003c/p>\n\u003cp>Not too long after Refa One made the Facebook post, the mural was covered with a massive blotting of light blue paint—similar to the color the \u003ca href=\"https://exhibits.stanford.edu/fitch/browse/black-panther-party-oakland-california-1968-1972?page=2&view=slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">Black Panther Party’s school uniforms\u003c/a>. “Mural in Progress. Reserved for Black Panther Party,” was the only message left on the elongated wall that parallels the 980 freeway.\u003c/p>\n\u003cp>The next day, I went down to the corner of San Pablo and Castro Street, and took a close photo of the new coat of paint and the message inscribed on the wall. I posted the picture on social media, and in came the questions: “Why’d they cover it?” “Who did it?” “What’s coming next?”\u003c/p>\n\u003cp>So I called Refa One.\u003c/p>\n\u003cp>“This is about African people controlling the visual landscape in their community, particularly against all forms of gentrification,” said Refa One, a longtime Oakland-based creator who heads the international arts collective \u003ca href=\"http://www.aerosoulart.com/\">Aerosoul\u003c/a>, and the son of two Black Panther Party members. He’s also the artist behind numerous murals in Oakland, including one of \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton in West Oakland\u003c/a> and one of \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant at Fruitvale Station\u003c/a>. “And in this particular situation,” he added, “we’re dealing with visual culture.”\u003c/p>\n\u003cfigure id=\"attachment_13874866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg\" alt=\"The image of Tom Hanks and a nod to his movies.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Tom Hanks and a nod to his movies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He told me he had a few issues with the mural of Hanks and $hort.\u003c/p>\n\u003cp>For starters, it depicts Tom Hanks, a multimillionaire who speaks proudly of his Oakland roots, but has yet to make a public statement about inequity in Oakland, Refa One said. And that’s for a city where the housing crisis has been noted as an emergency by local, state and international officials; an emergency that has \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately impacted black people\u003c/a>.\u003c/p>\n\u003cp>And the image of Too $hort, known for misogynistic lyrics, is an issue too, Refa One added. It’s on the side of a wall that butts up against San Pablo Avenue not too far from the Greyhound Bus Station, which over the decades has been a hot spot for sex trafficking, an issue that’s plagued Oakland for longer than Too $hort has been rapping. And it has disproportionately impacted black women.\u003c/p>\n\u003cp>Then Refa One noted that two of the three artists involved in the mural were white folks, and not from Oakland. He questioned what right they had to paint the walls in a traditionally black community. “Can I go to Chinatown and paint whatever I want? Can I go to Piedmont and paint there?” he asked.\u003c/p>\n\u003cp>Well, when you put it like that, I get it. So did the other artists. They told me that they understood the politics behind Refa’s point and ambition to paint over their work, and deferred any further comment.\u003c/p>\n\u003cp>“It’s a good thing,” one of the artists \u003ca href=\"https://www.instagram.com/p/B8E2hvIp50u/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> on Instagram. “Excited for what’s going up next.\u003c/p>\n\u003cfigure id=\"attachment_13874867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg\" alt=\"The image of Too $hort and details from aspects of his career.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Too $hort and details from aspects of his career. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a long history of African American culture being compromised and remade to fit the palate of white America. Elvis Presley re-recording “Hound Dog” and selling 9.5 million more copies than the original \u003ca href=\"https://www.history.com/this-day-in-history/hound-dog-is-recorded-for-the-first-time-by-big-mama-thornton\" target=\"_blank\" rel=\"noopener noreferrer\">Big Mama Thornton version\u003c/a>. The long-running TV show \u003cem>Friends\u003c/em>, a spinoff of \u003ca href=\"https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/\">Living Single\u003c/a>. Hell, famed slavery abolitionist \u003ca href=\"https://www.loc.gov/exhibits/odyssey/educate/truth.html\">Sojouner Truth\u003c/a>‘s first language was Dutch, and when she learned English, she spoke in a Dutch accent. Yet her famous speech, “Ain’t I A Woman,” is usually thought to have been spoken in “\u003ca href=\"https://www.thesojournertruthproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a stereotypical ‘southern black slave accent\u003c/a>,'” because that’s how (white) historians believed all enslaved Africans spoke.