In the first reported crystal structure involving the potential ligand N,N',N''-tris(pyridin-2-yl)benzene-1,3,5-tricarboxamide, C24H18N6O3, intermolecular N—H...O hydrogen bonds link the molecules via their amide groups into slanted ladder-like chains, in which the uprights of the ladder are formed by the hydrogen-bonding interactions and the benzene ring cores of the molecules act as the rungs of the ladder. Only two of the three amide groups in the molecule are involved in hydrogen bonding and this influences the degree of out-of-plane twisting at each amide group, with the twist being more significant for those amide groups participating in hydrogen bonds.

An efficient synthesis of 1-aryl­isochromeno[3,4-d][1,2,3]triazol-5(1H)-ones, involving the diazo­tization of 3-amino-4-aryl­amino-1H-isochromen-1-ones in weakly acidic solution, has been developed and the spectroscopic characterization and crystal structures of four examples are reported. The mol­ecules of 1-phenyl­isochromeno[3,4-d][1,2,3]triazol-5(1H)-one, C15H9N3O2, (I), are linked into sheets by a combination of C—H⋯N and C—H⋯O hydrogen bonds, while the structures of 1-(2-methyl­phen­yl)isochromeno[3,4-d][1,2,3]triazol-5(1H)-one, C16H11N3O2, (II), and 1-(3-chloro­phen­yl)isochromeno[3,4-d][1,2,3]triazol-5(1H)-one, C15H8ClN3O2, (III), each contain just one hydrogen bond which links the mol­ecules into simple chains, which are further linked into sheets by π-stacking inter­actions in (II) but not in (III). In the structure of 1-(4-chloro­phen­yl)isochromeno[3,4-d][1,2,3]triazol-5(1H)-one, (IV), isomeric with (III), a combination of C—H⋯O and C—H⋯π(arene) hydrogen bonds links the mol­ecules into sheets. When com­pound (II) was exposed to a strong acid in methanol, qu­anti­tative conversion occurred to give the ring-opened transesterification product methyl 2-[4-hy­droxy-1-(2-methyl­phen­yl)-1H-1,2,3-triazol-5-yl]benzoate, C17H15N3O3, (V), where the mol­ecules are linked by paired O—H⋯O hydrogen bonds to form centrosymmetric dimers.

An operationally simple and time-efficient approach has been developed for the synthesis of racemic N-substituted 3-(2-aryl-2-oxoeth­yl)-3-hy­droxy­indolin-2-ones by a piperidine-catalysed aldol reaction between aryl methyl ketones and N-alkyl­isatins. These aldol products were used successfully as strategic inter­mediates for the preparation of N-substituted (E)-3-(2-hetaryl-2-oxo­ethyl­idene)indolin-2-ones by a stereoselective dehydration reaction under acidic conditions. The products have all been fully characterized by 1H and 13C NMR spectroscopy, by mass spectrometry and, for a representative selection, by crystal structure analysis. In each of (RS)-1-benzyl-3-hy­droxy-3-[2-(4-meth­oxy­phen­yl)-2-oxoeth­yl]indolin-2-one, C24H21NO4, (Ic), and (RS)-1-benzyl-3-{2-[4-(di­methyl­amino)­phen­yl]-2-oxoeth­yl}-3-hy­droxy­indolin-2-one, C25H24N2O3, (Id), inversion-related pairs of mol­ecules are linked by O—H⋯O hydrogen bonds to form R22(10) rings, which are further linked into chains of rings by a combination of C—H⋯O and C—H⋯π(arene) hydrogen bonds in (Ic) and by C—H⋯π(arene) hydrogen bonds in (Id). The mol­ecules of (RS)-1-benzyl-3-hy­droxy-3-[2-oxo-2-(pyridin-4-yl)eth­yl]indolin-2-one, C22H18N2O3, (Ie), are linked into a three-dimensional framework structure by a combination of O—H⋯N, C—H⋯O and C—H⋯π(arene) hydrogen bonds. (RS)-3-[2-(Benzo[d][1,3]dioxol-5-yl)-2-oxoeth­yl]-1-benzyl-3-hy­droxy­indolin-2-one, C24H19NO5, (If), crystallizes with Z' = 2 in the space group Poverline{1} and the mol­ecules are linked into com­plex sheets by a combination of O—H⋯O, C—H⋯O and C—H⋯π(arene) hydro­gen bonds. In each of (E)-1-benzyl-3-[2-(4-fluoro­phen­yl)-2-oxo­ethyl­idene]indolin-2-one, C23H16FNO2, (IIa), and (E)-1-benzyl-3-[2-oxo-2-(thiophen-2-yl)ethylidene]indolin-2-one, C21H15NO2S, (IIg), the mol­ecules are linked into simple chains by a single C—H⋯O hydrogen bond, while those of (E)-1-benzyl-3-[2-oxo-2-(pyridin-4-yl)ethyl­idene]indolin-2-one, C22H16N2O2, (IIe), are linked by three C—H⋯O hydrogen bonds to form sheets which are further linked into a three-dimensional structure by C—H⋯π(arene) hydrogen bonds. There are no hydrogen bonds in the structures of either (E)-1-benzyl-3-[2-(4-meth­oxy­phen­yl)-2-oxo­ethyl­idene]indolin-2-one, C24H19NO3, (IIc), or (E)-1-benzyl-5-chloro-3-[2-(4-chloro­phen­yl)-2-oxo­ethyl­idene]indolin-2-one, C23H15Cl2NO2, (IIh), but the mol­ecules of (IIh) are linked into chains of π-stacked dimers by a combination of C—Cl⋯π(arene) and aromatic π–π stacking inter­actions.

The com­pound poly[2-hy­droxy-N-methyl­ethan-1-aminium [μ3-cyanido-κ3C:C:N-di-μ-cyanido-κ4C:N-dicuprate(I)]], {(C3H10NO)[Cu2(CN)3]}n or [meoenH]Cu2(CN)3, crystallizes in the tetra­gonal space group P43. The structure consists of a three-dimensional (3D) anionic CuICN network with noncoordinated protonated N-methyl­ethano­lamine cations providing charge neutrality. Pairs of cuprophilic Cu atoms are bridged by the C atoms of μ3-cyanide ligands, which link these units into a 43 spiral along the c axis. The spirals are linked together into a 3D anionic network by the two other cyanide groups. The cationic moieties are linked into their own 43 spiral via N—H⋯O and O—H⋯O hydrogen bonds, and the cations inter­act with the 3D network via an unusual pair of N—H⋯N hydrogen bonds to one of the μ2-cyanide groups. Thermogravimetric analysis indicates an initial loss of the base cation and one cyanide as HCN at temperatures in the range 130–250 °C to form CuCN. We show how loss of a specific cyanide group from the 3D CuCN structure could form the linear CuCN structure. Further heating leaves a residue of elemental copper, isolated as the oxide.

