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"content": "\u003cp>The first time we see Elton John in \u003cem>Rocketman\u003c/em>, he’s wearing a spangly red devil costume with sharp horns and enormous wings. It’s one of the many glorious, glittery things we see him wear in the movie, although on this occasion, he isn’t dressed for a concert. It’s around 1990, and Elton, played by Taron Egerton, is attending a group therapy session. He may be one of the world’s most successful rock stars, but he’s also being eaten alive by sex addiction and substance abuse, and also by feelings of abandonment that go back to his childhood.\u003c/p>\n\u003cp>No one who’s seen a movie about a popular musician will be surprised by any of this, or by the way \u003cem>Rocketman\u003c/em> unfolds its story as a series of extended flashbacks. But even within that familiar framework, the movie finds surprising ways to buck convention. The colors are bright and kaleidoscopic, but the tone is beautifully modulated: The operatic excesses are balanced by a powerful sense of melancholy. The group-therapy framing device works especially well: The sight of Elton in all that defiant plumage is ludicrous, marvelous and strangely poignant — all words you might apply to the movie itself.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rocketman (2019) - Official Trailer - Paramount Pictures\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/S3vO8E2e6G0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As directed by Dexter Fletcher from a script by Lee Hall, \u003cem>Rocketman\u003c/em> isn’t just a musician’s biopic; it’s a biographical musical. Conceived as a surreal song-and-dance spectacular, it’s a delirious blur of truth and artifice, convention and daring. John’s greatest hits — from “Your Song” and “Tiny Dancer” to “Goodbye Yellow Brick Road” and “I’m Still Standing” — are treated not just as career milestones but as full-blown numbers. The first one is “The Bitch Is Back,” repurposed here as an anthem of boyhood defiance for Elton, born Reginald Dwight, as he grows up in 1950s London with his unhappily married parents. Bryce Dallas Howard plays his mother with a series of exhausted eye-rolls, even when Reggie begins to show signs of prodigious musical talent.\u003c/p>\n\u003cp>Reggie grows up in a flash, rebrands himself as Elton John and meets his lifelong collaborator, the lyricist Bernie Taupin, wonderfully played by Jamie Bell. The movie’s most stirring scene finds Elton improvising at the piano, and the immortal melody to “Your Song” comes pouring out of his fingertips. It’s his song of unrequited love for Bernie, who will stand by him through thick and thin, even after Elton falls into a toxic relationship with a manipulative manager, John Reid, played by Richard Madden of \u003cem>Game of Thrones\u003c/em> fame.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It may be a little reductive to use John’s music as a form of narrative shorthand, but it also works like gangbusters: We’re reminded of just how soulful and emotionally malleable that music is. In one of the more blatant but inspired artistic liberties, Elton makes his stateside debut at the Troubadour in Los Angeles with a gravity-defying performance of “Crocodile Rock” — never mind that it’s 1970, two years before he and Taupin would write that song in real life.\u003c/p>\n\u003cp>Egerton does his own singing as John, and though he’s not a perfect physical match for the character, it hardly matters. Rather than going for showy mimicry, the 29-year-old actor underplays, locating subtle depths of feeling in a figure known for his flamboyance. He retains a firm grip on the character even when John begins his downward spiral, climaxing with his 1975 suicide attempt when he overdoses on Valium and plunges into his swimming pool. It’s here that director Fletcher unleashes the song “Rocket Man” itself, staged as a gorgeously lyrical underwater fantasy.\u003c/p>\n\u003cp>[aside postID='arts_13858037' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2019/05/LBMISF_COVER-1920x1080.jpg' target='_blank']\u003c/p>\n\u003cp>Moments like that give the movie a coherence and fluidity that eluded the much more slapdash \u003ca href=\"https://www.npr.org/2018/11/01/660969118/no-bed-of-roses-no-pleasure-cruise-bohemian-rhapsody\">\u003cem>Bohemian Rhapsody\u003c/em>\u003c/a>\u003cem>, \u003c/em>which Fletcher completed after its director, Bryan Singer, was fired mid-production. It’s hard not to compare the two: Like \u003cem>Rhapsody\u003c/em>, \u003cem>Rocketman\u003c/em> is a portrait of an LGBT glam-rock icon who repressed his sexuality but ultimately couldn’t keep it out of the spotlight. This movie, to its credit, takes a much more intimate and empathetic view of its subject’s romantic life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s not to say that \u003cem>Rocketman\u003c/em> doesn’t have its overly processed, sanitized moments. You may nod your head somewhat dutifully as the story tumbles through its rise-and-fall-and-rise-again trajectory. But as John’s music itself reminds us, even the most familiar tune can take on new resonance. In the movie’s most aching moments, Elton seems to be singing not to others but to himself, as if to suggest that even the most universal pleasures often have intensely personal roots. Before it was your song, it was his.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first time we see Elton John in \u003cem>Rocketman\u003c/em>, he’s wearing a spangly red devil costume with sharp horns and enormous wings. It’s one of the many glorious, glittery things we see him wear in the movie, although on this occasion, he isn’t dressed for a concert. It’s around 1990, and Elton, played by Taron Egerton, is attending a group therapy session. He may be one of the world’s most successful rock stars, but he’s also being eaten alive by sex addiction and substance abuse, and also by feelings of abandonment that go back to his childhood.\u003c/p>\n\u003cp>No one who’s seen a movie about a popular musician will be surprised by any of this, or by the way \u003cem>Rocketman\u003c/em> unfolds its story as a series of extended flashbacks. But even within that familiar framework, the movie finds surprising ways to buck convention. The colors are bright and kaleidoscopic, but the tone is beautifully modulated: The operatic excesses are balanced by a powerful sense of melancholy. The group-therapy framing device works especially well: The sight of Elton in all that defiant plumage is ludicrous, marvelous and strangely poignant — all words you might apply to the movie itself.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Rocketman (2019) - Official Trailer - Paramount Pictures\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/S3vO8E2e6G0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>As directed by Dexter Fletcher from a script by Lee Hall, \u003cem>Rocketman\u003c/em> isn’t just a musician’s biopic; it’s a biographical musical. Conceived as a surreal song-and-dance spectacular, it’s a delirious blur of truth and artifice, convention and daring. John’s greatest hits — from “Your Song” and “Tiny Dancer” to “Goodbye Yellow Brick Road” and “I’m Still Standing” — are treated not just as career milestones but as full-blown numbers. The first one is “The Bitch Is Back,” repurposed here as an anthem of boyhood defiance for Elton, born Reginald Dwight, as he grows up in 1950s London with his unhappily married parents. Bryce Dallas Howard plays his mother with a series of exhausted eye-rolls, even when Reggie begins to show signs of prodigious musical talent.\u003c/p>\n\u003cp>Reggie grows up in a flash, rebrands himself as Elton John and meets his lifelong collaborator, the lyricist Bernie Taupin, wonderfully played by Jamie Bell. The movie’s most stirring scene finds Elton improvising at the piano, and the immortal melody to “Your Song” comes pouring out of his fingertips. It’s his song of unrequited love for Bernie, who will stand by him through thick and thin, even after Elton falls into a toxic relationship with a manipulative manager, John Reid, played by Richard Madden of \u003cem>Game of Thrones\u003c/em> fame.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Leon Redbone, the perpetually anachronistic, famously mysterious artist who rose to prominence as a performer on Toronto’s folk circuit in the early ’70s, died Thursday while in hospice care in Bucks County, Pa.\u003c/p>\n\u003cp>Redbone’s family confirmed his death through a publicist. No cause was given, and Redbone’s age was a subject of speculation for decades.\u003c/p>\n\u003cp>“I’ve heard he’s anywhere from 25 to 60,” Bob Dylan \u003ca href=\"https://www.rollingstone.com/music/music-news/knockin-on-bob-dylans-door-191025/\">told\u003c/a> \u003cem>Rolling Stone\u003c/em> in 1974, “and I can’t tell, but you gotta see him.” That same year, when asked about his age by \u003cem>Rolling Stone,\u003c/em> Redbone replied: “Of course I don’t know. It’s just something I vaguely recall. I can’t say for sure.” In the news release announcing his death, Redbone’s age was cited as 127.\u003c/p>\n\u003cp>The only things known — ostensibly — of Redbone’s origins were \u003ca href=\"https://www.thestar.com/entertainment/2007/06/13/redbone_careful_to_preserve_the_mystery.html\">revealed\u003c/a> by \u003cem>Toronto Star\u003c/em> columnist George Gamester in the 1980s: that he was a Cypriot named Dickran Gobalian, who emigrated to Ontario in the 1960s and changed his name after arriving in Canada.\u003c/p>\n\u003cp>Redbone’s obscurantist tendencies, including his ever-present, masking uniform of sunglasses, bushy mustache and Panama hat, gave Redbone the aura of a quixotic time-traveler, someone who simply stepped onto the stage fully formed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And Redbone was a man happily — or at least, authentically — out-of-time. He played dusty classics — from Tin Pan Alley and ragtime to blues and country — with a loose fidelity, always anchored by his casually lovely and always wry voice.\u003c/p>\n\u003cp>Dylan’s endorsement, made at the apex of his and \u003cem>Rolling Stone\u003c/em>‘s cultural footprints, was a defining moment for Redbone and helped widened interest in him from stars of the era, including Bonnie Raitt and John Prine.\u003c/p>\n\u003cp>His commercial success, according to the \u003cem>Billboard\u003c/em> charts, peaked in 1977 when the album \u003cem>Double Time\u003c/em> \u003ca href=\"https://www.billboard.com/music/leon-redbone/chart-history/billboard-200\">reached\u003c/a> the top 50 — helped, in part, by two performances during \u003cem>Saturday Night Live\u003c/em>‘s debut season. But Redbone remained a cultural presence for decades, singing the theme song for ’80s sitcom \u003cem>Mr. Belvedere\u003c/em> and appearing as “Leon the Snowman” in the now-classic Christmas film \u003cem>Elf \u003c/em>in 2003.\u003c/p>\n\u003cp>In 2015, Redbone announced his retirement from touring, with a rep \u003ca href=\"https://www.rollingstone.com/music/music-news/leon-redbone-announces-retirement-new-third-man-compilation-72505/\">citing\u003c/a> health concerns. He followed that retirement up with another album, \u003cem>Long Way Home, \u003c/em>composed of his earliest recordings and released by Jack White’s label, Third Man Records.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When \u003ca href=\"https://soundcloud.com/ahsilverman/redbone-leon-dec-10-1984\">asked by NPR’s Lynn Neary in 1984\u003c/a> whether he enjoyed his performances, Redbone responded with a wink: “I never have a good time … but I try.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Leon Redbone, the perpetually anachronistic, famously mysterious artist who rose to prominence as a performer on Toronto’s folk circuit in the early ’70s, died Thursday while in hospice care in Bucks County, Pa.\u003c/p>\n\u003cp>Redbone’s family confirmed his death through a publicist. No cause was given, and Redbone’s age was a subject of speculation for decades.\u003c/p>\n\u003cp>“I’ve heard he’s anywhere from 25 to 60,” Bob Dylan \u003ca href=\"https://www.rollingstone.com/music/music-news/knockin-on-bob-dylans-door-191025/\">told\u003c/a> \u003cem>Rolling Stone\u003c/em> in 1974, “and I can’t tell, but you gotta see him.” That same year, when asked about his age by \u003cem>Rolling Stone,\u003c/em> Redbone replied: “Of course I don’t know. It’s just something I vaguely recall. I can’t say for sure.” In the news release announcing his death, Redbone’s age was cited as 127.\u003c/p>\n\u003cp>The only things known — ostensibly — of Redbone’s origins were \u003ca href=\"https://www.thestar.com/entertainment/2007/06/13/redbone_careful_to_preserve_the_mystery.html\">revealed\u003c/a> by \u003cem>Toronto Star\u003c/em> columnist George Gamester in the 1980s: that he was a Cypriot named Dickran Gobalian, who emigrated to Ontario in the 1960s and changed his name after arriving in Canada.\u003c/p>\n\u003cp>Redbone’s obscurantist tendencies, including his ever-present, masking uniform of sunglasses, bushy mustache and Panama hat, gave Redbone the aura of a quixotic time-traveler, someone who simply stepped onto the stage fully formed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And Redbone was a man happily — or at least, authentically — out-of-time. He played dusty classics — from Tin Pan Alley and ragtime to blues and country — with a loose fidelity, always anchored by his casually lovely and always wry voice.\u003c/p>\n\u003cp>Dylan’s endorsement, made at the apex of his and \u003cem>Rolling Stone\u003c/em>‘s cultural footprints, was a defining moment for Redbone and helped widened interest in him from stars of the era, including Bonnie Raitt and John Prine.\u003c/p>\n\u003cp>His commercial success, according to the \u003cem>Billboard\u003c/em> charts, peaked in 1977 when the album \u003cem>Double Time\u003c/em> \u003ca href=\"https://www.billboard.com/music/leon-redbone/chart-history/billboard-200\">reached\u003c/a> the top 50 — helped, in part, by two performances during \u003cem>Saturday Night Live\u003c/em>‘s debut season. But Redbone remained a cultural presence for decades, singing the theme song for ’80s sitcom \u003cem>Mr. Belvedere\u003c/em> and appearing as “Leon the Snowman” in the now-classic Christmas film \u003cem>Elf \u003c/em>in 2003.\u003c/p>\n\u003cp>In 2015, Redbone announced his retirement from touring, with a rep \u003ca href=\"https://www.rollingstone.com/music/music-news/leon-redbone-announces-retirement-new-third-man-compilation-72505/\">citing\u003c/a> health concerns. He followed that retirement up with another album, \u003cem>Long Way Home, \u003c/em>composed of his earliest recordings and released by Jack White’s label, Third Man Records.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>When \u003ca href=\"https://soundcloud.com/ahsilverman/redbone-leon-dec-10-1984\">asked by NPR’s Lynn Neary in 1984\u003c/a> whether he enjoyed his performances, Redbone responded with a wink: “I never have a good time … but I try.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>Updated at 10:47 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>A new pilot is set to take the helm at the Smithsonian Institution.\u003c/p>\n\u003cp>The organization, a public-private partnership that has established and maintains many of the best-known museums in the U.S., unveiled its next secretary at a news conference Tuesday: \u003ca href=\"https://www.si.edu/about/bios/lonnie-g-bunch-iii\">Lonnie G. Bunch III\u003c/a>, the founding director of the \u003ca href=\"https://nmaahc.si.edu/\">National Museum of African American History and Culture\u003c/a>, will take over the day-to-day administration of the Smithsonian’s 19 museums, 21 libraries and the National Zoo — \u003ca href=\"https://www.si.edu/about/museums\">among other operations\u003c/a>.\u003c/p>\n\u003cp>Bunch’s selection, made by unanimous vote of the organization’s \u003ca href=\"https://www.si.edu/regents/members\">17-member Board of Regents\u003c/a>, makes him the first African American to serve in the role of secretary in \u003ca href=\"https://siarchives.si.edu/history/secretaries-smithsonian\">its 173-year history\u003c/a>. He will take over for the outgoing secretary, \u003ca href=\"https://www.si.edu/about/secretary-david-skorton\">David Skorton\u003c/a>, in roughly three weeks.\u003c/p>\n\u003cp>Shortly after his name was announced, Bunch stepped to the lectern to reflect on just what this move means to him — and to acknowledge the “challenges that the institution faces during the next decade.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“But more importantly,” he said, “I’m excited by the potential to meet those challenges.”\u003c/p>\n\u003cp>Bunch represents a new leader for the Smithsonian, but in many ways he is something of an old hand. He took over the African American history museum in 2005, steering it from the early days of its inception through its 2016 opening and beyond. Before that, he worked at the \u003ca href=\"https://americanhistory.si.edu/\">National Museum of American History\u003c/a> for over a decade.