\u003c/p>\n\u003cp>It’s deeper than some paint on the walls. It’s about the importance of controlling your story, no matter the medium, because from that comes control over your life.\u003c/p>\n\u003cp>And on that note of self-determination shown through community art, Refa One told me about a time he was painting a piece in Campbell Village, a well-known public housing project in West Oakland.\u003c/p>\n\u003cp>“You know how to do \u003cem>this\u003c/em>?” Refa One said a young man asked, watching him paint while playing with a group of friends. “We thought only white people did this.”\u003c/p>\n\u003cp>Refa One said he talked to the group of children, and told them, “The first people on the planet to ever paint murals, and to express their culture in that fashion, were African people just like us.”\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One, of \u003ca href=\"https://www.instagram.com/aerosoul_ig/\">@aerosoul_ig\u003c/a>, in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He invited the youngsters to pick up some paint and participate in the production of the piece, giving them “collective ownership of their walls.” Which is especially important in the black community, where we’re constantly combating self-hatred.\u003c/p>\n\u003cp>“We’ve been conditioned to believe that anything happening positively in our community must come from the outside,” said Refa One, in reference to numerous images of African American leaders painted by white artists in Oakland. “Oftentimes the community is ignorant to the fact that we’re being ‘mascotted’ by white folks who consider themselves the ambassador to our culture, and how it should be used and decimated.”\u003c/p>\n\u003cp>He says he can’t simply paint over those walls. It’s a Catch-22. “At that point it becomes difficult to remove those images, because people’s overall thought is that it’s positive.”\u003c/p>\n\u003cp>But in a town where black folks have been disproportionately killed, over-policed, under-educated, sex trafficked and pushed out by the masses, putting up images of black folks \u003cem>is\u003c/em> like sports teams having mascots. Mascots derived from cultural aspects of the natives, who’ve been killed off of the very land where they now toss a pigskin or pitch a four-seam fastball.\u003c/p>\n\u003cp>Damn, it \u003cem>is\u003c/em> just like sports: it’s easy to root for a team because you like their mascot or star players, but you better do your research on who’s really in control.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Otherwise you’ll be cheering for the “Negropeans.”\u003c/p>\n\n",
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"excerpt": "A mural in Oakland of the actor and rapper together was painted over in a matter of days—and it turns out there's a reason.",
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"title": "A Mural of Tom Hanks and Too Short in Oakland Goes Deeper Than Paint | KQED",
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"headline": "A Mural of Tom Hanks and Too Short in Oakland Goes Deeper Than Paint",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">I\u003c/span> really thought I was \u003cem>doing\u003c/em> \u003cem>something\u003c/em> when I took a picture of a nearly finished mural of Tom Hanks and Too $hort and then \u003ca href=\"https://twitter.com/OGpenn/status/1222571572185055234\" target=\"_blank\" rel=\"noopener noreferrer\">posted it\u003c/a> to social media. I mean, I really put my phone in my pocket, thinking I actually did something good for people.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-thumbnail wp-image-13833985\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg\" alt=\"\" width=\"160\" height=\"184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/05/OGPenn.Cap_.jpg 180w\" sizes=\"(max-width: 160px) 100vw, 160px\">\u003c/p>\n\u003cp>My rationale? The mural was a huge street-side tribute to two vastly different hometown luminaries. I figured it would uplift folks, and help take their minds off the deflating news cycle about the unimpeachable president, the spread of an international virus and the dire housing situation in the Bay Area.\u003c/p>\n\u003cp>Instead, that picture put a number of the issues we’re facing into perspective—issues that I didn’t notice until the mural was gone.\u003c/p>\n\u003cp>It took less than three days for the mural to be covered. All of the work from the artists, whose Instagram handles are \u003ca href=\"https://www.instagram.com/pierremadethat/\">@pierremadethat\u003c/a>, \u003ca href=\"https://www.instagram.com/charles.utero.the3rd/\">@charles.utero.the3rd\u003c/a> and \u003ca href=\"https://www.instagram.com/funkysquash/\">@funkysquash\u003c/a>, on the broad side of the building at San Pablo Avenue and Castro Street was erased.