During evaporation of natural and synthetic K–Mg–Cl brines, the formation of almost square plate-like crystals of potassium carnallite (potassium chloride magnesium dichloride hexa­hydrate) was observed. A single-crystal structure analysis revealed a monoclinic cell [a = 9.251 (2), b = 9.516 (2), c = 13.217 (4) Å, β = 90.06 (2)° and space group C2/c]. The structure is isomorphous with other carnallite-type com­pounds, such as NH4Cl·MgCl2·6H2O. Until now, natural and synthetic carnallite, KCl·MgCl2·6H2O, was only known in its ortho­rhom­bic form [a = 16.0780 (3), b = 22.3850 (5), c = 9.5422 (2) Å and space group Pnna].

A new polymorph (form II) is reported for the 1:1 dimethyl sulfoxide solvate of 2,3,5,6-tetra­fluoro-1,4-di­iodo­benzene (TFDIB·DMSO or C6F4I2·C2H6SO). The structure is similar to that of a previously reported polymorph (form I) [Britton (2003). Acta Cryst. E59, o1332–o1333], containing layers of TFDIB mol­ecules with DMSO mol­ecules between, accepting I⋯O halogen bonds from two TFDIB mol­ecules. Re-examination of form I over the temperature range 300–120 K shows that it undergoes a phase transformation around 220 K, where the DMSO mol­ecules undergo re-orientation and become ordered. The unit cell expands by ca 0.5 Å along the c axis and contracts by ca 1.0 Å along the a axis, and the space-group symmetry is reduced from Pnma to P212121. Refinement of form I against data collected at 220 K captures the (average) structure of the crystal prior to the phase transformation, with the DMSO mol­ecules showing four distinct disorder com­ponents, corresponding to an overlay of the 297 and 120 K structures. Assessment of the inter­molecular inter­action energies using the PIXEL method indicates that the various orientations of the DMSO mol­ecules have very similar total inter­action energies with the molecules of the TFDIB framework. The phase transformation is driven by inter­actions between DMSO mol­ecules, whereby re-orientation at lower temperature yields significantly closer and more stabilizing inter­actions between neighbouring DMSO mol­ecules, which lock in an ordered arrangement along the shortened a axis.

The covers to the last issues of the current runs of "Avengers" and "New Avengers," leading into "Secret Wars."; Credit: Marvel

Marvel Comics held a press conference this week announcing details about "Secret Wars," a company-wide comic book crossover that they promise will change everything.

Promises of change in comics often don't amount to much, but here's why this one just might, with Marvel teasing that it will produce a whole new world for its characters.

"We see this as putting an endcap to decades of stories and starting a new era," said Marvel Editor-in-Chief Axel Alonso. "And when you see the scope of the event, you see what we're doing, what we're willing to do, this is a place where we're going to be bringing new pieces onto the board and taking old pieces off. You guys will be yelling and screaming, you'll be loving, hating, and in equal measure."

Reboot history

Rival DC Comics has always been quick to have stories designed to streamline their history, with the "Crisis on Infinite Earths" being the most famous one — a story that destroyed the DC Comics universe of the time, birthing a new timeline that gave us the versions of DC's heroes we know today. Several minor and major reboots followed, with the biggest since then being 2011's New 52 (and a tease of another one with this April's "Convergence").

Meanwhile, Marvel still refers back to stories from their early days, beginning with the first issue of "Marvel Comics" in 1939, and more so since the launch of "Fantastic Four" and the interlinked Marvel Universe in the 1960s, led by Stan Lee and Jack Kirby.

Marvel previously launched a line of comics meant to offer a fresh vision of the Marvel characters called Ultimate Comics, but now the worlds of those characters and the traditional Marvel universe are getting combined thanks to "Secret Wars."

"The Ultimate Universe, the Marvel Universe, they're going to smash together," said Alonso. "This is the Marvel Universe moving forward."

"We've never done anything like this, ever," said Marvel senior vice president and executive editor Tom Brevoort. "And what we're going to do to top it, I don't know. Hopefully that will be somebody else's problem."

The stories leading to "Secret Wars," and what is Battleworld?

The story that's been built up so far has to do with different universes colliding into each other — and in the first issue of "Secret Wars," the Marvel and Ultimate Earths collide, with the heroes of those worlds unable to stop it. What's left behind is what Marvel is calling "Battleworld," a patchwork planet with different parts of it inhabited by the characters from different famous Marvel crossovers of the past (you can see some of those past titles in the slideshow above).

Marvel released this video to help you visualize what exactly Battleworld is:

Battleworld video

See a map of Battleworld here, showing the different worlds made up of old storylines to be explored in "Secret Wars" (and click to enlarge):

Brevoort described Battleworld as "The little melting pot in which the new Marvel Universe will be created" after the Marvel and Ultimate versions of Earth are destroyed. He said that Battleworld is what Marvel is going to be "during, through and after" the beginning of "Secret Wars."

"Once you hit 'Secret Wars' 1, there is no Marvel Universe. There is no Ultimate Universe. All there is is Battleworld, and a whole lot of empty void," Brevoort said.

"Every single piece of this world is a building block for the Marvel Universe moving forward," Alonso said. "None of these stories are Elseworlds, or What Ifs, or alternative reality stories. They aren't set in the past or the future. They're not set in an alternate reality. They're set in the reality of the Marvel Universe."

It's also a story that uses an old name — the original "Secret Wars" involved an alien taking heroes from Earth and forcing them into battle for the fate of the universe. It remains unclear if the villain from that crossover will play a role here.

Why is Marvel rebooting?

Observers were quick to speculate on some of the behind-the-scenes reasons for the change. Combining the Ultimate Universe with the traditional Marvel Universe would let them incorporate the half-black, half-Latino Spider-Man from the Ultimate line that grabbed headlines a few years ago. It would let them do something different with characters like the X-Men and the Fantastic Four, who have been a flashpoint for controversy due to Fox retaining rights in perpetuity to any films based on those characters.

It also opens the door to a longtime comic book trope: Bringing back to life the dead.

"If we were to want to resurrect Gwen Stacy, this would be the place to do it, wouldn't it?" Alonso said.

What do creators and fans think about "Secret Wars"?

Speaking of the death of Gwen Stacy, the writer who pulled the trigger on killing her, Gerry Conway, tells Newsarama that he's on board.