\u003c/p>\n\u003cp>Yet for all his work in history, Bunch said Tuesday that he’s got his eyes trained squarely on the future.\u003c/p>\n\u003cp>“It is important for the public to view the Smithsonian not simply as an addict of nostalgia, but as a cauldron of ideas of innovation and understanding that can be transformative for our country,” he said at the news conference.\u003c/p>\n\u003cp>“To accomplish this, though, the Smithsonian must become a much more nimble entity,” he added. “It must be an institution that is ripe with technology, an institution better suited to serve 21st century audiences, and an institution of research, of great collections, and of wonder that helps America understand itself and its world. This will ensure that the Smithsonian will always be what it once was. It will always ensure that the Smithsonian will be a place where scholarship, creativity, education and service come together for the greater good.”\u003c/p>\n\u003cp>Within the Smithsonian Institution’s leadership structure, the secretary is akin to a private company’s CEO — the executive responsible for the umbrella organization’s general vision and daily direction.\u003c/p>\n\u003cp>Under Skorton, a cardiologist and former president of both the \u003ca href=\"https://www.thegazette.com/2014/03/10/former-ui-president-david-skorton-to-lead-smithsonian\">University of Iowa\u003c/a> and \u003ca href=\"http://president.cornell.edu/david-j-skorton/\">Cornell University\u003c/a>, the Smithsonian \u003ca href=\"https://www.npr.org/2019/01/09/682925400/as-shutdown-crawls-on-artists-and-nonprofits-fear-for-their-fragile-industry\">weathered the federal shutdown\u003c/a> earlier this year and opened the long-awaited National Museum of African American History and Culture in 2016.\u003c/p>\n\u003cp>Later this summer Skorton \u003ca href=\"https://news.aamc.org/press-releases/article/aamc-names-next-president-and-ceo/\">plans to move on\u003c/a> to the Association of American Medical Colleges, where he will become president and CEO.\u003c/p>\n\u003cp>“The Regents, and the Smithsonian, are fortunate to have had Secretary Skorton’s leadership, vision and commitment during a crucial period when the Smithsonian is expanding its reach and focusing its research and educational efforts,” John Roberts, chief justice of the U.S. Supreme Court and Smithsonian chancellor, said in a statement after Skorton \u003ca href=\"https://www.si.edu/newsdesk/releases/secretary-david-skorton-depart-smithsonian\">announced his departure\u003c/a> late last year. “He has laid a solid foundation for the Institution’s future.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bunch will assume the role of secretary on June 16.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 10:47 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>A new pilot is set to take the helm at the Smithsonian Institution.\u003c/p>\n\u003cp>The organization, a public-private partnership that has established and maintains many of the best-known museums in the U.S., unveiled its next secretary at a news conference Tuesday: \u003ca href=\"https://www.si.edu/about/bios/lonnie-g-bunch-iii\">Lonnie G. Bunch III\u003c/a>, the founding director of the \u003ca href=\"https://nmaahc.si.edu/\">National Museum of African American History and Culture\u003c/a>, will take over the day-to-day administration of the Smithsonian’s 19 museums, 21 libraries and the National Zoo — \u003ca href=\"https://www.si.edu/about/museums\">among other operations\u003c/a>.\u003c/p>\n\u003cp>Bunch’s selection, made by unanimous vote of the organization’s \u003ca href=\"https://www.si.edu/regents/members\">17-member Board of Regents\u003c/a>, makes him the first African American to serve in the role of secretary in \u003ca href=\"https://siarchives.si.edu/history/secretaries-smithsonian\">its 173-year history\u003c/a>. He will take over for the outgoing secretary, \u003ca href=\"https://www.si.edu/about/secretary-david-skorton\">David Skorton\u003c/a>, in roughly three weeks.\u003c/p>\n\u003cp>Shortly after his name was announced, Bunch stepped to the lectern to reflect on just what this move means to him — and to acknowledge the “challenges that the institution faces during the next decade.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“But more importantly,” he said, “I’m excited by the potential to meet those challenges.”\u003c/p>\n\u003cp>Bunch represents a new leader for the Smithsonian, but in many ways he is something of an old hand. He took over the African American history museum in 2005, steering it from the early days of its inception through its 2016 opening and beyond. Before that, he worked at the \u003ca href=\"https://americanhistory.si.edu/\">National Museum of American History\u003c/a> for over a decade.\u003c/p>\n\u003cp>Yet for all his work in history, Bunch said Tuesday that he’s got his eyes trained squarely on the future.\u003c/p>\n\u003cp>“It is important for the public to view the Smithsonian not simply as an addict of nostalgia, but as a cauldron of ideas of innovation and understanding that can be transformative for our country,” he said at the news conference.\u003c/p>\n\u003cp>“To accomplish this, though, the Smithsonian must become a much more nimble entity,” he added. “It must be an institution that is ripe with technology, an institution better suited to serve 21st century audiences, and an institution of research, of great collections, and of wonder that helps America understand itself and its world. This will ensure that the Smithsonian will always be what it once was. It will always ensure that the Smithsonian will be a place where scholarship, creativity, education and service come together for the greater good.”\u003c/p>\n\u003cp>Within the Smithsonian Institution’s leadership structure, the secretary is akin to a private company’s CEO — the executive responsible for the umbrella organization’s general vision and daily direction.\u003c/p>\n\u003cp>Under Skorton, a cardiologist and former president of both the \u003ca href=\"https://www.thegazette.com/2014/03/10/former-ui-president-david-skorton-to-lead-smithsonian\">University of Iowa\u003c/a> and \u003ca href=\"http://president.cornell.edu/david-j-skorton/\">Cornell University\u003c/a>, the Smithsonian \u003ca href=\"https://www.npr.org/2019/01/09/682925400/as-shutdown-crawls-on-artists-and-nonprofits-fear-for-their-fragile-industry\">weathered the federal shutdown\u003c/a> earlier this year and opened the long-awaited National Museum of African American History and Culture in 2016.\u003c/p>\n\u003cp>Later this summer Skorton \u003ca href=\"https://news.aamc.org/press-releases/article/aamc-names-next-president-and-ceo/\">plans to move on\u003c/a> to the Association of American Medical Colleges, where he will become president and CEO.\u003c/p>\n\u003cp>“The Regents, and the Smithsonian, are fortunate to have had Secretary Skorton’s leadership, vision and commitment during a crucial period when the Smithsonian is expanding its reach and focusing its research and educational efforts,” John Roberts, chief justice of the U.S. Supreme Court and Smithsonian chancellor, said in a statement after Skorton \u003ca href=\"https://www.si.edu/newsdesk/releases/secretary-david-skorton-depart-smithsonian\">announced his departure\u003c/a> late last year. “He has laid a solid foundation for the Institution’s future.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bunch will assume the role of secretary on June 16.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> was in fifth grade when it came time to choose instruments for band. The choice was made for her when the music teacher paired her with the flute.\u003c/p>\n\u003cp>It turned out to be a good match: The singer and rapper fell in love with the instrument and went on to pursue a degree in music performance and music theory with the hopes of becoming a professional flutist. “I saw a life of concert black and Boston Pops and traveling the world,” Lizzo says. “When that didn’t pan out for me, I was very depressed.”\u003c/p>\n\u003cp>But Lizzo, who grew up in Detroit then Houston and found her footing in the \u003ca href=\"https://www.npr.org/sections/world-cafe/2015/12/08/458917692/sense-of-place-minneapolis-lizzo\">Minneapolis music scene\u003c/a>, was also a natural at freestyle rapping. She began working with local R&B and soul artists, eventually meeting and collaborating with Prince.\u003c/p>\n\u003cp>A self-described “showgirl at its finest,” Lizzo began touring even before she had albums. She says the high energy “hallelujah moments” of her shows reflect a childhood listening primarily to gospel music.\u003c/p>\n\u003cp>But Lizzo’s musical persona isn’t all flash. Her third studio album, \u003ca href=\"https://www.npr.org/2019/05/01/719013062/lizzo-proves-shes-ready-for-the-big-time-with-cuz-i-love-you\">Cuz I Love You\u003c/a> \u003cem>— \u003c/em>her major label debut under Atlantic Records — reveals a deep vulnerability, especially as she sings about self-love and body positivity. It’s a message born from Lizzo’s own long journey toward body acceptance.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“About 10 years ago, I made the decision that I just wanted to be happy with my body and I just wanted to be happy with who I am,” the artist says. “That was the beginning of my journey with learning how to love my body. … You have to find that love for yourself deep down inside, underneath all of that questioning and ickiness.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her role in producing \u003c/strong>\u003cem>\u003cstrong>Cuz I Love You\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I am classically trained in music theory and music performance, so I have an innate ear and actually a highly skilled ear when it comes to frequency and harmony and dissonance and melody. So for me, it’s this thing that I can feel in my body. I’m almost like a tuning fork where if I hear the beat and I vibrate at the level that I’m supposed to, I know that that’s what I want to get on. And from being trained, I think it’s easier for me to speak a language to producers, and I can speak engineer to the engineers. I think we all just have so much fun nerding out. … I’m credited as a producer on a couple of the songs because I was there, and my DNA is in there as well.\u003c/p>\n\u003cp>\u003cstrong>On the idea that it’s odd to have a flute in rap music\u003c/strong>\u003c/p>\n\u003cp>You hear a lot of flute in rap! Have y’all heard of \u003ca href=\"https://www.npr.org/artists/15119741/j-dilla\">J Dilla\u003c/a>? Have y’all heard of Metro Boomin? Like, these producers use flute all the time. One of the biggest hits was “\u003ca href=\"https://www.npr.org/sections/allsongs/2017/05/23/529678820/perceived-extremes-kendrick-lamar-takes-his-mask-off-on-new-future-remix\">Mask Off,\u003c/a>” and … the chorus was just a flute solo. I think we don’t see rappers play flute. We hear it and we don’t subconsciously put two and two together. I think it would have been way more impactful to see \u003ca href=\"https://www.npr.org/artists/516952037/future\">Future\u003c/a> actually playing the line on the flute to “Mask Off,” but he wasn’t.\u003c/p>\n\u003cp>https://youtu.be/Wh4j5MY-4s0\u003c/p>\n\u003cp>I think that flute and hip-hop are very sexy. I think that flute and hip-hop have gone together for a long time. I think this is just the first time you actually see the artist actually playing the flute. There wasn’t a disconnect. Growing up in Houston, freestyle rapping was very first nature to me. That was what I wanted to do. That’s what you had to do as a rite of passage. I was very nerdy, and the fact that I knew how to freestyle on a bus, or freestyle in the cafeteria and bang on the desk, just gave me a little get-out-of-being-a-nerd-free pass.\u003c/p>\n\u003cp>Houston … that’s the city that freestyle really found its swag, and I’m just lucky that I was a part of that while it was happening — and also a classically trained flute player. I think it’s just weird to everybody else, but it’s not weird to me!\u003c/p>\n\u003cp>\u003cstrong>On writing \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=WfEhyi8N__Q\">\u003cstrong>“My Skin,”\u003c/strong>\u003c/a>\u003cstrong> her first body positive song \u003c/strong>\u003c/p>\n\u003cp>Someone asked a question. … They asked me what’s my favorite thing about myself? And I told them my personality. And they said, “OK, but physically, what’s your favorite thing about yourself?” And I did not have an answer.\u003c/p>\n\u003cp>For the first time in my life I had to actually think about something that I liked about myself physically, and because it was so difficult, I was moved to tears.\u003c/p>\n\u003cp>In that moment, I remembered that I’d just fallen off a cliff. … I was rope swinging into the river, and I am just so heavy, and I fell off the rope and fell on the ground. It was really scary and traumatizing. I’ll never do anything like that again, but I scraped up my skin and I remember my friend was like, “Look what you did to your beautiful skin!”\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] “The thing that I like about myself the most is the thing that’s weaponized against us.” — Lizzo [/pullquote]\u003c/p>\n\u003cp>I still had the cane and I had the bandages on my legs during this interview. And I looked down and I was like, “Oh, my God. My skin. That is my favorite thing about myself.” And it was in that moment where I realized I damaged my skin where I saw the value in it. That was the first time I’d ever discovered my body love, and I just started with my skin and moved on from there. I wrote this song to celebrate that moment because it literally changed my life.\u003c/p>\n\u003cp>The thing that I like about myself the most is the thing that’s weaponized against us. People with black skin, you know, we get that weaponized, and this was [during] the beginning of #\u003ca href=\"https://www.npr.org/tags/428150615/black-lives-matter\">BlackLivesMatter\u003c/a>, when there was such a public amount of executions of unarmed black people by police officers. And so, I think that it was almost oxymoronic to be like, “I love my black skin,” when that was the thing that’s held against me the most in this society. I wanted to write a song about that too, and talk about how I’m proud of it no matter what.\u003c/p>\n\u003cp>\u003cstrong>On posing naked for her album cover\u003c/strong>\u003c/p>\n\u003cp>We had done a lot of poses that day, and I was tooting my butt up and then my back was hurting a little bit, so I just kind of relaxed and leaned forward and then the photographer, he was like, “Look at me,” and I looked at him, and that was the shot. So that was me just so comfortable not trying to cover anything up. But, you know, that’s just how the magic happens.\u003c/p>\n\u003cfigure id=\"attachment_13858113\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13858113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1020x765.jpg\" alt='\"That was me just so comfortable not trying to cover anything up,\" Lizzo says of the cover photo for Cuz I Love You.' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c.jpg 1410w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“That was me just so comfortable not trying to cover anything up,” Lizzo says of the cover photo for Cuz I Love You. \u003ccite>(Atlantic Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how her wearing sexy clothing is seen as a feminist statement \u003c/strong>\u003c/p>\n\u003cp>I feel like if I were a thin woman, maybe that wouldn’t be the case. I feel like women who are smaller aren’t really given the opportunities to be body positive or role models either, because we’ve been conditioned to believe that women are using their bodies for the male gaze. … And I think if I were slimmer I don’t think people would look to me with the same type of like, “Oh wow, she’s so brave she’s doing this and representing everyone!” [the way they do,] because I’m big.\u003c/p>\n\u003cp>I think what’s happening here is that there’s different waves of feminism. It’s like a generational thing. … Like, one generation asks one thing, and then that next generation is going to ask the complete opposite of it.\u003c/p>\n\u003cp>So where there was a wave of feminism where we were burning bras, now I’m like, “Bitch, my bra is in your f****** face!” And I think that that is just a testament to human beings and how we evolve. … I think that the wave of feminism right now that’s overtly sexual and in your face I think is just the response to where we were. Like, I’m going to wear a suit and I’m going to boss up on you. … You-can’t-tell-me-what-to-do type vibes, and [I’m] like, “No, I’m gonna tell \u003cem>you\u003c/em> what to do!”