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What once was a short-lived mural depicting a young and spunky Tom Hanks from the movie \u003cem>Big\u003c/em> and an image of Too $hort from the \u003cem>Life Is… Too $hort\u003c/em> era—big donkey rope chain in tow—was gone. Poof! The details in the photo, all the easter eggs in the illustrations that accompanied Hanks’ image: a computer mouse from \u003cem>You’ve Got Mail\u003c/em>, the Wilson ball from \u003cem>Cast Away\u003c/em>, and a nod to \u003cem>Toy Story\u003c/em> in the form of a cowboy hat. Behind $hort were a number of details, too, including a boom box and some unidentified booties of women in thongs.\u003c/p>\n\u003cp>It was homage to two guys who spent their formative years in Oakland, who made it big in entertainment and who speak highly of their East Bay roots in nearly every interview I’ve ever seen. What could be wrong with that?\u003c/p>\n\u003cp>A lot.\u003c/p>\n\u003cfigure id=\"attachment_13874868\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874868\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg\" alt=\"A Work in Progress\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/83915355_10102711897512530_1065418198855188480_n-1.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A Work in Progress. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">“T\u003c/span>he level (of) keebler cracker and gmo wheat toast fkery in these pictures is ridiculously pitiful,” wrote Refa One, a well-known activist and artist from West Oakland, in \u003ca href=\"https://www.facebook.com/oakmaroons/posts/2665314293585655?__xts__%5B0%5D=68.ARCEiibWYkc0UOEBORd7mld8IUIZ9ij7SpHPEXZzG11yll845j72wqdXYfahW3B5vQsKg4u66WP0-c3XfOpH-hSrebJr3OfEWbyvN3pZI5v5pi8hCf-aXKKQMRxrdBeE5EKT3v5jLwASZZ-k6DWuosGNZ0aDvO90xfR1DCgapXTSNTwVhwT8jyEFmcMMfT4JNa1zWo_y4mvg3hRCRbu-ogjrzryDjcK4wQetfh8_wkHCJtyDYPwLtTPzf7O5PGu00eRkMGwCSEmsfDLfhgxbd6JODOoija6lnbCrm8IlavCqROMHexOYAfkywNzgKowzQ9ZU6SXuYpTKTfc1pM0E09TC7A&__tn__=-R\" target=\"_blank\" rel=\"noopener noreferrer\">a Facebook post\u003c/a> with the image of the mural. “I’m still processing the amount of thirsty accolades this work is receiving from Negropeans that have embraced defeat by the gentrifying colonizers hell bent on mascot iconography of a displaced BLACK people.”\u003c/p>\n\u003cp>Damn man, I hate to admit it, but I was one of those “Negropeans.”\u003c/p>\n\u003cp>Not too long after Refa One made the Facebook post, the mural was covered with a massive blotting of light blue paint—similar to the color the \u003ca href=\"https://exhibits.stanford.edu/fitch/browse/black-panther-party-oakland-california-1968-1972?page=2&view=slideshow\" target=\"_blank\" rel=\"noopener noreferrer\">Black Panther Party’s school uniforms\u003c/a>. “Mural in Progress. Reserved for Black Panther Party,” was the only message left on the elongated wall that parallels the 980 freeway.\u003c/p>\n\u003cp>The next day, I went down to the corner of San Pablo and Castro Street, and took a close photo of the new coat of paint and the message inscribed on the wall. I posted the picture on social media, and in came the questions: “Why’d they cover it?” “Who did it?” “What’s coming next?”\u003c/p>\n\u003cp>So I called Refa One.\u003c/p>\n\u003cp>“This is about African people controlling the visual landscape in their community, particularly against all forms of gentrification,” said Refa One, a longtime Oakland-based creator who heads the international arts collective \u003ca href=\"http://www.aerosoulart.com/\">Aerosoul\u003c/a>, and the son of two Black Panther Party members. He’s also the artist behind numerous murals in Oakland, including one of \u003ca href=\"https://www.kqed.org/arts/13851520/rightnowish-refa-one-spraypaint-in-hand-honors-west-oaklands-history\" target=\"_blank\" rel=\"noopener noreferrer\">Huey P. Newton in West Oakland\u003c/a> and one of \u003ca href=\"https://www.kqed.org/news/11753459/bart-unveils-oscar-grant-mural-and-street-sign-at-fruitvale-station\" target=\"_blank\" rel=\"noopener noreferrer\">Oscar Grant at Fruitvale Station\u003c/a>. “And in this particular situation,” he added, “we’re dealing with visual culture.”\u003c/p>\n\u003cfigure id=\"attachment_13874866\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874866\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg\" alt=\"The image of Tom Hanks and a nod to his movies.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCkKU8AAllIP.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Tom Hanks and a nod to his movies. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He told me he had a few issues with the mural of Hanks and $hort.