"I think like with any idea, the execution will matter more than the idea itself. The idea of a reset is, by itself, not a bad idea," Conway said.

One who's less on board with it: longtime Spider-Man artist John Romita.

"My guess is new fans will be okay with it, and old fans will grumble," Romita told Newsarama. "I’m not a businessman, but I do know that comic companies, for almost 100 years now, do whatever they can for shock value. They grab attention. Personally, I hate all the goofy things they do. When I was there, I used to fight stuff like this. But you can’t stop them."

Current Marvel writers have been sworn to secrecy about what happens once "Secret Wars" is done:

Dan Slott tweet

The lack of certainty about what this all means has led fans to wildly speculate, as well as poke fun at what might happen:

Fan tweet 1

Fan tweet 2

It's a story that's been years in the making.

"Every single time we've done an event, we've always had to be mindful of 'Secret Wars,' and we've had to make decisions based on the fact that we knew that 'Secret Wars' was headed our way," Alonso said.

Brevoort said that Hickman proposed a version of "Secret Wars" years ago, but that vision has since become significantly larger.

"It sounds like typical Stan lee hyperbole — and there's nothing wrong with typical Stan Lee hyperbole — but it is difficult to imagine something that would be larger in scope, in scale, than what we are doing with 'Secret Wars,'" Brevoort said.

That father of the modern Marvel comics world, Stan Lee, tells Newsarama that the reboot is "probably good."

"Anything they do that’s unexpected and different usually captures the attention of the fans," Lee said. "It sounds intriguing to me."

Lee also tells Newsarama that if he were to do it all again, he'd do it basically the same, describing what he did as "the right way to go, and maybe sometimes, even the perfect way to go."

"I liked making the Fantastic Four superheroes without a secret identity. I liked the tragedy of Spider-Man’s origin, the ‘with great power, there must also come great responsibility.’ I thought it was the right way of doing things at the time. And I still like what I’ve done," Lee said. "I can’t think, off the top of my head, of anything I’d really want to change."

What does "Secret Wars" mean for fans?

More details are promised in the weeks to come, with a free preview issue being released on Free Comic Book Day, May 2. While fans wait, they may want to heed the wait-and-see approach advocated by Conway and famed "Thor" artist Walt Simonson.

"Maybe this is coming back out of my old geology days, but I try not to have instant reactions to things and say, ‘Oh my God! That’s terrible!’" Simonson told Newsarama. "My basic reaction is usually ‘let’s see the evidence in the field.’ Let’s come back in a year and see what we’ve got. That will tell the story.”

And for those who say that Marvel is ruining their childhood by messing with the history of their favorite characters, Conway tells Newsarama:

"I would say to them, no, your childhood is still your childhood. There’s a point to be made, and it’s a universal one: We have to see that there’s a difference between what people do today, and what they did yesterday. Yesterday still exists, those stories still exist. Now someone else is getting a chance at a new childhood. And that’s nice."

Watch the full "Secret Wars" live press conference below:

Secret Wars press conference video

This content is from Southern California Public Radio. View the original story at SCPR.org.

An image from a teaser for Marvel Comics' 2015 "Civil War," part of crossover "Secret Wars." Could Spidey appear in the new Captain America: Civil War film now that Marvel and Sony have worked out a deal?; Credit: Marvel

Spider-Man is coming home to join the rest of the Marvel movie family (um, except for the Fantastic Four and the X-Men) in upcoming films under a new deal struck between Sony, the home for Spider-Man movies, and Disney's Marvel Studios, home of Iron Man and the Avengers

It's been a bumpy road for Spidey for almost a decade, but now he's set to be part of the largely critically and financially successful Marvel Cinematic Universe films. He's already made history, and he could make more history soon. 

Here's a brief history of cinematic Spider-Man, looking ahead to his new adventures with Marvel's large and growing stable of movie superheroes.

Coming out of the superhero dark ages

Spider-Man was one of the catalysts for the current superhero movie boom. Superhero films were seen as potentially dead following the bomb of "Batman & Robin" with George Clooney, a critical failure and a mixed bag commercially.

Marvel dipped its toes in superhero movies with 1998's "Blade," which was a big hit, followed by 2000's "X-Men," but they both tried to distance themselves from their comic book source material (and the Joel Schumacher Batman movies) by putting their heroes in black leather and grounding them as much as possible in real-life aesthetics.

Sony's first "Spider-Man" movie came out in 2002 and showed that there was still room for an optimistic comic book take. The Sam Raimi-directed film also had a huge cultural impact as one of the first big summer movies following 9/11 — an early teaser that showed Spidey trapping bad guys between the two towers had to be pulled following the disaster.

Spider-Man 9/11 trailer

The movie ended up pulling in almost $822 million at the box office, including almost $404 million domestically, helmed by genre director Raimi, who had previously been best known for the horror-comedy "Evil Dead" films.

Spider-Man trailer

Tobey Maguire surprised as the star, pulling off the nerdy, earnest Peter Parker while also being believable enough as an action star in the Spider-Man suit. Maguire starred alongside Kirsten Dunst as love interest Mary Jane and Willem Dafoe as the villainous Green Goblin, and the film included the not-yet-a-superstar James Franco as Harry Osborn and now-Oscar-nominated J.K. Simmons as Daily Bugle publisher J. Jonah Jameson.

A sequel, 2004's "Spider-Man 2," continued the success of the first, with only a slight dip in overall box office while proving that the first film's success wasn't just a flash in the pan, that there was room for a relatively bright superhero in a dark time.

Spider-Man 2 trailer

Maguire almost ducked out of filming during negotiations, complaining of back pains following injuries while filming "Seabiscuit," and Jake Gyllenhaal almost stepped into the role — but Maguire recovered and held onto his spot. The escapist entertainment of superhero movies was starting to take hold in a growing way, but the superhero train was about to come off the rails for a few years.

The twilight of Tobey Maguire

As "Spider-Man 2" was hitting theaters, 2004 also brought "The Punisher," "Blade: Trinity" and "Catwoman," none of which showed superheroes as particularly promising movie saviors.

Marvel turned out more superhero movies that weren't loved by critics, including "Elektra," "Fantastic Four" and "X-Men: The Last Stand," though the latter two still did well at the box office (all were released by 20th Century Fox). DC Comics made the critical and commercial hit "Batman Begins" in 2005, but stumbled in 2006 with the underperforming "Superman Returns."

In 2007, "Spider-Man 3" dropped, and while it did great at the box office — it was the series' most popular film worldwide, though it dipped domestically — it was slammed by fans and critics. They took that Spider-Man optimism and tried making him emo, while overstuffing the bad guys — going from one villain in the previous films and upping it to three — and turning the campy dialogue up to 11.