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Amy Salit and Seth Kelley produced and edited the audio of this interview. Bridget Bentz, Molly Seavy-Nesper and Sidney Madden adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lizzo+On+Feminism%2C+Self-Love+And+Bringing+%27Hallelujah+Moments%27+To+Stage&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The flute-playing pop star celebrates self-acceptance on her latest album, 'Cuz I Love You.' \"About 10 years ago, I made the decision that I just wanted to be happy with my body,\" she says. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/502301111/lizzo\">Lizzo\u003c/a> was in fifth grade when it came time to choose instruments for band. The choice was made for her when the music teacher paired her with the flute.\u003c/p>\n\u003cp>It turned out to be a good match: The singer and rapper fell in love with the instrument and went on to pursue a degree in music performance and music theory with the hopes of becoming a professional flutist. “I saw a life of concert black and Boston Pops and traveling the world,” Lizzo says. “When that didn’t pan out for me, I was very depressed.”\u003c/p>\n\u003cp>But Lizzo, who grew up in Detroit then Houston and found her footing in the \u003ca href=\"https://www.npr.org/sections/world-cafe/2015/12/08/458917692/sense-of-place-minneapolis-lizzo\">Minneapolis music scene\u003c/a>, was also a natural at freestyle rapping. She began working with local R&B and soul artists, eventually meeting and collaborating with Prince.\u003c/p>\n\u003cp>A self-described “showgirl at its finest,” Lizzo began touring even before she had albums. She says the high energy “hallelujah moments” of her shows reflect a childhood listening primarily to gospel music.\u003c/p>\n\u003cp>But Lizzo’s musical persona isn’t all flash. Her third studio album, \u003ca href=\"https://www.npr.org/2019/05/01/719013062/lizzo-proves-shes-ready-for-the-big-time-with-cuz-i-love-you\">Cuz I Love You\u003c/a> \u003cem>— \u003c/em>her major label debut under Atlantic Records — reveals a deep vulnerability, especially as she sings about self-love and body positivity. It’s a message born from Lizzo’s own long journey toward body acceptance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“About 10 years ago, I made the decision that I just wanted to be happy with my body and I just wanted to be happy with who I am,” the artist says. “That was the beginning of my journey with learning how to love my body. … You have to find that love for yourself deep down inside, underneath all of that questioning and ickiness.”\u003c/p>\n\u003chr>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On her role in producing \u003c/strong>\u003cem>\u003cstrong>Cuz I Love You\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>I am classically trained in music theory and music performance, so I have an innate ear and actually a highly skilled ear when it comes to frequency and harmony and dissonance and melody. So for me, it’s this thing that I can feel in my body. I’m almost like a tuning fork where if I hear the beat and I vibrate at the level that I’m supposed to, I know that that’s what I want to get on. And from being trained, I think it’s easier for me to speak a language to producers, and I can speak engineer to the engineers. I think we all just have so much fun nerding out. … I’m credited as a producer on a couple of the songs because I was there, and my DNA is in there as well.\u003c/p>\n\u003cp>\u003cstrong>On the idea that it’s odd to have a flute in rap music\u003c/strong>\u003c/p>\n\u003cp>You hear a lot of flute in rap! Have y’all heard of \u003ca href=\"https://www.npr.org/artists/15119741/j-dilla\">J Dilla\u003c/a>? Have y’all heard of Metro Boomin? Like, these producers use flute all the time. One of the biggest hits was “\u003ca href=\"https://www.npr.org/sections/allsongs/2017/05/23/529678820/perceived-extremes-kendrick-lamar-takes-his-mask-off-on-new-future-remix\">Mask Off,\u003c/a>” and … the chorus was just a flute solo. I think we don’t see rappers play flute. We hear it and we don’t subconsciously put two and two together. I think it would have been way more impactful to see \u003ca href=\"https://www.npr.org/artists/516952037/future\">Future\u003c/a> actually playing the line on the flute to “Mask Off,” but he wasn’t.\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/Wh4j5MY-4s0'\n title='//www.youtube.com/embed/Wh4j5MY-4s0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I think that flute and hip-hop are very sexy. I think that flute and hip-hop have gone together for a long time. I think this is just the first time you actually see the artist actually playing the flute. There wasn’t a disconnect. Growing up in Houston, freestyle rapping was very first nature to me. That was what I wanted to do. That’s what you had to do as a rite of passage. I was very nerdy, and the fact that I knew how to freestyle on a bus, or freestyle in the cafeteria and bang on the desk, just gave me a little get-out-of-being-a-nerd-free pass.\u003c/p>\n\u003cp>Houston … that’s the city that freestyle really found its swag, and I’m just lucky that I was a part of that while it was happening — and also a classically trained flute player. I think it’s just weird to everybody else, but it’s not weird to me!\u003c/p>\n\u003cp>\u003cstrong>On writing \u003c/strong>\u003ca href=\"https://www.youtube.com/watch?v=WfEhyi8N__Q\">\u003cstrong>“My Skin,”\u003c/strong>\u003c/a>\u003cstrong> her first body positive song \u003c/strong>\u003c/p>\n\u003cp>Someone asked a question. … They asked me what’s my favorite thing about myself? And I told them my personality. And they said, “OK, but physically, what’s your favorite thing about yourself?” And I did not have an answer.\u003c/p>\n\u003cp>For the first time in my life I had to actually think about something that I liked about myself physically, and because it was so difficult, I was moved to tears.\u003c/p>\n\u003cp>In that moment, I remembered that I’d just fallen off a cliff. … I was rope swinging into the river, and I am just so heavy, and I fell off the rope and fell on the ground. It was really scary and traumatizing. I’ll never do anything like that again, but I scraped up my skin and I remember my friend was like, “Look what you did to your beautiful skin!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I still had the cane and I had the bandages on my legs during this interview. And I looked down and I was like, “Oh, my God. My skin. That is my favorite thing about myself.” And it was in that moment where I realized I damaged my skin where I saw the value in it. That was the first time I’d ever discovered my body love, and I just started with my skin and moved on from there. I wrote this song to celebrate that moment because it literally changed my life.\u003c/p>\n\u003cp>The thing that I like about myself the most is the thing that’s weaponized against us. People with black skin, you know, we get that weaponized, and this was [during] the beginning of #\u003ca href=\"https://www.npr.org/tags/428150615/black-lives-matter\">BlackLivesMatter\u003c/a>, when there was such a public amount of executions of unarmed black people by police officers. And so, I think that it was almost oxymoronic to be like, “I love my black skin,” when that was the thing that’s held against me the most in this society. I wanted to write a song about that too, and talk about how I’m proud of it no matter what.\u003c/p>\n\u003cp>\u003cstrong>On posing naked for her album cover\u003c/strong>\u003c/p>\n\u003cp>We had done a lot of poses that day, and I was tooting my butt up and then my back was hurting a little bit, so I just kind of relaxed and leaned forward and then the photographer, he was like, “Look at me,” and I looked at him, and that was the shot. So that was me just so comfortable not trying to cover anything up. But, you know, that’s just how the magic happens.\u003c/p>\n\u003cfigure id=\"attachment_13858113\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13858113\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1020x765.jpg\" alt='\"That was me just so comfortable not trying to cover anything up,\" Lizzo says of the cover photo for Cuz I Love You.' width=\"640\" height=\"480\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c-1200x900.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/lizzo-cuz-i-love-your-album-art-0418dd38eaaf438df5780d6c0464c64771e3cf6c.jpg 1410w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“That was me just so comfortable not trying to cover anything up,” Lizzo says of the cover photo for Cuz I Love You. \u003ccite>(Atlantic Records)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>On how her wearing sexy clothing is seen as a feminist statement \u003c/strong>\u003c/p>\n\u003cp>I feel like if I were a thin woman, maybe that wouldn’t be the case. I feel like women who are smaller aren’t really given the opportunities to be body positive or role models either, because we’ve been conditioned to believe that women are using their bodies for the male gaze. … And I think if I were slimmer I don’t think people would look to me with the same type of like, “Oh wow, she’s so brave she’s doing this and representing everyone!” [the way they do,] because I’m big.\u003c/p>\n\u003cp>I think what’s happening here is that there’s different waves of feminism. It’s like a generational thing. … Like, one generation asks one thing, and then that next generation is going to ask the complete opposite of it.\u003c/p>\n\u003cp>So where there was a wave of feminism where we were burning bras, now I’m like, “Bitch, my bra is in your f****** face!” And I think that that is just a testament to human beings and how we evolve. … I think that the wave of feminism right now that’s overtly sexual and in your face I think is just the response to where we were. Like, I’m going to wear a suit and I’m going to boss up on you. … You-can’t-tell-me-what-to-do type vibes, and [I’m] like, “No, I’m gonna tell \u003cem>you\u003c/em> what to do!”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Filth Elder' John Waters Says There Are Still 'Plenty Of Rules' Left To Break",
"headTitle": "‘Filth Elder’ John Waters Says There Are Still ‘Plenty Of Rules’ Left To Break | KQED",
"content": "\u003cp>Cult filmmaker and self-described “filth elder” John Waters, 73, has plenty of ideas about what older people should and shouldn’t do.\u003c/p>\n\u003cp>The worst thing, he says, is to get a convertible: “Because believe me, old age and windswept do not go hand in hand. It’s really a bad look! You can’t be trying too hard to rebel [when] you’re older.”\u003c/p>\n\u003cp>Waters knows about being a rebel. He became famous for his 1972 film \u003cem>Pink Flamingos,\u003c/em> in which the characters compete for the title of filthiest person alive. That film became a midnight movie classic and led to other films, including \u003cem>Female Trouble\u003c/em> and \u003cem>Hairspray\u003c/em>.\u003c/p>\n\u003cp>Along the way, Waters became accepted in the mainstream more than he ever expected. \u003cem>Hairspray \u003c/em>was adapted into a Broadway musical, and he has also given a\u003ca href=\"https://vimeo.com/129312307\"> commencement address\u003c/a> and had museum retrospectives.\u003c/p>\n\u003cp>Though he jokes that he can’t be anarchist — “I have three homes!” — he adds, “There’s plenty of rules that you can still break. … I think you have to use humor and you can’t be so angry about it.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Waters looks back on his unlikely path to respectability in his new book, \u003cem>Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder.\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13857743\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13857743\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/mrknowitall-1020x1565.jpg\" alt='Cover of \"Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder\" by John Waters.' width=\"640\" height=\"982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-1020x1565.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-800x1227.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-768x1178.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-782x1200.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall.jpg 1335w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cover of “Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder” by John Waters.\u003c/figcaption>\u003c/figure>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On growing up in Baltimore and being inspired by “bad kids”\u003c/strong>\u003c/p>\n\u003cp>It was the opposite of me, and I still like to be around people that are the opposites of me. … We didn’t have juvenile delinquents in my school, in my preppy grade school. … But I always was kind of just amazed to see these supposedly “bad kids” hanging out. I went to the Elvis movies, Jerry Lee Lewis — all that stuff. So I knew about juvenile delinquency.\u003c/p>\n\u003cp>I was always corrupted by \u003cem>Life \u003c/em>magazine because we got it every week and it always covered beatniks, drug addicts. Everything that I was interested in I would read every word of it. And then my parents got the encyclopedia — the W\u003cem>orld Book Encyclopedia, \u003c/em>I think — and that had everything in it! I would look up everything in there that you weren’t supposed to. So I was corrupted by the things that my parents brought in for educational reasons in our house — but not for the educational reasons they had in mind. … Everything about trouble in the arts I looked up.\u003c/p>\n\u003cp>\u003cstrong>On whether his parents’ death changed him\u003c/strong>\u003c/p>\n\u003cp>I don’t think I’ve ever changed, Terry. I think I’m the same as when I first started. I mean, my first film was called \u003cem>Hag in a Black Leather Jacket\u003c/em> and it was about a black man and a white woman being married by a Ku Klux Klan preacher on the roof of my parents’ house. And the last film I made was \u003cem>A Dirty Shame,\u003c/em> which was this sexploitation movie that got an NC-17 rating. …\u003c/p>\n\u003cp>The only thing I could think about my parents dying [was] thank God my mother doesn’t have to read [my book]. … But my parents had a happy marriage for 70 years. They both lived to be about 90. I’m wondering why I’m kind of as nuts as I am, really, because I had … pretty good role models from them.\u003c/p>\n\u003cp>\u003cstrong>On how his parents reacted to his being an eccentric child \u003c/strong>\u003c/p>\n\u003cp>I was obsessed by car accidents, and I “played” car accidents. My mother would take me to junkyards and walk around with me and I’d be like, “There’s been a terrible one over here! Look at this!” And I think [now], what did the junkyard or junk man think? What is this little ghoul? … I don’t know [what my mother thought]. That wasn’t in the Dr. Spock book of “What to Do if Your Kid is Obsessed By Car Accidents.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right'] “… what parent would be happy their child made ‘Pink Flamingos’? Really, none.”—John Waters [/pullquote]\u003c/p>\n\u003cp>[My parents] didn’t know what to do, really, but they didn’t freak out too much. They were confused by it. And what parent would be happy their child made \u003cem>Pink Flamingos\u003c/em>? Really, none. …\u003c/p>\n\u003cp>Some of the people that I would bring home, my friends, [my mother] would be horrified, but she was polite. I remember when we made \u003cem>Multiple Maniacs\u003c/em> [a 1970 film about psychotic killers who perform in a traveling sideshow] at my parents’ house and filmed the “Cavalcade of Perversion” [the sideshow act] on the front lawn. Divine came in afterwards in a bloody one-piece white woman’s bathing suit carrying an ax, and my mother served us tea, as if Princess Di had come over!\u003c/p>\n\u003cp>\u003cstrong>On getting paid for work that doesn’t get made \u003c/strong>\u003c/p>\n\u003cp>I have been paid three times to write sequels to \u003cem>Hairspray — \u003c/em>real Hollywood money. I was paid to do a children’s movie called \u003cem>Fruitcake \u003c/em>that I never got made, but I was paid to write it. So I keep getting paid to do them, but they don’t get made — which I feel fine about.\u003c/p>\n\u003cp>I’ve made 17 movies. It’s not like I haven’t spoken. … And at the same time, the books do better than the movies and I just need a way to tell stories. … But mostly with independent movies, a movie that routinely used to cost $7 million now they want you to do it for $2 million or $1 million. And I can’t go backwards! I don’t want to be an underground filmmaker at 73. I did that. I went through all that. And Hollywood treated me fairly. I don’t have any real complaints.