\u003c/p>\n\u003cp>For starters, it depicts Tom Hanks, a multimillionaire who speaks proudly of his Oakland roots, but has yet to make a public statement about inequity in Oakland, Refa One said. And that’s for a city where the housing crisis has been noted as an emergency by local, state and international officials; an emergency that has \u003ca href=\"http://www.pbs.org/independentlens/blog/stepping-up-for-homeless-black-people-in-oakland/\" target=\"_blank\" rel=\"noopener noreferrer\">disproportionately impacted black people\u003c/a>.\u003c/p>\n\u003cp>And the image of Too $hort, known for misogynistic lyrics, is an issue too, Refa One added. It’s on the side of a wall that butts up against San Pablo Avenue not too far from the Greyhound Bus Station, which over the decades has been a hot spot for sex trafficking, an issue that’s plagued Oakland for longer than Too $hort has been rapping. And it has disproportionately impacted black women.\u003c/p>\n\u003cp>Then Refa One noted that two of the three artists involved in the mural were white folks, and not from Oakland. He questioned what right they had to paint the walls in a traditionally black community. “Can I go to Chinatown and paint whatever I want? Can I go to Piedmont and paint there?” he asked.\u003c/p>\n\u003cp>Well, when you put it like that, I get it. So did the other artists. They told me that they understood the politics behind Refa’s point and ambition to paint over their work, and deferred any further comment.\u003c/p>\n\u003cp>“It’s a good thing,” one of the artists \u003ca href=\"https://www.instagram.com/p/B8E2hvIp50u/\" target=\"_blank\" rel=\"noopener noreferrer\">wrote\u003c/a> on Instagram. “Excited for what’s going up next.\u003c/p>\n\u003cfigure id=\"attachment_13874867\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13874867\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg\" alt=\"The image of Too $hort and details from aspects of his career.\" width=\"800\" height=\"576\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-800x576.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-160x115.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w-768x553.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/02/EPeCCmBVAAEqE_w.jpg 900w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The image of Too $hort and details from aspects of his career. \u003ccite>(Pendarvis Harshaw)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">T\u003c/span>here’s a long history of African American culture being compromised and remade to fit the palate of white America. Elvis Presley re-recording “Hound Dog” and selling 9.5 million more copies than the original \u003ca href=\"https://www.history.com/this-day-in-history/hound-dog-is-recorded-for-the-first-time-by-big-mama-thornton\" target=\"_blank\" rel=\"noopener noreferrer\">Big Mama Thornton version\u003c/a>. The long-running TV show \u003cem>Friends\u003c/em>, a spinoff of \u003ca href=\"https://www.citylab.com/life/2017/01/the-gentrification-of-city-based-sitcoms/513302/\">Living Single\u003c/a>. Hell, famed slavery abolitionist \u003ca href=\"https://www.loc.gov/exhibits/odyssey/educate/truth.html\">Sojouner Truth\u003c/a>‘s first language was Dutch, and when she learned English, she spoke in a Dutch accent. Yet her famous speech, “Ain’t I A Woman,” is usually thought to have been spoken in “\u003ca href=\"https://www.thesojournertruthproject.com/\" target=\"_blank\" rel=\"noopener noreferrer\">a stereotypical ‘southern black slave accent\u003c/a>,'” because that’s how (white) historians believed all enslaved Africans spoke.\u003c/p>\n\u003cp>It’s deeper than some paint on the walls. It’s about the importance of controlling your story, no matter the medium, because from that comes control over your life.\u003c/p>\n\u003cp>And on that note of self-determination shown through community art, Refa One told me about a time he was painting a piece in Campbell Village, a well-known public housing project in West Oakland.\u003c/p>\n\u003cp>“You know how to do \u003cem>this\u003c/em>?” Refa One said a young man asked, watching him paint while playing with a group of friends. “We thought only white people did this.”\u003c/p>\n\u003cp>Refa One said he talked to the group of children, and told them, “The first people on the planet to ever paint murals, and to express their culture in that fashion, were African people just like us.”\u003c/p>\n\u003cfigure id=\"attachment_13851523\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13851523\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg\" alt=\"Refa One in West Oakland.\" width=\"800\" height=\"535\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street-1200x802.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/02/RefaOne.street.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Refa One, of \u003ca href=\"https://www.instagram.com/aerosoul_ig/\">@aerosoul_ig\u003c/a>, in West Oakland. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He invited the youngsters to pick up some paint and participate in the production of the piece, giving them “collective ownership of their walls.” Which is especially important in the black community, where we’re constantly combating self-hatred.\u003c/p>\n\u003cp>“We’ve been conditioned to believe that anything happening positively in our community must come from the outside,” said Refa One, in reference to numerous images of African American leaders painted by white artists in Oakland. “Oftentimes the community is ignorant to the fact that we’re being ‘mascotted’ by white folks who consider themselves the ambassador to our culture, and how it should be used and decimated.”\u003c/p>\n\u003cp>He says he can’t simply paint over those walls. It’s a Catch-22. “At that point it becomes difficult to remove those images, because people’s overall thought is that it’s positive.”\u003c/p>\n\u003cp>But in a town where black folks have been disproportionately killed, over-policed, under-educated, sex trafficked and pushed out by the masses, putting up images of black folks \u003cem>is\u003c/em> like sports teams having mascots. Mascots derived from cultural aspects of the natives, who’ve been killed off of the very land where they now toss a pigskin or pitch a four-seam fastball.\u003c/p>\n\u003cp>Damn, it \u003cem>is\u003c/em> just like sports: it’s easy to root for a team because you like their mascot or star players, but you better do your research on who’s really in control.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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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": "\u003cdiv class=\"post-body\">\u003cp>\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>\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/Nngz6cAKsaE'\n title='//www.youtube.com/embed/Nngz6cAKsaE'\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": "\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>\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> \u003c/p>\u003c/div>",
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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. 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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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"content": "\u003cp>Well, if Tom Hanks playing Mr. Rogers doesn’t get your week off to the right start, I don’t know what will.\u003c/p>\n\u003cp>In the trailer for \u003cem>A Beautiful Day in the Neighborhood\u003c/em>, released this morning, Hanks plays Fred Rogers in all his wholesome glory—complimenting strangers on the subway, discussing the complexity of feelings, and yes, tossing his shoe from one hand to the other.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=-VLEPhfEN2M\u003c/p>\n\u003cp>The film is released Thanksgiving 2019. In the meantime, catch up on \u003ca href=\"https://www.kqed.org/news/11756665/5-things-you-didnt-know-about-tom-hanks-east-bay-roots\" rel=\"noopener\" target=\"_blank\">all of Tom Hanks’ East Bay roots\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>It’s a beautiful day in this neighborhood for Tom Hanks, who’ll star as Mister Rogers in the upcoming biopic \u003cem>You Are My Friend\u003c/em>.\u003c/p>\n\u003cp>TriStar Pictures announced Monday it has acquired worldwide rights to the film, to be directed by \u003cem>The Diary of a Teenage Girl\u003c/em> filmmaker Marielle Heller.\u003c/p>\n\u003cp>The film will focus on the friendship between the host of \u003cem>Mister Rogers’ Neighborhood\u003c/em> and journalist Tom Junod. Junod reluctantly agreed to profile Fred Rogers only to find “his perspective on life transformed.”\u003c/p>\n\u003cp>Production will begin in September, with a 2019 release expected.\u003c/p>\n\u003cp>The role will surely add to the America’s Dad image of Hanks, who gave a very Rogers-like opening monologue while hosting \u003cem>Saturday Night Live\u003c/em> before the 2016 presidential election, swapping his jacket for a sweater and giving America a pep talk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Rogers died in 2003 at age 74.\u003c/p>\n\n",
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"title": "Tom Hanks Talks Trump, Weinstein, and America at City Arts & Lectures",