Spider-Man 3 trailer

Trying to be 'Amazing' in a new superhero era

While Spidey stumbled, the next year Marvel released its first film from its own studio, the groundbreaking "Iron Man." It showed that you could make a franchise from a hero who was big in the comics but didn't have the same mainstream recognition.

It revitalized Robert Downey Jr.'s career and put Marvel Studios on the map, with a post-credits sequence laying the seeds for completely tying the films together in a way that hadn't been done on this scale ever before.

While Marvel started to crank up their self-produced film, Spider-Man lay dormant. Eventually, it was decided to reboot the character with Andrew Garfield taking over the role in 2012's "The Amazing Spider-Man." It scored the lowest domestic take of the series, while still excelling overseas.

Amazing Spider-Man 2 trailer 1

Sony quickly followed up with a sequel, while announcing their own plans to ape Marvel and try to create their own cinematic universe.

Amazing Spider-Man 2 villains trailer

The second "Amazing Spider-Man" movie set up other potential villains, and holding off the payoff of what exactly happened to Peter Parker's parents as Marvel tried to stretch Spider-Man into a female-led film, one focused on the villains, a movie led by Spidey character Venom and more.

Amazing Spider-Man first 10 minutes

The sequel showed diminishing returns, though, and plans for further sequels and spinoffs began to seem up in the air.

Hacked

In the midst of the Sony hack, documents revealed that Sony and Marvel had been negotiating over Marvel using Spider-Man in its own films — despite Sony having the rights to the character in perpetuity as long as they kept producing films, a deal worked out before Marvel had the resources and the belief in their own filmmaking capabilities. Still, the documents also showed that the talks had fallen apart, and hopes for Spider-Man appearing with Iron Man, Captain America, Thor and the rest of his Marvel friends appeared dim.

Then, Monday, Marvel shocked everyone by announcing that Spider-Man was coming home and would be part of the Marvel Cinematic Universe after all. There had been reports that they'd wanted Spider-Man for the third Captain America film, and with that film set for 2016, that may still happen. They also pushed back four of their "Phase Three" movies to make room in 2017 for a new "Spider-Man" movie, with reports indicating that the movie will feature a new actor taking over and Andrew Garfield getting pushed aside.

Spider-Man comes home

Andrew Garfield will likely go down in comics movie history as the right guy at the wrong time. He was a likable lead with a strong supporting cast, but Marvel looks ready to turn the page. Those on the Marvel side have previously indicated they'd avoid doing another origin story, so we'll probably skip seeing Uncle Ben killed to inspire Peter Parker once again.

"The new relationship follows a decade of speculation among fans about whether Spider-Man – who has always been an integral and important part of the larger Marvel Universe in the comic books – could become part of the Marvel Universe on the big screen," Marvel said in the announcement of the new deal.

Fans online have been largely ecstatic over the announcement of Marvel getting control of the character. Reports indicate that Sony still gets final say over Spider-Man, but that they're letting Marvel take the creative lead. Marvel also announced the possibility that other Marvel characters could appear in future Spider-Man films.

While Sony's Amy Pascal stepped down as the motion picture head of Sony following the hacking scandal and its associated public embarrassments, she's staying on as a producer — including co-producing the next Spider-Man film with Marvel creative film leader Kevin Feige.

Some fans have also asked for an even bigger step away from the traditional Spider-Man by introducing Miles Morales, the popular half-black/half-hispanic Spider-Man from an alternate universe in the comics, but the official Marvel press release does mention Peter Parker, and Marvel executives have previously taken a strong stance against moving away from Parker as the secret identity.

Still, as Badass Digest's Devin Faraci notes, the executive who'd taken the strongest stance against Miles Morales — Avi Arad — isn't mentioned in the press release about the new film, so maybe Marvel will surprise fans once again. Also, relations have apparently been icier between Marvel and Fox, with fans speculating that Marvel is trying to ice out the X-Men and the Fantastic Four from their comics — but if the companies could work out a deal to use those heroes in a Marvel Cinematic Universe film, it could prove to be an even bigger surprise.

The new Spider-Man film is set for July 28, 2017, and he may appear in another Marvel film sooner.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Host Jon Stewart of Comedy Central's "The Daily Show with Jon Stewart" watches a video while taping "The Daily Show with Jon Stewart: Restoring Honor & Dignity to the White House" at the McNally Smith College of Music Sept. 5, 2008 in St. Paul, Minnesota.; Credit: Ethan Miller/Getty Images for Comedy Central

Host Jon Stewart announced at Tuesday's "The Daily Show" taping that he is leaving the show.

Comedy Central confirmed the news in a statement, saying that Stewart will be leaving later this year:

"For the better part of the last two decades, we have had the incredible honor and privilege of working with Jon Stewart. His comedic brilliance is second to none. Jon has been at the heart of Comedy Central, championing and nurturing the best talent in the industry, in front of and behind the camera. Through his unique voice and vision, ‘The Daily Show’ has become a cultural touchstone for millions of fans and an unparalleled platform for political comedy that will endure for years to come. Jon will remain at the helm of ‘The Daily Show’ until later this year. He is a comic genius, generous with his time and talent, and will always be a part of the Comedy Central family."

The news comes less than two months after Stephen Colbert brought "The Colbert Report" to an end in order to prepare for hosting CBS's "Late Show," replacing David Letterman after he leaves later this year.

"The Daily Show" existed before Jon Stewart, hosted from 1996 until 1998 by Craig Kilborn, but Stewart took the show into a bolder political direction and made it a cultural landmark, becoming the go-to news source for numerous young people. Polls started to show Jon Stewart as being one of the most trusted newsmen in America.

It's just over three weeks after Comedy Central launched "The Nightly Show" with Larry Wilmore and details have yet to be announced about the future of Comedy Central's late night lineup.

The show has created hosts for other networks, with Colbert leaving for CBS after getting his start as a "Daily Show" correspondent and John Oliver, who served as a fill-in host while Stewart shot the film "Rosewater," left for his own weekly rundown of the news "Last Week Tonight" at HBO. The show's starmaking power also includes actors such as Steve Carell, Ed Helms and more, and new "Saturday Night Live" Weekend Update anchor Michael Che.

Stewart didn't announce his plans for what comes next. He directed the 2014 film "Rosewater," based on journalist Maziar Bahari's memoir detailing his imprisonment in Iran following an interview with "The Daily Show's" Jason Jones.

Stewart previously talked about "Rosewater" with KPCC's "The Frame," saying at the time that "The Daily Show" isn't all fun.