\u003c/p>\n\u003cp>\u003cstrong>On collecting unusual contemporary art \u003c/strong>\u003c/p>\n\u003cp>I bought a painting — if you could call it that — by Karin Sander, a German artist I like, and what she did, she has never touched this painting or seen it. She gave her American art dealer a blank canvas, and told him to leave it outside in the Hamptons until it got mold all over it. And then the mold dried in kind of a beautiful way. It looks like a Robert Ryman white painting. But then the dealer said, “I can’t bring it in the gallery. And if you want to buy it, I have to get it treated.” So he got it treated, and then for me to buy it, which I did, I thought, “Isn’t this great? If I don’t have it treated it could wreck my house. It could make me sick. It could maybe kill my guests. It might disappear one day. It’s ugly, and it’s really expensive. And this is perfect! This is the perfect contemporary art!” … It hasn’t spread. None of my guests have been rushed to the hospital from it. But I liked the idea that it’s a dangerous painting.\u003c/p>\n\u003cp>[aside postID='arts_10137298' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2014/06/notpsycho.jpg' target='_blank']\u003c/p>\n\u003cp>\u003cstrong>On his plans to be buried in Baltimore, in the same cemetery as his friends\u003c/strong>\u003c/p>\n\u003cp>It’s a small little graveyard. They handled Divine’s funeral very well. … Mink [Stole] is going to get buried there, Pat Moran … all my friends, so we call it “Disgraceland,” and really I like the idea of being buried with your friends. Most people do not do that.\u003c/p>\n\u003cp>Vincent Peranio, who does all the set designs for my movies, I said, “Maybe you could design [a tombstone] for me that looks old. That has moss on it or something,” but I don’t want any jokes on it, no. I just want the day I was born and the day I died and my name. I don’t want like, “That’s all, folks!” or anything like that.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Sam Briger and Mooj Zadie produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Filth+Elder%27+John+Waters+Says+There+Are+Still+%27Plenty+Of+Rules%27+Left+To+Break&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The cult filmmaker, 73, has plenty of ideas about what older people should and shouldn't do. \"You can't be trying too hard to rebel [when] you're older,\" Waters says. His new book is 'Mr. Know-It-All.'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Cult filmmaker and self-described “filth elder” John Waters, 73, has plenty of ideas about what older people should and shouldn’t do.\u003c/p>\n\u003cp>The worst thing, he says, is to get a convertible: “Because believe me, old age and windswept do not go hand in hand. It’s really a bad look! You can’t be trying too hard to rebel [when] you’re older.”\u003c/p>\n\u003cp>Waters knows about being a rebel. He became famous for his 1972 film \u003cem>Pink Flamingos,\u003c/em> in which the characters compete for the title of filthiest person alive. That film became a midnight movie classic and led to other films, including \u003cem>Female Trouble\u003c/em> and \u003cem>Hairspray\u003c/em>.\u003c/p>\n\u003cp>Along the way, Waters became accepted in the mainstream more than he ever expected. \u003cem>Hairspray \u003c/em>was adapted into a Broadway musical, and he has also given a\u003ca href=\"https://vimeo.com/129312307\"> commencement address\u003c/a> and had museum retrospectives.\u003c/p>\n\u003cp>Though he jokes that he can’t be anarchist — “I have three homes!” — he adds, “There’s plenty of rules that you can still break. … I think you have to use humor and you can’t be so angry about it.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Waters looks back on his unlikely path to respectability in his new book, \u003cem>Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder.\u003c/em>\u003c/p>\n\u003chr>\n\u003cfigure id=\"attachment_13857743\" class=\"wp-caption alignright\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-large wp-image-13857743\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/mrknowitall-1020x1565.jpg\" alt='Cover of \"Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder\" by John Waters.' width=\"640\" height=\"982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-1020x1565.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-800x1227.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-768x1178.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall-782x1200.jpg 782w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/mrknowitall.jpg 1335w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Cover of “Mr. Know-It-All: The Tarnished Wisdom of a Filth Elder” by John Waters.\u003c/figcaption>\u003c/figure>\n\u003ch3>Interview highlights\u003c/h3>\n\u003cp>\u003cstrong>On growing up in Baltimore and being inspired by “bad kids”\u003c/strong>\u003c/p>\n\u003cp>It was the opposite of me, and I still like to be around people that are the opposites of me. … We didn’t have juvenile delinquents in my school, in my preppy grade school. … But I always was kind of just amazed to see these supposedly “bad kids” hanging out. I went to the Elvis movies, Jerry Lee Lewis — all that stuff. So I knew about juvenile delinquency.\u003c/p>\n\u003cp>I was always corrupted by \u003cem>Life \u003c/em>magazine because we got it every week and it always covered beatniks, drug addicts. Everything that I was interested in I would read every word of it. And then my parents got the encyclopedia — the W\u003cem>orld Book Encyclopedia, \u003c/em>I think — and that had everything in it! I would look up everything in there that you weren’t supposed to. So I was corrupted by the things that my parents brought in for educational reasons in our house — but not for the educational reasons they had in mind. … Everything about trouble in the arts I looked up.\u003c/p>\n\u003cp>\u003cstrong>On whether his parents’ death changed him\u003c/strong>\u003c/p>\n\u003cp>I don’t think I’ve ever changed, Terry. I think I’m the same as when I first started. I mean, my first film was called \u003cem>Hag in a Black Leather Jacket\u003c/em> and it was about a black man and a white woman being married by a Ku Klux Klan preacher on the roof of my parents’ house. And the last film I made was \u003cem>A Dirty Shame,\u003c/em> which was this sexploitation movie that got an NC-17 rating. …\u003c/p>\n\u003cp>The only thing I could think about my parents dying [was] thank God my mother doesn’t have to read [my book]. … But my parents had a happy marriage for 70 years. They both lived to be about 90. I’m wondering why I’m kind of as nuts as I am, really, because I had … pretty good role models from them.\u003c/p>\n\u003cp>\u003cstrong>On how his parents reacted to his being an eccentric child \u003c/strong>\u003c/p>\n\u003cp>I was obsessed by car accidents, and I “played” car accidents. My mother would take me to junkyards and walk around with me and I’d be like, “There’s been a terrible one over here! Look at this!” And I think [now], what did the junkyard or junk man think? What is this little ghoul? … I don’t know [what my mother thought]. That wasn’t in the Dr. Spock book of “What to Do if Your Kid is Obsessed By Car Accidents.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>[My parents] didn’t know what to do, really, but they didn’t freak out too much. They were confused by it. And what parent would be happy their child made \u003cem>Pink Flamingos\u003c/em>? Really, none. …\u003c/p>\n\u003cp>Some of the people that I would bring home, my friends, [my mother] would be horrified, but she was polite. I remember when we made \u003cem>Multiple Maniacs\u003c/em> [a 1970 film about psychotic killers who perform in a traveling sideshow] at my parents’ house and filmed the “Cavalcade of Perversion” [the sideshow act] on the front lawn. Divine came in afterwards in a bloody one-piece white woman’s bathing suit carrying an ax, and my mother served us tea, as if Princess Di had come over!\u003c/p>\n\u003cp>\u003cstrong>On getting paid for work that doesn’t get made \u003c/strong>\u003c/p>\n\u003cp>I have been paid three times to write sequels to \u003cem>Hairspray — \u003c/em>real Hollywood money. I was paid to do a children’s movie called \u003cem>Fruitcake \u003c/em>that I never got made, but I was paid to write it. So I keep getting paid to do them, but they don’t get made — which I feel fine about.\u003c/p>\n\u003cp>I’ve made 17 movies. It’s not like I haven’t spoken. … And at the same time, the books do better than the movies and I just need a way to tell stories. … But mostly with independent movies, a movie that routinely used to cost $7 million now they want you to do it for $2 million or $1 million. And I can’t go backwards! I don’t want to be an underground filmmaker at 73. I did that. I went through all that. And Hollywood treated me fairly. I don’t have any real complaints.\u003c/p>\n\u003cp>\u003cstrong>On collecting unusual contemporary art \u003c/strong>\u003c/p>\n\u003cp>I bought a painting — if you could call it that — by Karin Sander, a German artist I like, and what she did, she has never touched this painting or seen it. She gave her American art dealer a blank canvas, and told him to leave it outside in the Hamptons until it got mold all over it. And then the mold dried in kind of a beautiful way. It looks like a Robert Ryman white painting. But then the dealer said, “I can’t bring it in the gallery. And if you want to buy it, I have to get it treated.” So he got it treated, and then for me to buy it, which I did, I thought, “Isn’t this great? If I don’t have it treated it could wreck my house. It could make me sick. It could maybe kill my guests. It might disappear one day. It’s ugly, and it’s really expensive. And this is perfect! This is the perfect contemporary art!” … It hasn’t spread. None of my guests have been rushed to the hospital from it. But I liked the idea that it’s a dangerous painting.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Sam Briger and Mooj Zadie produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the Web.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Filth+Elder%27+John+Waters+Says+There+Are+Still+%27Plenty+Of+Rules%27+Left+To+Break&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lil Nas X's 'Old Town Road' Video Is Here To Lasso The Yeehaw Agenda",
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"content": "\u003cp>Folks, the yeehaw agenda has reached its absolute apex. The video for \u003ca href=\"https://www.npr.org/artists/718208340/lil-nas-x\">Lil Nas X\u003c/a>‘s runaway smash “Old Town Road” is officially out, after a solid two weeks of keeping \u003ca href=\"https://www.complex.com/music/2019/05/lil-nas-x-old-town-road-block-ed-sheeran-justin-bieber-no-1-spot\">pop radio’s biggest superstars off the top of the charts\u003c/a>. It’s not quite a full-length movie, as the credits promise, but it sure is a doozy.\u003c/p>\n\u003cp>[aside postID='arts_13854359' hero='https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/billy-ray-cyrus-lil-nas-x.jpg' target='_blank']\u003c/p>\n\u003cp>Lil Nas X and Billy Ray Cyrus play troubadours on the run after a bank robbery. They transport into the modern day, horse in the back and all. Along the way, they become beloved fixtures of the community, with a brand new get-up for the both of them.\u003c/p>\n\u003cp>Cameos abound, too. Lil Nas X wins a drag race with \u003ca href=\"https://www.npr.org/artists/418529525/vince-staples\">Vince Staples\u003c/a>. Lil Nas X and Cyrus crash what looks to be a cowboy-themed old folks’ bingo night supervised by none other than D.C. rapper Rico Nasty. Naturally, they play a gig, with \u003ca href=\"https://www.npr.org/artists/15586761/diplo\">Diplo\u003c/a> on washboard. There’s a brief plug for Snapple-branded Yee Yee Juice, a nod to the \u003ca href=\"https://www.youtube.com/watch?v=wAkODfHgAio\">TikTok trend that made him famous \u003c/a>and a product that this writer wishes existed in the universe. Oh, and for good measure, Chris Rock makes an early cameo as a cowboy in awe of Lil Nas X and Cyrus’ horse-riding prowess. You absolutely have to see it for yourself.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"title": "I.M. Pei, Architect Of Some Of The World's Most Iconic Structures, Dies At 102",
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"content": "\u003cp>Crowds around the world flow through the buildings designed by architect I.M. Pei; in Paris, they stream into the Louvre’s Pyramid entrance. In Cleveland, they wander through the Rock & Roll Hall of Fame. And in Hong Kong, they travel up and down the soaring Bank of China Tower.\u003c/p>\n\u003cp>Pei’s death was confirmed by Thomas Guss, his press contact. He was 102.\u003c/p>\n\u003cp>His designs were widely praised — but not always at first. When his large glass pyramid opened at the entrance to the Louvre museum in 1988, it was not well received.\u003c/p>\n\u003cp>“I would say the first year and a half was really hell,” the architect said in a PBS documentary. “I couldn’t walk the streets of Paris without people walking looking at me and saying, There you go again. What are you doing here? What are you doing to us? What are you doing to our great Louvre?”\u003c/p>\n\u003cfigure id=\"attachment_13857492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857492\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-921264008-800x534.jpg\" alt=\"Photo taken on August 7, 1987 shows the Louvre Pyramid under construction, designed by Chinese-American architect I.M. Pei , in the main courtyard (Cour Napoléon) of the Louvre Palace (Palais du Louvre) in Paris.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-921264008-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-921264008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-921264008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-921264008-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-921264008.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photo taken on August 7, 1987 shows the Louvre Pyramid under construction, designed by Chinese-American architect I.M. Pei , in the main courtyard (Cour Napoléon) of the Louvre Palace (Palais du Louvre) in Paris. \u003ccite>(PATRICK KOVARIK/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two decades passed and, in 2009, NPR’s Susan Stamberg \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=121097261\">paid a visit to the Pyramid\u003c/a>. Henri Loyrette, the Louvre’s director at the time, called it a masterpiece. He said that when you ask visitors why they are at the Louvre, they generally give three answers: for the \u003cem>Mona Lisa,\u003c/em> for the \u003cem>Venus de Milo\u003c/em> and for the Pyramid. It was not the first time shock has given way to admiration in architecture.\u003c/p>\n\u003cfigure id=\"attachment_13857493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857493\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-158061015-800x534.jpg\" alt=\"Visitors walk inside the Pyramid, the entrance of the Louvre Museum, on June 17, 2009 in Paris.\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">Visitors walk inside the Pyramid, the entrance of the Louvre Museum, on June 17, 2009 in Paris. AFP PHOTO LOIC VENANCE (Photo credit should read LOIC VENANCE/AFP/Getty Images) \u003ccite>(LOIC VENANCE/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pei didn’t like labels. He said there’s no such thing as modern, postmodern or deconstructivist architecture. But he was considered a modernist. Back in 1970, he defined his approach in an interview for a documentary on one of his buildings — the National Center for Atmospheric Research in Boulder, Colorado.\u003c/p>\n\u003cfigure id=\"attachment_13857486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13857486 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/gettyimages-52044243_slide-6de5664567d94c6476bc6392042995dfbf206ce1-800x533.jpg\" alt=\"Inside the glass tower of the German Historical Museum.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-52044243_slide-6de5664567d94c6476bc6392042995dfbf206ce1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-52044243_slide-6de5664567d94c6476bc6392042995dfbf206ce1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-52044243_slide-6de5664567d94c6476bc6392042995dfbf206ce1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-52044243_slide-6de5664567d94c6476bc6392042995dfbf206ce1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-52044243_slide-6de5664567d94c6476bc6392042995dfbf206ce1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-52044243_slide-6de5664567d94c6476bc6392042995dfbf206ce1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-52044243_slide-6de5664567d94c6476bc6392042995dfbf206ce1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the glass tower of the German Historical Museum. \u003ccite>(Hassan Ammar/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If the problem is a complicated problem, then the building will result just that way,” Pei said. “But then after that we have to simplify it. We have to eliminate the inessential.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That is pretty much the definition of modernism in architecture — eliminate the inessential, leaving clean lines and spare geometric forms. But, he said, his architecture was not \u003cem>just\u003c/em> geometry.