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"content": "\u003cp>Tom Hanks relishes the position he’s in – the comfortable crevice between “America’s Dad” and the left-leaning actor who grew up in the Bay Area and at this point has little to lose in Hollywood by speaking his mind.\u003c/p>\n\u003cfigure id=\"attachment_13812688\" class=\"wp-caption alignright\" style=\"max-width: 473px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/uncommon-type.jpg\" alt=\"'Uncommon Type,' by Tom Hanks.\" width=\"473\" height=\"720\" class=\"size-full wp-image-13812688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/uncommon-type.jpg 473w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/uncommon-type-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/uncommon-type-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/uncommon-type-375x571.jpg 375w\" sizes=\"(max-width: 473px) 100vw, 473px\">\u003cfigcaption class=\"wp-caption-text\">‘Uncommon Type,’ by Tom Hanks.\u003c/figcaption>\u003c/figure>\n\u003cp>This was more than evident while Hanks, now 61 and a published author of \u003cem>Uncommon Type: Some Stories\u003c/em>, was interviewed by good friend and collaborator Dave Eggers for a City Arts & Lectures appearance at the Nourse Theater on Tuesday night. Hanks — born and raised in the East Bay, an upbringing he recalled fondly and lengthily on stage — took equal pleasure in performing a profanity-laden impression of a restaurant owner, sardonically mocking the failure of recent movie \u003cem>The Circle\u003c/em>, and decrying historical inaccuracies about John Adams in high school textbooks.\u003c/p>\n\u003cp>In other words, Hanks got to be himself, a luxury in Hollywood that he’s earned over 30 years of award-winning roles. That luxury of tenure includes the ability to comfortably criticize Donald Trump, and speak openly about Harvey Weinstein. (And also, to receive an ovation for declaring that he’d just pooped in his pants. You had to be there.)\u003c/p>\n\u003cp>Here’s what Hanks had to say about America in its current moment.\u003c/p>\n\u003cp>\u003cstrong>On Trump\u003c/strong>:\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We have elected buffoons to public office many times in our history. We will do it again. But if you look at what has happened in American history, you have not only a bit of reassurance for where we can go in the future, but also a primer for how we do it. There’s an election every two years. Quite frankly, if you’re not satisfied with where we are politically, later on in the year 2018 we could kick some f-ckin’ ass.\u003c/p>\n\u003cfigure id=\"attachment_13812682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-800x538.jpg\" alt=\"Nancy Pelosi sits with Tom Hanks during a photo-op in her private conference room at the Capitol on March 5, 2008 in Washington, DC. \" width=\"800\" height=\"538\" class=\"size-medium wp-image-13812682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy Pelosi sits with Tom Hanks during a photo-op in her private conference room at the Capitol on March 5, 2008 in Washington, DC. \u003ccite>(TIM SLOAN/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We have a self-correcting nation here. I don’t want to be too jingoistic or too gung-ho, but are we the only nation that has self-improvement \u003cem>codified\u003c/em> into our foundation? I just saw the actual Constitution of the United States not too long ago, on display. I got chills. And when it was first written down, women did not have the right to vote, slaves and black people were considered only 3/5 of a human being, illiteracy ran rampant in the United States, and we had an indigenous population that was either being squeezed out of its land by musket, or by smallpox. And yet there it is, right there: “We the People of the United States, in order to form a more perfect union…” We are always seeking to form a more perfect union. Perfection is a status that we will never achieve, but we can come closer and closer and closer to it.\u003c/p>\n\u003cp>Look, the cities of San Francisco and Oakland are examples of this before our very eyes. I grew up during the SLA, Huey Newton and the Black Panthers, the Zodiac Killer, and Charlie Finley owning the Oakland A’s. Nothing is fixed to a level of perfection, but we are closer to a more perfect status than ever before. That’s what we can always rely on.”\u003c/p>\n\u003cp>\u003cstrong>On Weinstein and sexual assault in Hollywood\u003c/strong>:\u003c/p>\n\u003cp>“I was not surprised. I can’t say I witnessed it. But here’s the truth. There are people that go into any line of work – ours, Wall Street, whatever – because it’s fun, and because you can’t believe that someone would pay you to do something that you love. There’s people that go into it because you can make a pretty good buck at it if lightning strikes, and there’s nothing wrong with wanting a good buck; it solves a lot of problems. There’s other people that, if they can make it work, they get to have this power of celebrity, and celebrity is in charge. You can get addicted to being somebody who can get a reservation anywhere you want, or always gets cuts in line. 