"As sad as it sounds, people might say, 'Man, working at 'The Daily Show,' that's gotta be a blast. You just sit around and laugh all day,'" Stewart said. "And you're like, 'No, we have a meeting at 9, and the 9 meeting has to be over by 9:30, and the scripts have to be in by 11, because if they're not, then we miss this deadline.'"

He also told the Hollywood Reporter last summer that he didn't know how much longer he would stay with the show.

"I mean, like anything else, you do it long enough, you will take it for granted, or there will be aspects of it that are grinding. I can't say that following the news cycle as closely as we do and trying to convert that into something either joyful or important to us doesn't have its fraught moments," Stewart said.

The show, one of Comedy Central's top franchises, will likely continue. John Oliver and Stephen Colbert would have seemed like the heirs apparent before they left; of the current staff, Samantha Bee, Jason Jones and Aaasif Mandvi are the longest-running correspondents, with Bee starting all the way back in 2003. Jones filled in for Stewart as anchor last fall, assisted by his wife Samantha Bee, when Stewart was out sick.

The show has also pushed for expanded diversity in its own cast, along with launching "The Nightly Show" with a black host and a minority panel, so that could point to a more diverse host in the future. The show has also recently expanded its international perspective, with Trevor Noah covering international news, Hasan Minhaj as the new Indian correspondent and Egyptian satirist Bassem Youssef joining as a Middle East correspondent.

Correction: An earlier version of this story referred to "Rosewater" as a documentary; it is a drama, based on Maziar Bahari's memoir. KPCC regrets the error.

This story has been updated.

This content is from Southern California Public Radio. View the original story at SCPR.org.

File: (L-R) "The Sarah Silverman Program" writer Harris Wittels, comedian Sarah Silverman, executive producer/head writer Dan Sterling and actress Laura Silverman, arrive at Comedy Central's Emmy Awards party at the STK restaurant Sept. 21, 2008 in Los Angeles.; Credit: Ethan Miller/Getty Images

Harris Wittels, a comedy writer who worked on "Parks & Recreation," has died at 30, the Los Angeles Police Department's Jane Kim tells KPCC.

Wittels was discovered by his assistant around 12 p.m., Kim said, and was already dead. Kim said that Wittels' death was a possible overdose, but that the Coroner's Office would determine the cause of death. Wittels had attended drug rehab twice.

Comedy Central, where Wittels worked on "The Sarah Silverman Program" and "Secret Girlfriend," confirmed Wittels' death, as did the comedy show he appeared at Wednesday night.

Comedy Central tweet

Meltdown Show tweet

Wittels was also well known for his @Humblebrag Twitter account and later book, helping to popularize the idea online of the false modesty of bragging while trying not to look like you're bragging.

Wittels had spoken about his struggles with addiction in places including Pete Holmes's podcast "You Made It Weird" in a November episode.

"I just really stopped caring about my life," Wittels said on "You Made It Weird," explaining how he got into doing drugs. "I just really started to think, well, if I'm only here for 80 years, then who cares if I spend it high or not?"

Wittels received his first big break when Sarah Silverman saw him performing comedy and gave him a job writing for her Comedy Central show.

Wittels also wrote for HBO's "Eastbound & Down," several MTV awards shows and the American Music Awards. He had a recurring role on "Parks & Recreation" and was a regular guest on the "Comedy Bang Bang" podcast.

Comedians, actors and fans mourned Wittels' death online.

Harris Wittels Storify

See Wittels in a scene from "Parks & Recreation":

Wittels on Parks & Recreation

Listen to Wittels on "Comedy Bang Bang":

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A cosplay gathering in the Anaheim Convention Center's Grand Plaza during WonderCon Anaheim 2014.; Credit: Kevin Green/SDCC

For all the sad comic book and pop culture fans who weren't able to get tickets to San Diego Comic-Con, we've got good news for you: They run another convention, and it's closer to Los Angeles. Their little brother WonderCon Anaheim has been growing, with some comparing it to the Comic-Con of old — before it got way too crowded. It's this Friday through Sunday, April 3-5. They're starting to have big stars and lots of great panels, so if you want to get your geek heart sated, here are some of the events you won't want to miss.

Warner Bros. Presentation: San Andreas, Mad Max: Fury Road

San Andreas trailer

The most highly anticipated event at this weekend's convention, Warner Brothers is putting on a special presentation with footage from these two upcoming action films. They haven't announced which stars will be on hand, but these panels often surprise with star power, so you may get a visit from stars like "San Andreas's" Dwayne "The Rock" Johnson or "Mad Max: Fury Road's" Tom Hardy or Charlize Theron. At the Comic-Con panel last year for the "Mad Max" flick, the director talked in detail about the film, so you'll probably at least get his take on the franchise and its resurrection.

DC Comics TV shows: The Flash, Gotham, iZombie

The Flash trailer

While Marvel has been dominant on the big screen, DC has put out a diverse slate of TV shows, with "The Flash" being the biggest hit among them. It's among those getting a spotlight at WonderCon, with creators and stars dishing on the programs that have captured the imaginations of TV fans and comic fans alike. All three shows are also getting special video presentations, likely showing clips of what you can expect the rest of this season. And in case you didn't already know, "iZombie" comes from "Veronica Mars" creator Rob Thomas, so come find out about his latest project.

World Premiere: Batman vs. Robin

Batman vs. Robin trailer

It's become a tradition at both WonderCon and San Diego Comic-Con for DC Comics to debut their latest animated movie, and the new one is based on the critically acclaimed "Court of Owls" storyline by writer Scott Snyder. (Be sure to check out our previous interviews with Snyder — he's even an NPR fan.) The original story is based on how Batman thinks he knows everything there is to know about Gotham City and faces the discovery that there are deep secrets about the city that he had no idea about, and the film also emphasizes him fighting his son Damian.

Sing-alongs: Dr. Horrible & Batman's The Music Meister

Batman: The Brave and the Bold: Drives Us Bats

People go to comic conventions to geek out, and what's geekier than a good old-fashioned singalong? In addition to one for geek god Joss Whedon's much loved Web series "Dr. Horrible's Sing-Along Blog," they're also doing one for the musical episode of animated series "Batman: The Brave and the Bold" — which, just like "Dr. Horrible," features singing by the one and only Neil Patrick Harris. In the Batman cartoon, he plays the Music Meister, a Batman villain who makes both heroes and villains sing, as he drops some tunes of his own.