\u003c/p>\n\u003cp>“There are many other elements that come into play to create a form,” said Pei. “Space, which is what architecture really is. You have to have light. … Light is terribly important.”\u003c/p>\n\u003cp>What are shapes without light, he asked — and added, “The light of the sun is magical.”\u003c/p>\n\u003cfigure id=\"attachment_13857488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13857488 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ap_16197728710546_enl-1442472cfb76868874bd316511c4eb7f08fe2d8e-800x527.jpg\" alt=\"The Rock & Roll Hall of Fame is located on the shores of Lake Erie in downtown Cleveland.\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ap_16197728710546_enl-1442472cfb76868874bd316511c4eb7f08fe2d8e-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ap_16197728710546_enl-1442472cfb76868874bd316511c4eb7f08fe2d8e-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ap_16197728710546_enl-1442472cfb76868874bd316511c4eb7f08fe2d8e-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ap_16197728710546_enl-1442472cfb76868874bd316511c4eb7f08fe2d8e-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ap_16197728710546_enl-1442472cfb76868874bd316511c4eb7f08fe2d8e-1200x790.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ap_16197728710546_enl-1442472cfb76868874bd316511c4eb7f08fe2d8e-1920x1264.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ap_16197728710546_enl-1442472cfb76868874bd316511c4eb7f08fe2d8e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rock & Roll Hall of Fame is located on the shores of Lake Erie in downtown Cleveland. (Mark Duncan/AP)\u003c/figcaption>\u003c/figure>\n\u003cp>Pei was born in Suzhou, China, in 1917. He grew up in a house where gardens and airy pavilions merged with the landscape. Pei biographer Carter Wiseman says that the natural world deeply influenced Pei.\u003c/p>\n\u003cp>“Having come from China, where he was exposed to garden architecture, he had a very different concept of time,” Wiseman explains. “He was interested in the sculptural properties of rocks. There was an affinity for nature and for history that most Americans do not get, no matter how hard we try.”\u003c/p>\n\u003cp>Pei’s father was a banker, his mother an artist. He came to the U.S. as a teenager in 1935, went to the Massachusetts Institute of Technology and was influenced by the work of pioneering modernists Le Corbusier and Frank Lloyd Wright.\u003c/p>\n\u003cp>Pei’s privileged upbringing helped him navigate the alpha-male world of architecture and real estate. He was able to schmooze with the powerful, which led to projects like the apartments on Manhattan’s East Side called the \u003ca href=\"http://www.pcf-p.com/a/p/5705/s.html\">Kips Bay Towers\u003c/a>, the \u003ca href=\"http://www.pcf-p.com/a/p/7617/s.html\">Kennedy Library\u003c/a> in Boston and the \u003ca href=\"http://www.pcf-p.com/a/p/6810/s.html\">East Building of the National Gallery of Art\u003c/a> in Washington, D.C.\u003c/p>\n\u003cp>Pei didn’t get everything right. His 1980s design for New York’s \u003ca href=\"http://www.pcf-p.com/a/p/7917/s.html\">Jacob K. Javits Convention Center\u003c/a>, for instance, is still less than loved.\u003c/p>\n\u003cp>His \u003ca href=\"http://www.pcf-p.com/a/p/7905/s.html\">Fragrant Hill Hotel\u003c/a> in Beijing, completed in 1982, uses a traditional Chinese design. In 1990, the \u003ca href=\"http://www.pcf-p.com/a/p/8220/s.html\">Bank of China Tower\u003c/a> opened — and his modern, soaring design instantly became one of the most recognizable skyscrapers in Hong Kong.\u003c/p>\n\u003cfigure id=\"attachment_13857489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/gettyimages-150604279_enl-0a0c2532dc0a90a309bdd478600e759c42ab921d-800x534.jpg\" alt=\"Completed in 1990, the Bank of China Tower is among the tallest skyscrapers in Hong Kong.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-150604279_enl-0a0c2532dc0a90a309bdd478600e759c42ab921d-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-150604279_enl-0a0c2532dc0a90a309bdd478600e759c42ab921d-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-150604279_enl-0a0c2532dc0a90a309bdd478600e759c42ab921d-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-150604279_enl-0a0c2532dc0a90a309bdd478600e759c42ab921d-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-150604279_enl-0a0c2532dc0a90a309bdd478600e759c42ab921d-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-150604279_enl-0a0c2532dc0a90a309bdd478600e759c42ab921d-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-150604279_enl-0a0c2532dc0a90a309bdd478600e759c42ab921d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Completed in 1990, the Bank of China Tower is among the tallest skyscrapers in Hong Kong. \u003ccite>(Philippe Lopez/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pei inspired younger Chinese architects, like Pritzker Architecture Prize winner Wang Shu; he says Pei “awakened” him. Wang believes Pei figured out a way to bridge East and West, old and new, and he thinks of Pei as a teacher — someone who came before him and whose successes and mistakes he learned from.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From the Macao Science Center to the Museum of Islamic Art in Doha, Qatar, Pei continued building through 2009. His name, I.M., stands for Ieoh Ming, which means, roughly, “to make an indelible mark.”\u003c/p>\n\u003cfigure id=\"attachment_13857490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857490\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ap_081201012101_enl-6ba93eec66a7f43f21005d5a41898b2082e0e6cf-800x533.jpg\" alt=\"The Museum of Islamic Art in Doha, Qatar, opened to the public in 2008.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">The Museum of Islamic Art in Doha, Qatar, opened to the public in 2008. \u003ccite>(Hassan Ammar/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Crowds around the world flow through the buildings designed by architect I.M. Pei; in Paris, they stream into the Louvre’s Pyramid entrance. In Cleveland, they wander through the Rock & Roll Hall of Fame. And in Hong Kong, they travel up and down the soaring Bank of China Tower.\u003c/p>\n\u003cp>Pei’s death was confirmed by Thomas Guss, his press contact. He was 102.\u003c/p>\n\u003cp>His designs were widely praised — but not always at first. When his large glass pyramid opened at the entrance to the Louvre museum in 1988, it was not well received.\u003c/p>\n\u003cp>“I would say the first year and a half was really hell,” the architect said in a PBS documentary. “I couldn’t walk the streets of Paris without people walking looking at me and saying, There you go again. What are you doing here? What are you doing to us? What are you doing to our great Louvre?”\u003c/p>\n\u003cfigure id=\"attachment_13857492\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857492\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-921264008-800x534.jpg\" alt=\"Photo taken on August 7, 1987 shows the Louvre Pyramid under construction, designed by Chinese-American architect I.M. Pei , in the main courtyard (Cour Napoléon) of the Louvre Palace (Palais du Louvre) in Paris.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-921264008-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-921264008-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-921264008-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-921264008-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/GettyImages-921264008.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Photo taken on August 7, 1987 shows the Louvre Pyramid under construction, designed by Chinese-American architect I.M. Pei , in the main courtyard (Cour Napoléon) of the Louvre Palace (Palais du Louvre) in Paris. \u003ccite>(PATRICK KOVARIK/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Two decades passed and, in 2009, NPR’s Susan Stamberg \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=121097261\">paid a visit to the Pyramid\u003c/a>. Henri Loyrette, the Louvre’s director at the time, called it a masterpiece. He said that when you ask visitors why they are at the Louvre, they generally give three answers: for the \u003cem>Mona Lisa,\u003c/em> for the \u003cem>Venus de Milo\u003c/em> and for the Pyramid. It was not the first time shock has given way to admiration in architecture.\u003c/p>\n\u003cfigure id=\"attachment_13857493\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857493\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/GettyImages-158061015-800x534.jpg\" alt=\"Visitors walk inside the Pyramid, the entrance of the Louvre Museum, on June 17, 2009 in Paris.\" width=\"800\" height=\"534\">\u003cfigcaption class=\"wp-caption-text\">Visitors walk inside the Pyramid, the entrance of the Louvre Museum, on June 17, 2009 in Paris. AFP PHOTO LOIC VENANCE (Photo credit should read LOIC VENANCE/AFP/Getty Images) \u003ccite>(LOIC VENANCE/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pei didn’t like labels. He said there’s no such thing as modern, postmodern or deconstructivist architecture. But he was considered a modernist. Back in 1970, he defined his approach in an interview for a documentary on one of his buildings — the National Center for Atmospheric Research in Boulder, Colorado.\u003c/p>\n\u003cfigure id=\"attachment_13857486\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13857486 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/gettyimages-52044243_slide-6de5664567d94c6476bc6392042995dfbf206ce1-800x533.jpg\" alt=\"Inside the glass tower of the German Historical Museum.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-52044243_slide-6de5664567d94c6476bc6392042995dfbf206ce1-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-52044243_slide-6de5664567d94c6476bc6392042995dfbf206ce1-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-52044243_slide-6de5664567d94c6476bc6392042995dfbf206ce1-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-52044243_slide-6de5664567d94c6476bc6392042995dfbf206ce1-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-52044243_slide-6de5664567d94c6476bc6392042995dfbf206ce1-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-52044243_slide-6de5664567d94c6476bc6392042995dfbf206ce1-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-52044243_slide-6de5664567d94c6476bc6392042995dfbf206ce1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Inside the glass tower of the German Historical Museum. \u003ccite>(Hassan Ammar/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“If the problem is a complicated problem, then the building will result just that way,” Pei said. “But then after that we have to simplify it. We have to eliminate the inessential.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That is pretty much the definition of modernism in architecture — eliminate the inessential, leaving clean lines and spare geometric forms. But, he said, his architecture was not \u003cem>just\u003c/em> geometry.\u003c/p>\n\u003cp>“There are many other elements that come into play to create a form,” said Pei. “Space, which is what architecture really is. You have to have light. … Light is terribly important.”\u003c/p>\n\u003cp>What are shapes without light, he asked — and added, “The light of the sun is magical.”\u003c/p>\n\u003cfigure id=\"attachment_13857488\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13857488 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ap_16197728710546_enl-1442472cfb76868874bd316511c4eb7f08fe2d8e-800x527.jpg\" alt=\"The Rock & Roll Hall of Fame is located on the shores of Lake Erie in downtown Cleveland.\" width=\"800\" height=\"527\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ap_16197728710546_enl-1442472cfb76868874bd316511c4eb7f08fe2d8e-800x527.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ap_16197728710546_enl-1442472cfb76868874bd316511c4eb7f08fe2d8e-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ap_16197728710546_enl-1442472cfb76868874bd316511c4eb7f08fe2d8e-768x506.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ap_16197728710546_enl-1442472cfb76868874bd316511c4eb7f08fe2d8e-1020x672.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ap_16197728710546_enl-1442472cfb76868874bd316511c4eb7f08fe2d8e-1200x790.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ap_16197728710546_enl-1442472cfb76868874bd316511c4eb7f08fe2d8e-1920x1264.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/ap_16197728710546_enl-1442472cfb76868874bd316511c4eb7f08fe2d8e.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Rock & Roll Hall of Fame is located on the shores of Lake Erie in downtown Cleveland. (Mark Duncan/AP)\u003c/figcaption>\u003c/figure>\n\u003cp>Pei was born in Suzhou, China, in 1917. He grew up in a house where gardens and airy pavilions merged with the landscape. Pei biographer Carter Wiseman says that the natural world deeply influenced Pei.\u003c/p>\n\u003cp>“Having come from China, where he was exposed to garden architecture, he had a very different concept of time,” Wiseman explains. “He was interested in the sculptural properties of rocks. There was an affinity for nature and for history that most Americans do not get, no matter how hard we try.”\u003c/p>\n\u003cp>Pei’s father was a banker, his mother an artist. He came to the U.S. as a teenager in 1935, went to the Massachusetts Institute of Technology and was influenced by the work of pioneering modernists Le Corbusier and Frank Lloyd Wright.\u003c/p>\n\u003cp>Pei’s privileged upbringing helped him navigate the alpha-male world of architecture and real estate. He was able to schmooze with the powerful, which led to projects like the apartments on Manhattan’s East Side called the \u003ca href=\"http://www.pcf-p.com/a/p/5705/s.html\">Kips Bay Towers\u003c/a>, the \u003ca href=\"http://www.pcf-p.com/a/p/7617/s.html\">Kennedy Library\u003c/a> in Boston and the \u003ca href=\"http://www.pcf-p.com/a/p/6810/s.html\">East Building of the National Gallery of Art\u003c/a> in Washington, D.C.\u003c/p>\n\u003cp>Pei didn’t get everything right. His 1980s design for New York’s \u003ca href=\"http://www.pcf-p.com/a/p/7917/s.html\">Jacob K. Javits Convention Center\u003c/a>, for instance, is still less than loved.\u003c/p>\n\u003cp>His \u003ca href=\"http://www.pcf-p.com/a/p/7905/s.html\">Fragrant Hill Hotel\u003c/a> in Beijing, completed in 1982, uses a traditional Chinese design. In 1990, the \u003ca href=\"http://www.pcf-p.com/a/p/8220/s.html\">Bank of China Tower\u003c/a> opened — and his modern, soaring design instantly became one of the most recognizable skyscrapers in Hong Kong.\u003c/p>\n\u003cfigure id=\"attachment_13857489\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857489\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/gettyimages-150604279_enl-0a0c2532dc0a90a309bdd478600e759c42ab921d-800x534.jpg\" alt=\"Completed in 1990, the Bank of China Tower is among the tallest skyscrapers in Hong Kong.\" width=\"800\" height=\"534\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-150604279_enl-0a0c2532dc0a90a309bdd478600e759c42ab921d-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-150604279_enl-0a0c2532dc0a90a309bdd478600e759c42ab921d-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-150604279_enl-0a0c2532dc0a90a309bdd478600e759c42ab921d-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-150604279_enl-0a0c2532dc0a90a309bdd478600e759c42ab921d-1020x681.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-150604279_enl-0a0c2532dc0a90a309bdd478600e759c42ab921d-1200x801.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-150604279_enl-0a0c2532dc0a90a309bdd478600e759c42ab921d-1920x1281.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/gettyimages-150604279_enl-0a0c2532dc0a90a309bdd478600e759c42ab921d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Completed in 1990, the Bank of China Tower is among the tallest skyscrapers in Hong Kong. \u003ccite>(Philippe Lopez/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Pei inspired younger Chinese architects, like Pritzker Architecture Prize winner Wang Shu; he says Pei “awakened” him. Wang believes Pei figured out a way to bridge East and West, old and new, and he thinks of Pei as a teacher — someone who came before him and whose successes and mistakes he learned from.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>From the Macao Science Center to the Museum of Islamic Art in Doha, Qatar, Pei continued building through 2009. His name, I.M., stands for Ieoh Ming, which means, roughly, “to make an indelible mark.”\u003c/p>\n\u003cfigure id=\"attachment_13857490\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13857490\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/ap_081201012101_enl-6ba93eec66a7f43f21005d5a41898b2082e0e6cf-800x533.jpg\" alt=\"The Museum of Islamic Art in Doha, Qatar, opened to the public in 2008.\" width=\"800\" height=\"533\">\u003cfigcaption class=\"wp-caption-text\">The Museum of Islamic Art in Doha, Qatar, opened to the public in 2008. \u003ccite>(Hassan Ammar/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Announcing The 2019 Tiny Desk Contest Winner",