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And the people who do that are kind of obvious — they demonstrate it in more than one way in the course of doing businesses with them. It doesn’t matter if you do good work or bad work, the end result, the main purchase that they’re trying to get is influence over you. There are plenty of people of every type, in every line of work, who say, “Here’s how power works. When I am in a position of power over you, I can reward you or I can punish you by whatever whim I choose. And that whim is sexual favors that I am going to demand of you. And if you don’t like those rules, get out of business, too bad, because this is the way it works. I have earned this position in order to hold sway over you.”\u003c/p>\n\u003cp>And that is sexual predatory behavior, and it is illegal, and it is cause for dismissal.\u003c/p>\n\u003cp>I don’t know how many women are here, but how many women in the workplace have experienced some form of predatory sexual behavior? 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"excerpt": "\"We have elected buffoons to public office many times in our history. We will do it again.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tom Hanks relishes the position he’s in – the comfortable crevice between “America’s Dad” and the left-leaning actor who grew up in the Bay Area and at this point has little to lose in Hollywood by speaking his mind.\u003c/p>\n\u003cfigure id=\"attachment_13812688\" class=\"wp-caption alignright\" style=\"max-width: 473px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/uncommon-type.jpg\" alt=\"'Uncommon Type,' by Tom Hanks.\" width=\"473\" height=\"720\" class=\"size-full wp-image-13812688\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/uncommon-type.jpg 473w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/uncommon-type-160x244.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/uncommon-type-240x365.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/uncommon-type-375x571.jpg 375w\" sizes=\"(max-width: 473px) 100vw, 473px\">\u003cfigcaption class=\"wp-caption-text\">‘Uncommon Type,’ by Tom Hanks.\u003c/figcaption>\u003c/figure>\n\u003cp>This was more than evident while Hanks, now 61 and a published author of \u003cem>Uncommon Type: Some Stories\u003c/em>, was interviewed by good friend and collaborator Dave Eggers for a City Arts & Lectures appearance at the Nourse Theater on Tuesday night. Hanks — born and raised in the East Bay, an upbringing he recalled fondly and lengthily on stage — took equal pleasure in performing a profanity-laden impression of a restaurant owner, sardonically mocking the failure of recent movie \u003cem>The Circle\u003c/em>, and decrying historical inaccuracies about John Adams in high school textbooks.\u003c/p>\n\u003cp>In other words, Hanks got to be himself, a luxury in Hollywood that he’s earned over 30 years of award-winning roles. That luxury of tenure includes the ability to comfortably criticize Donald Trump, and speak openly about Harvey Weinstein. (And also, to receive an ovation for declaring that he’d just pooped in his pants. You had to be there.)\u003c/p>\n\u003cp>Here’s what Hanks had to say about America in its current moment.\u003c/p>\n\u003cp>\u003cstrong>On Trump\u003c/strong>:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We have elected buffoons to public office many times in our history. We will do it again. But if you look at what has happened in American history, you have not only a bit of reassurance for where we can go in the future, but also a primer for how we do it. There’s an election every two years. Quite frankly, if you’re not satisfied with where we are politically, later on in the year 2018 we could kick some f-ckin’ ass.\u003c/p>\n\u003cfigure id=\"attachment_13812682\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-800x538.jpg\" alt=\"Nancy Pelosi sits with Tom Hanks during a photo-op in her private conference room at the Capitol on March 5, 2008 in Washington, DC. \" width=\"800\" height=\"538\" class=\"size-medium wp-image-13812682\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-768x516.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/Hanks.Pelosi-520x350.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy Pelosi sits with Tom Hanks during a photo-op in her private conference room at the Capitol on March 5, 2008 in Washington, DC. \u003ccite>(TIM SLOAN/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>We have a self-correcting nation here. I don’t want to be too jingoistic or too gung-ho, but are we the only nation that has self-improvement \u003cem>codified\u003c/em> into our foundation? I just saw the actual Constitution of the United States not too long ago, on display. I got chills. And when it was first written down, women did not have the right to vote, slaves and black people were considered only 3/5 of a human being, illiteracy ran rampant in the United States, and we had an indigenous population that was either being squeezed out of its land by musket, or by smallpox. And yet there it is, right there: “We the People of the United States, in order to form a more perfect union…” We are always seeking to form a more perfect union. Perfection is a status that we will never achieve, but we can come closer and closer and closer to it.