Superman: The Richard Donner Years Celebrity Super Reunion

Superman: The flying sequence

There's a reunion of stars from the first two of the classic Christopher Reeve Superman movies, including Lois Lane herself, Margot Kidder. You can also see the actors who played characters like Jimmy Olsen, several of the villains and more, as well as two of the producers. Find out what you don't know about the movie that broke ground when it came to depicting flight on-screen and, like the ads promised, made you believe a man could fly.

TV writing panels

Two panels will give you a peek into the world of the writers who write some of the hottest shows on TV: "TV Guide Magazine's Fan Favorites Showrunners" and "Inside The Writers' Room: Earth's Mightiest Writers Re-Assemble Redux." The first of those includes legendary TV showrunners like Dan Harmon of "Community" and the minds behind shows including "Orphan Black," "The Goldbergs" and more. Meanwhile, at the writers room panel, you'll get writers who've worked on shows like "Lost," "Firefly," "Heroes," "The Big Bang Theory," "Agent Carter" and more.

Fan culture programming track

This includes a lot of different panels, but it's a sign of the way fandom is shifting — it's a lifestyle that's far more diverse than it used to be, with a lot more gender parity. This track includes panels on topics like body confidence in cosplay, fashion, fitness, race and more. See what sparks your interest and might invite you into having an identity as a fan being a bigger part of your life while not letting anyone make you feel excluded.

There's so much more, like Will Forte doing a panel promoting his new show "The Last Man On Earth," the annual cosplay masquerade and so much more. Tickets are sold out for Saturday, but at press time, tickets were still available for both Friday and Sunday at WonderCon.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Entangled embedded periodic nets and crystal frameworks are defined, along with their dimension type, homogeneity type, adjacency depth and periodic isotopy type.

Features of azimuthal plots for RHEED and its new counterpart, RHEPD, are discussed. The plots, for both electrons and positrons, are determined using dynamical diffraction theory.

A method is adapted to generate a full rank realization of an abstract regular polyhedron with automorphism group H3.

Structure-mining finds and returns the best-fit structures from structural databases given a measured pair distribution function data set. Using databases and heuristics for automation it has the potential to save experimenters a large amount of time as they explore candidate structures from the literature.

Physical quantities in arbitrary dimensional space can be classified into 41 types using three antisymmetries within the framework of Clifford algebra.

A Landau theory for the wurtzite-based heterovalent ternary semiconductor ZnSnN2 is developed and a first-order reconstructive phase transition is proposed as the cause of observed crystal structure disorder. The model infers that the phase transition is paraelectric to antiferroelectric.

Using mineralogical data, it is demonstrated that chemical simplicity measured as an amount of Shannon information per atom on average corresponds to higher symmetry measured as an order of the point group of a mineral, which provides a modern formulation of the Fedorov–Groth law.

(The Paypers) Consumer expectations for convenience have increased significantly across a variety of markets, and quick-service restaurants (QSRs) are no...

(The Paypers) Gaming Innovation Group (GiG) has achieved ISO 27001 certification for the second year running.

(The Paypers) HID Global, an identity solutions company, has completed the acquisition of the...

Sopra Banking Software (SBS), a global digital banking...

Ingenico Group,

Symend, a Canada-based digital engagement platform, has raised USD 52 million to identify customers...

Supporters of the late educator and civil rights advocate Sal Castro are working to keep his Chicano Youth Leadership Conference alive.; Credit: Crystal Marie Lopez/Flickr

When he died in 2013, Sal Castro drew praise as a Southern California civil rights leader who championed educational opportunities for generations of students of Mexican descent.

While a high school teacher in 1968, he helped thousands of students stage massive walkouts in Los Angeles' east side to protest high dropout rates and poor schooling that ignored their cultural background.

Supporters say his most influential legacy is the Chicano Youth Leadership Conference that he founded in 1963 as a weekend camp in the Santa Monica mountains. The gathering functioned as a cultural pep rally and intensive college application session.

“There was quite a large group of people that knew that this is not something that could die with him. That is when we had the idea to form a foundation to make sure that we keep his legacy alive,” said Myrna Brutti, the conference’s director.

Castro struggled to raise money for the conference, which counts among its alumni such well-known leaders as former Los Angeles Mayor Antonio Villaraigosa and filmmaker Moctesuma Esparza.

The Sal Castro Foundation typically spends about $60,000 to pay for the camp, including food and bus transportation. The group raises the money so that students can attend for free.

Applications to the next conference on March 6 have been sent to LAUSD high school campuses, targeting low-income Latinos, with a Feb. 20 deadline. Organizers hope in years ahead to open the conference to other Southland schools.

Brutti, a middle school principal, said she sees many more college application and high school to college bridge programs today. But a large group of high school students still go without college counseling, she said.

“These are 4.0, 3.7, 3.9, 4.2 [grade-point average] students that graduate from high school and go directly into the workforce because no one has taken the time to really go in depth on…what is available to them,” Brutti said.

The conference gives students like high school junior Savannah Pierce a broader view of their post-graduation choices. She attended the conference in October.

“I never really gave much thought to getting a doctorate degree,” Pierce said. “I thought I was going to do my four years of undergraduate and maybe graduate school. I never realized how many options and opportunities there were.”

When Castro talked to students of Mexican descent, he often transitioned seamlessly between English and Spanish, giving brief lessons on Mexican history and notable Mexicans. The current conference leaders are keeping that tradition alive.

“I never realized how deep and important my culture is and how rich it is with knowledge, and how hard people have worked in the past to get me where I am today,” Pierce said.

Other resources for students seeking help with college applications include:

1. California college and career planning

2. The College Board’s college planning helper

3. The Princeton Review’s college helper

This content is from Southern California Public Radio. View the original story at SCPR.org.

At a recent LAUSD District 3 school board debate, teachers dressed as FBI agents in protest of board member Tamar Galatzan's support of the iPad program.; Credit: Annie Gilbertson/KPCC

As the city's March 3 primary election draws near, Los Angeles Unified school board candidates are blasting incumbents for the controversial iPad program.

Opponents sharply criticized the $1.3 billion bond-funded program at a debate Tuesday in West San Fernando Valley, where District 3 school board member Tamar Galatzan was elected in 2007.

"Galatzan said the district is going in the right direction," declared candidate Carl Petersen, a parent and businessman. "I don’t know how anyone can look at the events of the past year and come to that conclusion."

RELATED: LAUSD District 5 school board candidates face off in debate

The program attracted national attention last December when the FBI raided district offices and carted off 20 boxes of bids, evaluations and correspondences with executives at Apple and its subcontractor Pearson, the manufacturer of the learning software loaded on to each device. The investigation is ongoing.