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"content": "\u003cfigure id=\"attachment_13857417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/190515_npr_quinn-107_wide-1701bd85f5e953287c8774eff9880b2a51b617b0-800x450.jpg\" alt=\"Quinn Christopherson is this year's Tiny Desk Contest winner.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13857417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/190515_npr_quinn-107_wide-1701bd85f5e953287c8774eff9880b2a51b617b0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/190515_npr_quinn-107_wide-1701bd85f5e953287c8774eff9880b2a51b617b0-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/190515_npr_quinn-107_wide-1701bd85f5e953287c8774eff9880b2a51b617b0-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/190515_npr_quinn-107_wide-1701bd85f5e953287c8774eff9880b2a51b617b0-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/190515_npr_quinn-107_wide-1701bd85f5e953287c8774eff9880b2a51b617b0-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/190515_npr_quinn-107_wide-1701bd85f5e953287c8774eff9880b2a51b617b0-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/190515_npr_quinn-107_wide-1701bd85f5e953287c8774eff9880b2a51b617b0.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quinn Christopherson is this year’s Tiny Desk Contest winner. \u003ccite>(Ash Adams/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, I was blown away by the Tiny Desk Contest entries I saw. We received over 6,000 entries from all across the country. We saw tiny desks up on rooftops and down on a subway platform; tucked into treetops, pickup trucks and laundromats. We heard songs about the situations that make life difficult and the people that make life worth living. \u003c/p>\n\u003cp>But in the end, the judges and I could only choose one winning entry. We’re so proud to share with you the music of \u003ca href=\"https://www.youtube.com/watch?v=xoFlHMG6Wfo\">Quinn Christopherson\u003c/a>, this year’s Tiny Desk Contest winner!\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xoFlHMG6Wfo\u003c/p>\n\u003cp>Quinn’s entry astounded our judge panel from start to finish. His powerful song “Erase Me” is a nuanced take on his experience as a transgender man coming to terms with the power of his voice. Standing in front of a majestic painting of Mt. Denali, Quinn and his bandmate, Nick Carpenter, created their own work of art. \u003c/p>\n\u003cp>When I called Quinn to tell him the good news, he was amazed and surprised. “You just made my entire life,” he said from his home in Anchorage, Alaska. He was also extremely humbled, saying he had “watched so many entries” featuring “so many talented people.” He’s right: We saw so much talent this year. But in the midst of all those entries we watched, it was his song the judges and I couldn’t stop playing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lucy Dacus, another of this year’s judges, agrees. She praised “Erase Me” for the way it concisely shares such a complex and personal message. “The song is so captivating, and his performance seemed so earnest,” she tells NPR’s Noel King and me on \u003cem>Morning Edition\u003c/em>. “I kept coming back to the video.” (Hear that interview at the audio link above.)\u003c/p>\n\u003cp>Soon, Quinn will be coming to Washington D.C. to play his very own Tiny Desk concert. After that, he’ll \u003ca href=\"https://www.nprpresents.org/\">come on tour \u003c/a>with NPR Music to play alongside other artists who entered the Contest this year. We’re excited to hit the road again to celebrate artists we love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thank you to everyone who shared a song with us this year; we saw so many amazing entries and were introduced to many new artists to love. Thank you to Blue Microphones for its support of the Contest. And again, congratulations to Quinn, our newest Contest winner. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Announcing+The+2019+Tiny+Desk+Contest+Winner&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13857417\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/190515_npr_quinn-107_wide-1701bd85f5e953287c8774eff9880b2a51b617b0-800x450.jpg\" alt=\"Quinn Christopherson is this year's Tiny Desk Contest winner.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13857417\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/190515_npr_quinn-107_wide-1701bd85f5e953287c8774eff9880b2a51b617b0-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/190515_npr_quinn-107_wide-1701bd85f5e953287c8774eff9880b2a51b617b0-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/190515_npr_quinn-107_wide-1701bd85f5e953287c8774eff9880b2a51b617b0-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/190515_npr_quinn-107_wide-1701bd85f5e953287c8774eff9880b2a51b617b0-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/190515_npr_quinn-107_wide-1701bd85f5e953287c8774eff9880b2a51b617b0-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/190515_npr_quinn-107_wide-1701bd85f5e953287c8774eff9880b2a51b617b0-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/190515_npr_quinn-107_wide-1701bd85f5e953287c8774eff9880b2a51b617b0.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Quinn Christopherson is this year’s Tiny Desk Contest winner. \u003ccite>(Ash Adams/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This year, I was blown away by the Tiny Desk Contest entries I saw. We received over 6,000 entries from all across the country. We saw tiny desks up on rooftops and down on a subway platform; tucked into treetops, pickup trucks and laundromats. We heard songs about the situations that make life difficult and the people that make life worth living. \u003c/p>\n\u003cp>But in the end, the judges and I could only choose one winning entry. We’re so proud to share with you the music of \u003ca href=\"https://www.youtube.com/watch?v=xoFlHMG6Wfo\">Quinn Christopherson\u003c/a>, this year’s Tiny Desk Contest winner!\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/xoFlHMG6Wfo'\n title='//www.youtube.com/embed/xoFlHMG6Wfo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Quinn’s entry astounded our judge panel from start to finish. His powerful song “Erase Me” is a nuanced take on his experience as a transgender man coming to terms with the power of his voice. Standing in front of a majestic painting of Mt. Denali, Quinn and his bandmate, Nick Carpenter, created their own work of art. \u003c/p>\n\u003cp>When I called Quinn to tell him the good news, he was amazed and surprised. “You just made my entire life,” he said from his home in Anchorage, Alaska. He was also extremely humbled, saying he had “watched so many entries” featuring “so many talented people.” He’s right: We saw so much talent this year. But in the midst of all those entries we watched, it was his song the judges and I couldn’t stop playing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lucy Dacus, another of this year’s judges, agrees. She praised “Erase Me” for the way it concisely shares such a complex and personal message. “The song is so captivating, and his performance seemed so earnest,” she tells NPR’s Noel King and me on \u003cem>Morning Edition\u003c/em>. “I kept coming back to the video.” (Hear that interview at the audio link above.)\u003c/p>\n\u003cp>Soon, Quinn will be coming to Washington D.C. to play his very own Tiny Desk concert. After that, he’ll \u003ca href=\"https://www.nprpresents.org/\">come on tour \u003c/a>with NPR Music to play alongside other artists who entered the Contest this year. We’re excited to hit the road again to celebrate artists we love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Thank you to everyone who shared a song with us this year; we saw so many amazing entries and were introduced to many new artists to love. Thank you to Blue Microphones for its support of the Contest. And again, congratulations to Quinn, our newest Contest winner. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org\" rel=\"noopener\" target=\"_blank\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Announcing+The+2019+Tiny+Desk+Contest+Winner&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Actress And Singer Doris Day, Hollywood's Girl Next Door, Dies At 97",
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"content": "\u003cp>Actress and singer Doris Day made nearly three dozen films and more than 600 recordings. At the height of her career, she topped both the billboard and the box office charts. Day died of pneumonia on Monday at the age of 97.\u003c/p>\n\u003cp>Day remains one of the most successful female movie stars of all time. She embodied the “girl next door” even in her 40s, which is probably why her films with Rock Hudson were so successful. A scene from 1959’s \u003cem>Pillow Talk\u003c/em> shows a split screen with Day and Hudson in their separate bathtubs, only it \u003cem>looks\u003c/em> like they’re in the same one — with their feet touching. Kind of risqué for 1959.\u003c/p>\n\u003cp>That was Day at the height of her film success, but her career began as a big band “girl singer,” and with Les Brown’s big band she had one of the biggest hits of World War II: “\u003ca href=\"http://www.youtube.com/watch?v=PUw125JMVFI\">A Sentimental Journey\u003c/a>.” For many GIs, Doris Day represented the kind of girl you’d want to fight for and come home to.\u003c/p>\n\u003cp>The end of the war brought the end of the big band era and the beginning of Day’s film career. Alfred Hitchcock used Day’s voice as a plot device in \u003cem>The Man Who Knew Too Much\u003c/em>, in which a distraught Day sings a distress signal, “\u003ca href=\"https://www.youtube.com/watch?v=xZbKHDPPrrc\">Que Sera, Sera\u003c/a>,” to her kidnapped son. It became her signature tune and went to the No. 2 spot on the charts.\u003c/p>\n\u003cp>Will Friedwald wrote \u003ca href=\"http://www.npr.org/2010/12/12/131972175/whether-famous-or-forgotten-they-all-sang-standards\">a book\u003c/a> on jazz singing. He said Day’s success with pop and novelty songs overshadowed a simple fact: She was a phenomenal singer, both technically and artistically.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She really is sort of the mother of all tuneful, sunny blondes,” he said, “but at the same time there’s definitely a dark side to her. You know, she can explore that kind of emotion very effectively in song.”\u003c/p>\n\u003cp>In the musical drama \u003cem>Love Me or Leave Me\u003c/em>, Day played ’30s torch singer Ruth Etting opposite Jimmy Cagney, who plays her jilted mobster husband. And throughout the ’50s, Day took on similarly meaty roles in films like \u003cem>Calamity Jane\u003c/em>, \u003cem>The Pajama Game\u003c/em> and \u003cem>The Man Who Knew Too Much\u003c/em>. But at the end of the decade, she settled into romantic comedies and a persona that would stick — the girl next door.\u003c/p>\n\u003cp>But David Kaufman, one of Day’s biographers, said the real Day was anything but the girl next door.\u003c/p>\n\u003cp>“She’s was a woman who was an extremely sensual woman,” he said. “She had affairs with a number of people. She was never happily married. She had a son but was never really a mother; he was more like a brother to her. She in many ways was the opposite to the girl next door.”\u003c/p>\n\u003cp>Day’s husband and manager, Martin Melcher, died suddenly in 1968. But before that, he lost her entire fortune and signed her to a television series without her knowledge. Day slogged through the five seasons of \u003cem>The Doris Day Show\u003c/em> and then left Hollywood. And after a very long legal battle, she eventually won back some of her money.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tabloids often caught Day doing simple things in retirement: going to the grocery store, caring for scores of abandoned pets or dining out with friends. And it seems if she couldn’t be the girl next door in her youth, as the years passed, she came close — sort of.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"excerpt": "Day took on meaty roles in films like \u003cem>The Man Who Knew Too Much\u003c/em> and \u003cem>Love Me or Leave Me\u003c/em>, but in the late '50s she settled into romantic comedies and a persona that would stick: the good girl.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actress and singer Doris Day made nearly three dozen films and more than 600 recordings. At the height of her career, she topped both the billboard and the box office charts. Day died of pneumonia on Monday at the age of 97.\u003c/p>\n\u003cp>Day remains one of the most successful female movie stars of all time. She embodied the “girl next door” even in her 40s, which is probably why her films with Rock Hudson were so successful. A scene from 1959’s \u003cem>Pillow Talk\u003c/em> shows a split screen with Day and Hudson in their separate bathtubs, only it \u003cem>looks\u003c/em> like they’re in the same one — with their feet touching. Kind of risqué for 1959.\u003c/p>\n\u003cp>That was Day at the height of her film success, but her career began as a big band “girl singer,” and with Les Brown’s big band she had one of the biggest hits of World War II: “\u003ca href=\"http://www.youtube.com/watch?v=PUw125JMVFI\">A Sentimental Journey\u003c/a>.” For many GIs, Doris Day represented the kind of girl you’d want to fight for and come home to.\u003c/p>\n\u003cp>The end of the war brought the end of the big band era and the beginning of Day’s film career. Alfred Hitchcock used Day’s voice as a plot device in \u003cem>The Man Who Knew Too Much\u003c/em>, in which a distraught Day sings a distress signal, “\u003ca href=\"https://www.youtube.com/watch?v=xZbKHDPPrrc\">Que Sera, Sera\u003c/a>,” to her kidnapped son. It became her signature tune and went to the No. 2 spot on the charts.\u003c/p>\n\u003cp>Will Friedwald wrote \u003ca href=\"http://www.npr.org/2010/12/12/131972175/whether-famous-or-forgotten-they-all-sang-standards\">a book\u003c/a> on jazz singing. He said Day’s success with pop and novelty songs overshadowed a simple fact: She was a phenomenal singer, both technically and artistically.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She really is sort of the mother of all tuneful, sunny blondes,” he said, “but at the same time there’s definitely a dark side to her. You know, she can explore that kind of emotion very effectively in song.”\u003c/p>\n\u003cp>In the musical drama \u003cem>Love Me or Leave Me\u003c/em>, Day played ’30s torch singer Ruth Etting opposite Jimmy Cagney, who plays her jilted mobster husband. And throughout the ’50s, Day took on similarly meaty roles in films like \u003cem>Calamity Jane\u003c/em>, \u003cem>The Pajama Game\u003c/em> and \u003cem>The Man Who Knew Too Much\u003c/em>. But at the end of the decade, she settled into romantic comedies and a persona that would stick — the girl next door.\u003c/p>\n\u003cp>But David Kaufman, one of Day’s biographers, said the real Day was anything but the girl next door.\u003c/p>\n\u003cp>“She’s was a woman who was an extremely sensual woman,” he said. “She had affairs with a number of people. She was never happily married. She had a son but was never really a mother; he was more like a brother to her. She in many ways was the opposite to the girl next door.”\u003c/p>\n\u003cp>Day’s husband and manager, Martin Melcher, died suddenly in 1968. But before that, he lost her entire fortune and signed her to a television series without her knowledge. Day slogged through the five seasons of \u003cem>The Doris Day Show\u003c/em> and then left Hollywood. And after a very long legal battle, she eventually won back some of her money.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Tabloids often caught Day doing simple things in retirement: going to the grocery store, caring for scores of abandoned pets or dining out with friends. And it seems if she couldn’t be the girl next door in her youth, as the years passed, she came close — sort of.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Doris Day: A Hollywood Legend Reflects On Life",
"headTitle": "Doris Day: A Hollywood Legend Reflects On Life | KQED",