\u003c/p>\n\u003cp>Look, the cities of San Francisco and Oakland are examples of this before our very eyes. I grew up during the SLA, Huey Newton and the Black Panthers, the Zodiac Killer, and Charlie Finley owning the Oakland A’s. Nothing is fixed to a level of perfection, but we are closer to a more perfect status than ever before. That’s what we can always rely on.”\u003c/p>\n\u003cp>\u003cstrong>On Weinstein and sexual assault in Hollywood\u003c/strong>:\u003c/p>\n\u003cp>“I was not surprised. I can’t say I witnessed it. But here’s the truth. There are people that go into any line of work – ours, Wall Street, whatever – because it’s fun, and because you can’t believe that someone would pay you to do something that you love. There’s people that go into it because you can make a pretty good buck at it if lightning strikes, and there’s nothing wrong with wanting a good buck; it solves a lot of problems. There’s other people that, if they can make it work, they get to have this power of celebrity, and celebrity is in charge. You can get addicted to being somebody who can get a reservation anywhere you want, or always gets cuts in line. Those are viable reasons to go into any line of work.\u003c/p>\n\u003cfigure id=\"attachment_13812684\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-800x788.jpg\" alt=\"Tom Hanks and Rita Wilson attend the afterparty for 'The Circle' during the 2017 Tribeca Film Festival on April 26, 2017 in New York City. \" width=\"800\" height=\"788\" class=\"size-medium wp-image-13812684\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-800x788.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-160x158.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-768x756.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-1020x1004.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-960x945.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-240x236.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-375x369.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-520x512.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/GettyImages-673618988.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Hanks and Rita Wilson attend the afterparty for ‘The Circle’ during the 2017 Tribeca Film Festival on April 26, 2017 in New York City. \u003ccite>(Photo by Rob Kim/Getty Images for 2017 Tribeca Film Festival)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There are, however, other people who go into it for one thing only: they want to hold power and influence over people, and they think that’s the coin of the realm. And the people who do that are kind of obvious — they demonstrate it in more than one way in the course of doing businesses with them. It doesn’t matter if you do good work or bad work, the end result, the main purchase that they’re trying to get is influence over you. There are plenty of people of every type, in every line of work, who say, “Here’s how power works. When I am in a position of power over you, I can reward you or I can punish you by whatever whim I choose. And that whim is sexual favors that I am going to demand of you. And if you don’t like those rules, get out of business, too bad, because this is the way it works. I have earned this position in order to hold sway over you.”\u003c/p>\n\u003cp>And that is sexual predatory behavior, and it is illegal, and it is cause for dismissal.\u003c/p>\n\u003cp>I don’t know how many women are here, but how many women in the workplace have experienced some form of predatory sexual behavior? [Nearly every woman in the theater claps.] That’s a lot of people. And it’s illegal.\u003c/p>\n\u003cp>I’m going to tell you that that is a portion of people, and also there are plenty people who would never do that in a million years, but that’s part of Western society. And the question is now: is everything going to change? I’m going to say yes. I think there’s going to be a sea change, and a type of discussion that’s going to be based on a code of ethics that is not an option to participate in, but is going to be a requirement.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"officialWebsiteLink": "/californiareportmagazine",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
"subscribe": {
"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
"link": "/podcasts/closealltabs",
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"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
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"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/4s8b",
"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
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},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
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