At the debate, teachers dressed in dark windbreakers with FBI plastered on the back in protest to Galatzan's support of the program. (They have not held similar demonstrations at election events in East Los Angeles' District 5, where Bennett Kayser, a teacher union ally, is running for re-election.)

Tom Richards, a Granada Hills parent, said he considers the iPad program a central issue as he weighs candidates.

"I think it's absolutely ridiculous," Richards said. "I don't believe that's a good way to spend the money that they have. Looking at some really fundamental needs — we don't have a librarian, but we want to give iPads?" 

Galatzan was an early advocate for more technology in the classroom; it was her goal even before the iPad was on the market.

"There is a whole world out there that can be accessed through technology, and we need to take advantage of that," Galatzan told KPCC.

Her advocacy of technology hasn't always been controversial. Galatzan points to her 2010 initiative to fund school computer labs with a settlement from Microsoft.

The school board's support of the iPad program varied the first year, but waned in August after KPCC published a series of emails showing district administrators had close ties with Pearson, calling into question whether the bidding process was fair. Problems with the rollout of the devices and the effectiveness of the software they contained also eroded support for the program.

Still, school board members unanimously approved more iPad purchases after the FBI investigation came to light. Superintendent Ramon Cortines said the tablets were necessary for new digital state tests scheduled this spring and offered to purchase them under a different contract with Apple to avoid complications involving the federal probe.

If the candidates' positions are a measure of support for the program, it's unpopular at best.  All of Galatzan's opponents are against it. 

When asked in a KPCC election survey conducted if he supported the iPad program, Scott Schmerelson, a retired administrator and District 3 contender, responded: "Not when you are paying for them from LAUSD Bond Money! The taxpayers generously supported the bond issue with the belief that the money would be used to repair and modernize our schools." 

Candidate Ankur Patel said in his answer to the survey, "I oppose the LAUSD’s iPad program. Throughout the program, important questions were not asked enough, and when they were, they were not answered properly."

Filiberto Gonzalez, another Galatzan challenger, said of the iPad project: "It was a mistake and ill-conceived from the very beginning. As was noted in the report by the U.S. Department of Education last month, the Common Core Technology Project (iPad program) lacked 'established metrics of success' and 'was difficult to show the impact of the investment.'

Elizabeth Badger Bartels is also running for the District 3 seat, but did not respond to the survey by deadline.

For more information on the school board candidates' positions and their backgrounds, read KPCC's 2015 Los Angeles primary election guide.

This content is from Southern California Public Radio. View the original story at SCPR.org.

File: Los Angeles Unified 6th-grader Jack Spiewak performs as Macbeth at Eagle Rock Elementary School. District schools can now use a major source of federal funds to incorporate the arts into academics.; Credit: Maya Sugarman/KPCC

Los Angeles Unified School District officials have cleared the way for principals to tap into a major source of funding for arts programs targeting low-income students starting this fall.

Although state and federal officials previously said national Title I dollars, allocated to help disadvantaged students improve in academics, could be used for the arts instruction, some district officials had been reluctant to move ahead. The latest decision reverses the district's long-standing practice and opens the door for Title I-funded arts instruction that helps students improve their academic performance. 

"This has been a long time coming and this really is a day of rejoicing, quite frankly, in LAUSD," said Rory Pullens, the district's executive director of arts education. 

RELATED: For Pasadena school, arts plus math is really adding up

A two-page memo issued Thursday from Pullens, Deputy Superintendent Ruth Perez and Karen Ryback, executive director of Federal and State Education Programs, confirms the arts as a core subject and allows schools with high percentages of low-income students to use Title I funds for the arts.

Those schools "may utilize arts as an integration strategy to improve academic achievement," the directive reads. However, Title I funds are not allowed "to fund programs whose primary objective is arts education," according to the memo. As an example, the funds could be tapped to help students learn a character's point of view in a lesson that requires acting out a skit. 

Title I funding, developed in 1965 as part of President Lyndon Johnson's war on poverty, has been used historically to increase students success in reading and math. The funds have paid for efforts like reading coaches or math tutors, supplemental software programs and professional development for teachers to improve low-performing students' test scores.

At $14 billion a year, the Title I funds make up the federal government's largest expenditure for grades K-12. The majority of LAUSD schools receive Title I dollars.

Arts advocates have long sought to get the second-largest district in the country to shift its stance on Title I arts funding, arguing that the arts have been shown in research to boost student academic performance. 

LAUSD joins just a handful of districts around the state that have committed to a district-wide Title I plan including the arts. San Diego Unified, Sacramento City Unified and Chula Vista Elementary School District are among them, according to Joe Landon, executive director of the California Alliance for Arts Education. 

Landon says beyond these districts, the decision to use Title I for the arts is largely playing out on a school-by-school basis. Some principals are using Title I funds for the arts, but they're doing so largely under the radar, some fearing that state monitors will say the funds were used incorrectly. 

"At each level, there are people that are afraid," Landon said. The reason: schools are accountable for how Title I dollars are spent and misuse could cause schools to lose a valuable funding source. Despite the state and federal directives on Title I allowing arts instruction in academics, school officials have been hesitant to make changes because Title I spending is monitored so closely. 

Landon explained that a decision to use Title I funds for the arts is momentous for schools.

"When districts begin to move," he said, "that really changes it."

Attention turns to principals, funding gatekeepers

When Los Angeles Unified brought on Pullens, attracting him from a well-known arts school in Washington, D.C., he took on the task of securing Title I funding in his early months on the job. He said budgeting would be a huge challenge in increasing access to the arts for more of the district's students. 

The deed now done, Pullens said: "This was clearly a very high priority of what we wanted to accomplish and we are just so thrilled that this has finally come to pass."

It'll now be up to school principals to decide how much of their Title I funding to allocate for arts instruction. Pullens said plans to train principals on the benefits of arts integration are underway.

While the Title I arts spending is not mandatory, he expects the new directive to free up significant funding for the district's arts efforts. He didn't have exact estimates, but pointed out that schools' Title I funds range anywhere from hundreds of dollars to hundreds of thousands of dollars per school. 

As KPCC reported in July, only about 70 of the district's more than 500 elementary schools were on track to provide all four art forms (dance, visual arts, music and theater) for the 2014-2015 school year — a legal requirement under the California education code. 

Cheryl Sattler, senior partner with the Florida-based consulting firm Ethica, has worked closely with about 100 school districts nationwide and estimates only two have used Title I funding for the arts.

“The urgency is to try to get kids to read," she said, "and if you have kids, for example, in the 10th grade who are reading at a 3rd or 4th-grade level, it’s really hard to think past that, because that’s the emergency.” The arts are often left out of the conversation, according to Sattler, which means they're left out of funding.