"content": "\u003cp>\u003cem>Actress and singer Doris Day made nearly three dozen films and more than 600 recordings. At the height of her career, she topped both the billboard and the box office charts. Day died of pneumonia on Monday at the age of 97. This \u003c/em>Fresh Air\u003cem> interview was first broadcast on April 2, 2012. \u003c/em>\u003c/p>\n\u003cp>The biggest female box-office star in Hollywood history, Doris Day started singing and dancing when she was a teenager, and made her first film when she was 24. After nearly 40 movies, she walked away from that part of her life in 1968, and started rescuing and caring for animals.\u003c/p>\n\u003cp>Now 87, the actress lives in Carmel-by-the-Sea, Calif. Last year, she released \u003cem>My Heart\u003c/em>, her first record since 1967’s \u003cem>The Love Album\u003c/em>. She’s also the subject of a new four-DVD box set of her films — and was named TCM’s star of the month for April, which means 28 of her movies will air during prime time this week on the network.\u003c/p>\n\u003cp>\u003cstrong>The Making Of A Star\u003c/strong>\u003c/p>\n\u003cp>Day started her career as a teenage dancer in Cincinnati. She was spotted by a Paramount Pictures talent scout who wanted to fly her out to Hollywood, but a car accident on the night of her going-away party shattered her leg and her dreams of being a professional dancer. As Day recovered from her injuries, she listened to the radio and discovered she had a talent for singing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I had to lie down, and I was just laying down all the time, and a couple of years went by. And the bones in my right leg from the knee down were not healing,” she tells \u003cem>Fresh Air\u003c/em>‘s Terry Gross. “And that went on for a few years. … And [then] when I started to heal, that’s when I started to sing — by myself — in a beautiful club in Cincinnati at the age of 16.”\u003c/p>\n\u003cp>The club was 18-and-up, so Day’s bandleader lied to the club owners and told them that his young singer was, in fact, a legal adult.\u003c/p>\n\u003cp>“I kept forgetting that I wasn’t two years older for years,” she says. “As the years go on, and my mother said to me, ‘You know what, it just occurred to me. You’re not really 30. You’re 28.’ And I looked at her and said, ‘Oh my gosh, I forgot all about that.'”\u003c/p>\n\u003cp>\u003cstrong>‘Romance On The High Seas’\u003c/strong>\u003c/p>\n\u003cp>Day’s singing career eventually led her to Hollywood, where she got a part in the 1948 film \u003cem>Romance on the High Seas,\u003c/em> without knowing she was auditioning for the role.\u003c/p>\n\u003cp>“I was just out in Hollywood singing, and my manager was with me, and we were going to have lunch,” she says. “And he drove out to the studio, and I knew nothing about that. We were standing around, and I said, ‘What are we doing?’ and he said, ‘I’m arranging something.'”\u003c/p>\n\u003cp>Day’s manager told her that a young man was auditioning for a role in a movie and she needed to help him out. That man, unbeknownst to Day, was actually the film’s director.\u003c/p>\n\u003cp>“So I read my lines, and after that, he came up and took my hands and said, ‘Darling, you were very good’ and I thought, ‘How funny’ and said, ‘Thank you so much, it was nice to meet you.’ And with that, we left,” she says.\u003c/p>\n\u003cp>Day was due to leave Los Angeles the following morning, but received a phone call in her hotel room. It was actor Jack Carson.\u003c/p>\n\u003cp>“And he said, ‘Miss Day, this is Jack Carson. I know it’s early in the day to be calling you, and I heard that you were leaving for New York. I want to tell you something — you are going to be in the best part, the most important part, in the movie I’m doing next. And I want you to be in it,'” she says.\u003c/p>\n\u003cp>Day accepted the offer and soon began working on the film. On her second day of work, she was invited into a studio to watch herself on the screen for the first time.\u003c/p>\n\u003cp>“I went in and I just stood there, and Jack came up to me and he put his arms around me,” she says. “And he said, ‘Everything is just perfect. And you’re the one. And I really enjoyed it today.’ And he gave me a big hug.”\u003c/p>\n\u003cp>In the ’50s and ’60s, Day starred in a string of romantic comedies, but frequently played an independent working woman. In 1959’s \u003cem>Pillow Talk\u003c/em>, she played an independent interior designer opposite Rock Hudson. In \u003cem>Love Come Back\u003c/em>, she worked in the advertising world. In \u003cem>Touch of Mink\u003c/em>, with Cary Grant, she played a career woman.\u003c/p>\n\u003cp>“I didn’t feel different in any of them,” she says, “even though they were different. I loved being married, and I loved not being married but working on it. And doing what I was supposed to do and be. That’s the way I worked.”\u003c/p>\n\u003cp>\u003cstrong>Working With Animals\u003c/strong>\u003c/p>\n\u003cp>Day stopped making movies in 1968, in part because she wanted a quieter lifestyle than what was available in Los Angeles.\u003c/p>\n\u003cp>“I came out to Carmel and it was so nice, and I have so many doggies,” she says. “And I thought that this would really be nice.”\u003c/p>\n\u003cp>In 1971, Day co-founded Actors and Others for Animals, and began to take an active role in animal rescue work with the SPCA. She placed dozens of rescue dogs in people’s homes and rescued many on her own. At one point, she had 30 dogs living in her house.\u003c/p>\n\u003cp>“It was another area of the house,” she says. “There was a lovely outside place to eat, and it was so pretty and lovely with the fountain and everything. And on the other side of that was where I had the dogs. And they had a big area to run and they had a huge area to play. They were just fabulous and I kept them all.”\u003c/p>\n\u003cp>Day currently has six dogs and four cats.\u003c/p>\n\u003cp>“If I come across a doggie who needs a home, that’s when I take them,” she says. “They’re in a special area — an outdoor area — but the ceiling is all glass and they look up there and see the trees. They have two big rooms inside and then one outside. They just love it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13857152\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727.jpg\" alt=\"\" width=\"780\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727-768x882.jpg 768w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003c/p>\n\u003chr>\n\u003ch3>\u003c/h3>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Singing ‘Que Sera Sera’ In \u003cem>The Man Who Knew Too Much\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>“The first time somebody told me it was going to be in that movie, I thought, ‘Why?’ I didn’t think there was a place to put that song. … I thought, ‘I’m not crazy about that. Where are they going to put it? For what?’ … I didn’t think it was a good song.”\u003c/p>\n\u003cp>\u003cstrong>On The Popularity Of ‘Que Sera Sera’\u003c/strong>\u003c/p>\n\u003cp>“I thought that was wonderful, because it became that because of children. And then I understood it. Because it was for our child in the movie. Then I realized, maybe it isn’t a favorite song of mine, but people loved it. And kids loved it. And it was perfect for the film. So I can’t say that it’s a favorite song of mine, but, boy, it sure did something.”\u003c/p>\n\u003cp>\u003cstrong>On What She Likes To Sing \u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I like to sing love songs. I like to sing others, too. There’s so many that I love. I love them and I love singing them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Doris+Day%3A+A+Hollywood+Legend+Reflects+On+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Day started singing and dancing when she was a teenager, and made her first film at 24. After nearly 40 movies, she walked away from that part of her life in 1968, and started rescuing and caring for animals. From the archives, Day speaks to Terry Gross in a lengthy interview about her career in film and music.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Actress and singer Doris Day made nearly three dozen films and more than 600 recordings. At the height of her career, she topped both the billboard and the box office charts. Day died of pneumonia on Monday at the age of 97. This \u003c/em>Fresh Air\u003cem> interview was first broadcast on April 2, 2012. \u003c/em>\u003c/p>\n\u003cp>The biggest female box-office star in Hollywood history, Doris Day started singing and dancing when she was a teenager, and made her first film when she was 24. After nearly 40 movies, she walked away from that part of her life in 1968, and started rescuing and caring for animals.\u003c/p>\n\u003cp>Now 87, the actress lives in Carmel-by-the-Sea, Calif. Last year, she released \u003cem>My Heart\u003c/em>, her first record since 1967’s \u003cem>The Love Album\u003c/em>. She’s also the subject of a new four-DVD box set of her films — and was named TCM’s star of the month for April, which means 28 of her movies will air during prime time this week on the network.\u003c/p>\n\u003cp>\u003cstrong>The Making Of A Star\u003c/strong>\u003c/p>\n\u003cp>Day started her career as a teenage dancer in Cincinnati. She was spotted by a Paramount Pictures talent scout who wanted to fly her out to Hollywood, but a car accident on the night of her going-away party shattered her leg and her dreams of being a professional dancer. As Day recovered from her injuries, she listened to the radio and discovered she had a talent for singing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I had to lie down, and I was just laying down all the time, and a couple of years went by. And the bones in my right leg from the knee down were not healing,” she tells \u003cem>Fresh Air\u003c/em>‘s Terry Gross. “And that went on for a few years. … And [then] when I started to heal, that’s when I started to sing — by myself — in a beautiful club in Cincinnati at the age of 16.”\u003c/p>\n\u003cp>The club was 18-and-up, so Day’s bandleader lied to the club owners and told them that his young singer was, in fact, a legal adult.\u003c/p>\n\u003cp>“I kept forgetting that I wasn’t two years older for years,” she says. “As the years go on, and my mother said to me, ‘You know what, it just occurred to me. You’re not really 30. You’re 28.’ And I looked at her and said, ‘Oh my gosh, I forgot all about that.'”\u003c/p>\n\u003cp>\u003cstrong>‘Romance On The High Seas’\u003c/strong>\u003c/p>\n\u003cp>Day’s singing career eventually led her to Hollywood, where she got a part in the 1948 film \u003cem>Romance on the High Seas,\u003c/em> without knowing she was auditioning for the role.\u003c/p>\n\u003cp>“I was just out in Hollywood singing, and my manager was with me, and we were going to have lunch,” she says. “And he drove out to the studio, and I knew nothing about that. We were standing around, and I said, ‘What are we doing?’ and he said, ‘I’m arranging something.'”\u003c/p>\n\u003cp>Day’s manager told her that a young man was auditioning for a role in a movie and she needed to help him out. That man, unbeknownst to Day, was actually the film’s director.\u003c/p>\n\u003cp>“So I read my lines, and after that, he came up and took my hands and said, ‘Darling, you were very good’ and I thought, ‘How funny’ and said, ‘Thank you so much, it was nice to meet you.’ And with that, we left,” she says.\u003c/p>\n\u003cp>Day was due to leave Los Angeles the following morning, but received a phone call in her hotel room. It was actor Jack Carson.\u003c/p>\n\u003cp>“And he said, ‘Miss Day, this is Jack Carson. I know it’s early in the day to be calling you, and I heard that you were leaving for New York. I want to tell you something — you are going to be in the best part, the most important part, in the movie I’m doing next. And I want you to be in it,'” she says.\u003c/p>\n\u003cp>Day accepted the offer and soon began working on the film. On her second day of work, she was invited into a studio to watch herself on the screen for the first time.\u003c/p>\n\u003cp>“I went in and I just stood there, and Jack came up to me and he put his arms around me,” she says. “And he said, ‘Everything is just perfect. And you’re the one. And I really enjoyed it today.’ And he gave me a big hug.”\u003c/p>\n\u003cp>In the ’50s and ’60s, Day starred in a string of romantic comedies, but frequently played an independent working woman. In 1959’s \u003cem>Pillow Talk\u003c/em>, she played an independent interior designer opposite Rock Hudson. In \u003cem>Love Come Back\u003c/em>, she worked in the advertising world. In \u003cem>Touch of Mink\u003c/em>, with Cary Grant, she played a career woman.\u003c/p>\n\u003cp>“I didn’t feel different in any of them,” she says, “even though they were different. I loved being married, and I loved not being married but working on it. And doing what I was supposed to do and be. That’s the way I worked.”\u003c/p>\n\u003cp>\u003cstrong>Working With Animals\u003c/strong>\u003c/p>\n\u003cp>Day stopped making movies in 1968, in part because she wanted a quieter lifestyle than what was available in Los Angeles.\u003c/p>\n\u003cp>“I came out to Carmel and it was so nice, and I have so many doggies,” she says. “And I thought that this would really be nice.”\u003c/p>\n\u003cp>In 1971, Day co-founded Actors and Others for Animals, and began to take an active role in animal rescue work with the SPCA. She placed dozens of rescue dogs in people’s homes and rescued many on her own. At one point, she had 30 dogs living in her house.\u003c/p>\n\u003cp>“It was another area of the house,” she says. “There was a lovely outside place to eat, and it was so pretty and lovely with the fountain and everything. And on the other side of that was where I had the dogs. And they had a big area to run and they had a huge area to play. They were just fabulous and I kept them all.”\u003c/p>\n\u003cp>Day currently has six dogs and four cats.\u003c/p>\n\u003cp>“If I come across a doggie who needs a home, that’s when I take them,” she says. “They’re in a special area — an outdoor area — but the ceiling is all glass and they look up there and see the trees. They have two big rooms inside and then one outside. They just love it.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-13857152\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727.jpg\" alt=\"\" width=\"780\" height=\"896\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727.jpg 780w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2012/04/doris-day_bk-cv_-c-sony-music-archives-1-_custom-cefbed1921b51314d71535181945e2289d231727-768x882.jpg 768w\" sizes=\"(max-width: 780px) 100vw, 780px\">\u003c/p>\n\u003chr>\n\u003ch3>\u003c/h3>\n\u003ch3>Interview Highlights\u003c/h3>\n\u003cp>\u003cstrong>On Singing ‘Que Sera Sera’ In \u003cem>The Man Who Knew Too Much\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>“The first time somebody told me it was going to be in that movie, I thought, ‘Why?’ I didn’t think there was a place to put that song. … I thought, ‘I’m not crazy about that. Where are they going to put it? For what?’ … I didn’t think it was a good song.”\u003c/p>\n\u003cp>\u003cstrong>On The Popularity Of ‘Que Sera Sera’\u003c/strong>\u003c/p>\n\u003cp>“I thought that was wonderful, because it became that because of children. And then I understood it. Because it was for our child in the movie. Then I realized, maybe it isn’t a favorite song of mine, but people loved it. And kids loved it. And it was perfect for the film. So I can’t say that it’s a favorite song of mine, but, boy, it sure did something.”\u003c/p>\n\u003cp>\u003cstrong>On What She Likes To Sing \u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I like to sing love songs. I like to sing others, too. There’s so many that I love. I love them and I love singing them.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Doris+Day%3A+A+Hollywood+Legend+Reflects+On+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Furious Hours' Tells the Tale of Harper Lee and Her Unfinished Work",
"headTitle": "‘Furious Hours’ Tells the Tale of Harper Lee and Her Unfinished Work | KQED",