“I think the issue is that largely principals, and school improvement committees, and other folks who are worried about academic performance don’t always look to the arts and they don’t always know the research about how powerful arts can be,” she said. 

The LAUSD directive described examples of arts integration activities that schools might consider:

• Invite community members to demonstrate or share their talents with students as a prompt for a writing assignment.
• Have students create models that display mathematical data pertaining to each planet of the solar system: distance from the sun, length of day and night, length of year, and day and night surface temperatures.
• Ask students to create a small piece of dance/movement that models their understanding of geometric concepts.
• Encourage students to explore the science of sound by utilizing rubber bands, oatmeal containers, coffee cans, balloons, etc. to construct one or more of the four families of musical instruments: strings, woodwinds, brass and percussion.
• Have students write and perform a short skit to illustrate a literary character’s point of view.
• Provide a lesson on utilizing a software program to create an animated film that highlights key historical events that occurred during the Civil War (In this instance, the cost of the software program would be an appropriate Title I expenditure). 

Supporting Title I Schoolwide Program 2-19-2015

This content is from Southern California Public Radio. View the original story at SCPR.org.

La Librería co-founders, Chiara Arroyo (left) and Celene Navarrete (right) at the opening of their brick and mortar store on West Washington Blvd in Mid-City, Feb 21, 2015. The store sells children literature in Spanish. ; Credit: Deepa Fernandes / KPCC

A new Mid-City store specializing in Spanish-language books for children may help chip away at a problem facing public schools expanding their dual-language programs and parents working to raise bilingual children: a lack of books beyond translations of "Curious George."

La Librería, the first children’s Spanish-language literature store in Los Angeles, opened Feb. 21 at a location on West Washington Boulevard. The brick-and-mortar is the dream of two moms who started out selling their volumes at book fairs.

When they first started out, co-founders Celene Navarrete and Chiara Arroyo couldn’t believe the lack locally of good, Spanish-language literature for children.

"Especially in Los Angeles, it was shocking to see the books that I read in Mexico, in my hometown, many of them were not available here," said Navarrete.

So Navarrete and Arroyo began traveling to Mexico, Guatemala, Colombia, and Spain to find authentic, Spanish-language children's books.

"We found the classics, we found the books that we read when we were little," she said.

Although 64 percent of Los Angeles' children are Latino, locating children's works in Spanish beyond translations of popular books in English isn't easy.

This matters to educators who say young children need to read and hear language-rich stories to expand their vocabulary and engage with characters in settings they recognize.

“I’ve been a bilingual educator since the '80s, and as an educator you’re always striving to look for authentic literature,” said Norma Silva, principal of the UCLA Lab School, a dual-language pre-kindergarten and elementary school attached to the university's Graduate School of Education.

By authentic literature, Silva means books originally written in Spanish, using the “luscious language” of rich descriptions and vivid characters. These writings often come from Spanish-speaking countries.

Books translated from English to Spanish aren't enough, Silva said. Besides rich language, Silva looks for books from different countries — "because it’s important that we’re able to delve deeply in understanding differences,” she said. Silva believes books need to reflect the diversity among the children and their families.

Since books from Mexico use different language and tell different tales than books from Guatemala, Colombia or Spain, Silva wants the children at her school to experience them all.

So that’s what adults want.  

According to Scholastic, one of the largest sellers in the U.S. of children's books in Spanish, kids have strong opinions about what they want to read. In a just completed survey, Scholastic found 91 percent of kids aged 6 to 17 said their favorite books were ones they picked themselves.

And kids age 6 to 8 are more likely to want characters that look like them than older kids.

The majority of the Spanish-language books in the March Scholastic catalog are translations of popular English language books, with a few books written in Spanish. The March catalog includes "Clifford the Dog" and stories about Sophia, the Disney princess, in Español.

"Kids who are Latino, they don’t just want to read books that are Latino or by Latino authors or with Latino characters — they want to be exposed to the diverse literature that is out there," said Mariel Lopez, who directs Scholastic's Spanish section.

Lopez adds that teachers in dual language immersion schools request Spanish language books which are translated from English so they can use the same book in both languages.

Luis Orozco, who has represented authors of books for Latino children for years, said changes in the publishing industry haven't helped writers of original Spanish-language works.

"As a result of the advent of technology, a lot of our [U.S.] publishers were forced to consolidate. So a book about a popular character that did well in English was easy to translate," he said.

But Orozco believes there is a major market among people who are eager for their kids to succeed and want more book choices for their children.

“They come to this country because they have better opportunities here," he said. "And the fact of the matter is that the traditional channels of distribution don’t have sales people that speak their language, that can speak to the authenticity of that product.”

At a recent presentation to parents, Orozco talked about the story, “Del Norte al Sur,” written by one of his authors, Rene Colato Lainez. It tackles the issue of family separation due to deportation.

After his talk, he said he sold out of every book.

Navarrete and Arroyo have scoured the Internet and traveled to Spanish-speaking countries to find authentic literature to sell. They found them, to their delight.

“There is this explosion of small independent [children’s] publishers in Spain, in Latin American countries,” Navarrete said. The two carefully selected books that would resonate with kids growing up in Los Angeles, and brought them back to stock their shelves.

At their store's grand opening on Feb. 21, parents and kids flooded in, devouring the books. One mother, bouncing her 10-month-old in a baby carrier, asked if the store had books from Guatemala.

To her surprise, the answer was "yes."

Arroyo and Navarrete hope eventually they can find a way for children to borrow their books for free, like a library. They said their goal is to break down barriers so that any child can read a book that speaks to them.

4 tips for finding and reading Spanish-language literature

1. Look for small or independent publishers that promote Latino authors and illustrators. Here are a few to start with:

• Lee & Low books
• Cinco Puntos Press
• Academia Cultural

2. Rich language matters. Browse for language in books that is rich and expressive. Children are never too young to be exposed to words heavy in imagery, that have double-meanings, or are alliterative. Through vivid descriptions, children can learn words to explain their own feelings and experiences.

3. Engage your children with the language as much as you engage them with the story. Explain the complex words and talk about context and meaning. Rich language can also help early readers with social emotional development, said Norma Silva of UCLA’s Lab School.

4. Besides books in hard copy, look for audio books. There is a long tradition of oral storytelling in many Latin American countries. Stories are told and passed on through generations, and today some Latino writers are also performers. Author Jose-Luis Orozco produces music, rhythms and basic literacy in addition to his stories.

This content is from Southern California Public Radio. View the original story at SCPR.org.

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