"content": "\u003cp>When the kerfuffle over the impending release of Harper Lee’s \u003cem>Go Set a Watchman\u003c/em> was cluttering up my news feeds in 2015, I confess that I didn’t pay much attention.\u003c/p>\n\u003cp>Having not grown up in the United States, where Lee’s \u003cem>To Kill A Mockingbird \u003c/em>is often required reading in children’s education, I first read the classic when I was 20. It was part of a yearlong attempt of trying to catch up with what most of my college friends and professors considered canonical. It was with some trepidation, then, that I approached Casey Cep’s new book, \u003cem>Furious Hours: Murder, Fraud, and the Last Trial of Harper Lee\u003c/em>.\u003c/p>\n\u003cp>I expected to be charmed by the writing; Cep writes regularly for \u003cem>The New Yorker\u003c/em>, and her style is detailed and evocative, sometimes dramatic in a fun way, as when she \u003ca href=\"https://www.newyorker.com/magazine/2018/12/17/the-contested-legacy-of-atticus-finch\">wrote\u003c/a> of Harper Lee that “only Jesus made his father more famous.” As a relatively recent convert to the true-crime genre, I was hopeful that the book would deal responsibly with its subjects, and I wasn’t let down there either. But what I didn’t see coming was the emotional response I would have as I blazed through the last 20 pages of the book—yet there I was, weeping.\u003c/p>\n\u003cfigure id=\"attachment_13857057\" class=\"wp-caption alignright\" style=\"max-width: 336px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857057\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/furious-hours-harper-lee.jpg\" alt=\"'Furious Hours' by Casey Cep.\" width=\"336\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/furious-hours-harper-lee.jpg 336w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/furious-hours-harper-lee-160x238.jpg 160w\" sizes=\"(max-width: 336px) 100vw, 336px\">\u003cfigcaption class=\"wp-caption-text\">‘Furious Hours’ by Casey Cep.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Furious Hours \u003c/em>begins with a brief prologue that introduces its premise. In 1978, a largely unrecognized Nelle (pronounced \u003cem>Nell\u003c/em>, not \u003cem>Nellie\u003c/em>—apparently the reason she left the name off her famous book was frustration at the common mistake) Harper Lee sat in a courtroom in Alexander City, Ala., taking notes on the trial of Robert Burns, who was charged with killing the Rev. Willie Maxwell. Oddly, Tom Radney, the lawyer defending Burns—who everyone agreed did shoot Maxwell, as he did so at close range, inside a packed funeral home—had spent years defending Maxwell previously. Lee—who either never finished the book she wrote about the case or stashed a draft away somewhere that even the lawyer now handling her estate can’t find it—took copious notes, interviewed as many people as would speak to her and began considering how she could tell the complicated story of these three men.\u003c/p>\n\u003cp>Briefly, the story is this: Maxwell, an African-American man living in Alabama, was accused of killing his first wife, Mary Lou, but was exonerated. He cashed in on her life insurance and, apparently, was hooked—several other people in his circle died over the next few years, including his next-door neighbor Abram Anderson, who was married at the time to the woman who soon became Maxwell’s second wife, Dorcus; his brother, John Columbus Maxwell, known as J.C.; Dorcus herself; his nephew James Hicks; and his third (!) wife’s adopted daughter, teenager Shirley Ann Ellington. There was never enough evidence to charge him with any of the deaths after his wife’s; the copious numbers of life insurance policies he had taken out on each of them were considered circumstantial. But his community believed he was a killer, and rumors abounded that he was using voodoo to get away with it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It was at Shirley Ann’s funeral that Robert Burns had, apparently, had enough, and shot Maxwell. Lawyer Tom Radney, who had also been a prominent, socially progressive politician in Alabama, defended Maxwell in the one and only murder charge brought against him, but went on to help him get insurance money for each of the first five deaths from companies that were trying to maintain that they didn’t meet the criteria for payouts. While Radney said he wouldn’t have defended Maxwell after Shirley Ann’s death, there’s no knowing for sure—but the point is that he chose to defend Maxwell’s killer. [aside postid='arts_13856915']\u003c/p>\n\u003cp>Where Lee failed or gave up on this story, Cep took up the challenge, using Lee’s own notes as well as her own research. \u003cem>Furious Hours \u003c/em>is divided into three parts, telling the tales of the reverend, his lawyer, and the famous writer each in turn. Along the way, Cep dives into a dozen obscure topics that she manages to relate with fascinating detail and social commentary—from the racist structures of the 20th century insurance business to the stigmatization of voodoo, one of various spellings and names encompassing ancient religious and spiritual practices brought to the Americas from Africa by their enslaved practitioners who were, often and early, forbidden to practice their faith, causing it to become a secret, fiercely protected underground endeavor. [aside postid='arts_13856737']\u003c/p>\n\u003cp>In the last portion of the book, Cep turns to Lee’s eventual fascination with the Maxwell case, attempting, along the way, to correct many biographical mistakes that her family has had to see printed in unauthorized accounts of Lee’s life. Cep explores Lee’s complexities without flinching, recognizing them as human: On the one hand, she was eager to criticize the Southern tendency to erase or rewrite inconvenient history and the less-than-obvious racist ideologies that she saw around her, wherein people both disavowed the KKK and still favored segregation; on the other hand, she never came out in support of the civil rights movement. Another example: She helped Truman Capote with the majority of his research and note taking for \u003cem>In Cold Blood \u003c/em>and was deeply troubled by the inaccuracies and whole-cloth inventions that ended up in the book, yet still wrote a glowing profile of him prior to its release. And, of course, Cep shows Lee’s complicated relationship to writing, the success that seemed to block her forever after, and the human flaws and foibles that could never match the lionized reputation she held.\u003c/p>\n\u003cp>Each section of the book could stand on its own, making it feel, in a way, like three books in one. But, ultimately, \u003cem>Furious Hours \u003c/em>delivers a gripping, incredibly well-written portrait of not only Harper Lee, but also of mid-20th century Alabama—and a still-unanswered set of crimes to rival the serial killers made infamous in the same time period.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Copyright 2019 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Ilana Masad is an Israeli-American fiction writer, critic and founder/host of the podcast The Other Stories. Her debut novel, \u003c/em>All My Mother’s Lovers\u003cem>, is forthcoming from Dutton in 2020.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When the kerfuffle over the impending release of Harper Lee’s \u003cem>Go Set a Watchman\u003c/em> was cluttering up my news feeds in 2015, I confess that I didn’t pay much attention.\u003c/p>\n\u003cp>Having not grown up in the United States, where Lee’s \u003cem>To Kill A Mockingbird \u003c/em>is often required reading in children’s education, I first read the classic when I was 20. It was part of a yearlong attempt of trying to catch up with what most of my college friends and professors considered canonical. It was with some trepidation, then, that I approached Casey Cep’s new book, \u003cem>Furious Hours: Murder, Fraud, and the Last Trial of Harper Lee\u003c/em>.\u003c/p>\n\u003cp>I expected to be charmed by the writing; Cep writes regularly for \u003cem>The New Yorker\u003c/em>, and her style is detailed and evocative, sometimes dramatic in a fun way, as when she \u003ca href=\"https://www.newyorker.com/magazine/2018/12/17/the-contested-legacy-of-atticus-finch\">wrote\u003c/a> of Harper Lee that “only Jesus made his father more famous.” As a relatively recent convert to the true-crime genre, I was hopeful that the book would deal responsibly with its subjects, and I wasn’t let down there either. But what I didn’t see coming was the emotional response I would have as I blazed through the last 20 pages of the book—yet there I was, weeping.\u003c/p>\n\u003cfigure id=\"attachment_13857057\" class=\"wp-caption alignright\" style=\"max-width: 336px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13857057\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/furious-hours-harper-lee.jpg\" alt=\"'Furious Hours' by Casey Cep.\" width=\"336\" height=\"499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/furious-hours-harper-lee.jpg 336w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/furious-hours-harper-lee-160x238.jpg 160w\" sizes=\"(max-width: 336px) 100vw, 336px\">\u003cfigcaption class=\"wp-caption-text\">‘Furious Hours’ by Casey Cep.\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Furious Hours \u003c/em>begins with a brief prologue that introduces its premise. In 1978, a largely unrecognized Nelle (pronounced \u003cem>Nell\u003c/em>, not \u003cem>Nellie\u003c/em>—apparently the reason she left the name off her famous book was frustration at the common mistake) Harper Lee sat in a courtroom in Alexander City, Ala., taking notes on the trial of Robert Burns, who was charged with killing the Rev. Willie Maxwell. Oddly, Tom Radney, the lawyer defending Burns—who everyone agreed did shoot Maxwell, as he did so at close range, inside a packed funeral home—had spent years defending Maxwell previously. Lee—who either never finished the book she wrote about the case or stashed a draft away somewhere that even the lawyer now handling her estate can’t find it—took copious notes, interviewed as many people as would speak to her and began considering how she could tell the complicated story of these three men.\u003c/p>\n\u003cp>Briefly, the story is this: Maxwell, an African-American man living in Alabama, was accused of killing his first wife, Mary Lou, but was exonerated. He cashed in on her life insurance and, apparently, was hooked—several other people in his circle died over the next few years, including his next-door neighbor Abram Anderson, who was married at the time to the woman who soon became Maxwell’s second wife, Dorcus; his brother, John Columbus Maxwell, known as J.C.; Dorcus herself; his nephew James Hicks; and his third (!) wife’s adopted daughter, teenager Shirley Ann Ellington. There was never enough evidence to charge him with any of the deaths after his wife’s; the copious numbers of life insurance policies he had taken out on each of them were considered circumstantial. But his community believed he was a killer, and rumors abounded that he was using voodoo to get away with it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It was at Shirley Ann’s funeral that Robert Burns had, apparently, had enough, and shot Maxwell. Lawyer Tom Radney, who had also been a prominent, socially progressive politician in Alabama, defended Maxwell in the one and only murder charge brought against him, but went on to help him get insurance money for each of the first five deaths from companies that were trying to maintain that they didn’t meet the criteria for payouts. While Radney said he wouldn’t have defended Maxwell after Shirley Ann’s death, there’s no knowing for sure—but the point is that he chose to defend Maxwell’s killer. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where Lee failed or gave up on this story, Cep took up the challenge, using Lee’s own notes as well as her own research. \u003cem>Furious Hours \u003c/em>is divided into three parts, telling the tales of the reverend, his lawyer, and the famous writer each in turn. Along the way, Cep dives into a dozen obscure topics that she manages to relate with fascinating detail and social commentary—from the racist structures of the 20th century insurance business to the stigmatization of voodoo, one of various spellings and names encompassing ancient religious and spiritual practices brought to the Americas from Africa by their enslaved practitioners who were, often and early, forbidden to practice their faith, causing it to become a secret, fiercely protected underground endeavor. \u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the last portion of the book, Cep turns to Lee’s eventual fascination with the Maxwell case, attempting, along the way, to correct many biographical mistakes that her family has had to see printed in unauthorized accounts of Lee’s life. Cep explores Lee’s complexities without flinching, recognizing them as human: On the one hand, she was eager to criticize the Southern tendency to erase or rewrite inconvenient history and the less-than-obvious racist ideologies that she saw around her, wherein people both disavowed the KKK and still favored segregation; on the other hand, she never came out in support of the civil rights movement. Another example: She helped Truman Capote with the majority of his research and note taking for \u003cem>In Cold Blood \u003c/em>and was deeply troubled by the inaccuracies and whole-cloth inventions that ended up in the book, yet still wrote a glowing profile of him prior to its release. And, of course, Cep shows Lee’s complicated relationship to writing, the success that seemed to block her forever after, and the human flaws and foibles that could never match the lionized reputation she held.\u003c/p>\n\u003cp>Each section of the book could stand on its own, making it feel, in a way, like three books in one. But, ultimately, \u003cem>Furious Hours \u003c/em>delivers a gripping, incredibly well-written portrait of not only Harper Lee, but also of mid-20th century Alabama—and a still-unanswered set of crimes to rival the serial killers made infamous in the same time period.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12935470\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Spine-1-800x42.jpg\" alt=\"\" width=\"800\" height=\"42\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-160x8.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-768x40.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-240x13.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-375x20.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Spine-1-520x27.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>Copyright 2019 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Revenge Of The She-Punks' Sets Out To Rectify A Gender Imbalance",
"headTitle": "‘Revenge Of The She-Punks’ Sets Out To Rectify A Gender Imbalance | KQED",
"content": "\u003cfigure id=\"attachment_13856924\" class=\"wp-caption alignright\" style=\"max-width: 708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856924 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Revenge-of-She-Punks.jpg\" alt=\"Cover of 'Revenge of the She Punks: A Feminist Music History from Poly Styrene to Pussy Riot' by Vivien Goldman.\" width=\"708\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Revenge-of-She-Punks.jpg 708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Revenge-of-She-Punks-160x203.jpg 160w\" sizes=\"(max-width: 708px) 100vw, 708px\">\u003cfigcaption class=\"wp-caption-text\">Cover of ‘Revenge of the She Punks: A Feminist Music History from Poly Styrene to Pussy Riot’ by Vivien Goldman.\u003c/figcaption>\u003c/figure>\n\u003cp>Punk rock might be a relatively young genre, but the legend of its history has already become more or less solidified.\u003c/p>\n\u003cp>Ask what makes punk \u003cem>punk\u003c/em> and you’ll probably get a story that starts in 1970s London, or maybe New York; you’ll get The Sex Pistols, The Ramones or The Clash; counterculture, anti-establishment and leather jackets.\u003c/p>\n\u003cp>Would you hear about bashing the wage gap? Shutting down slut-shaming? Or even Patti Smith? If not, veteran punk (and punk scholar) Vivien Goldman has news for you. In \u003cem>Revenge Of The She-Punks,\u003c/em> Goldman sets out to rectify this gendered imbalance, tracing the formation, rise and global reach of punk rock and demonstrating women’s central place within it. A self-proclaimed “feminist music history from Poly Styrene to Pussy Riot,” the book doesn’t just retell the story of punk with an added woman or two; it centers the relationships between gender and the genre, showing how, through the right lens, the story of punk is a story about women’s ingenuity and power.\u003c/p>\n\u003cp>In the manifesto that opens \u003cem>She-Punks\u003c/em> — sorry, that’s the “Womanifesto” — Goldman places the book’s origins in 1976. She was fresh out of college and working as a journalist at the British rock publication \u003cem>Sounds\u003c/em> when she saw, for the first time in her life, a woman onstage playing rock music. It led her to publish her first article about women in rock. By the ’90s, Goldman says, this type of article had become “a predictable annual staple of rock magazines,” fueled by lifeless cliches — but at the time, it was an exhilarating angle and, as this book attests, fertile ground for her lifelong dedication to the topic.\u003c/p>\n\u003cp>Since writing that 1976 article, Goldman has built a reputation as a punk lifer in every conceivable role: She’s worked as a publicist, author, editor and biographer; she’s recorded and performed her own music; she’s been a producer and a back-up singer. She’s taught at NYU’s Clive Davis Institute of Recorded Music long enough to earn the title “the punk professor.” And throughout her five decades as a punk, she has paid careful attention to female musicians and fans — “she-punks,” as she affectionately calls them — from the groundbreaking work of X-Ray Spex and The Slits through contemporary artists like Fea and Big Joanie. Goldman is driven by a true passion for the music’s transformative potential: “For this writer,” she writes in \u003cem>She-Punks\u003c/em>, “punk’s most enduring and significant achievement will always be its liberating impact on the less-privileged sex.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='pop_111468' hero='https://ww2.kqed.org/pop/wp-content/uploads/sites/12/2019/04/GettyImages-579380108-1020x708.jpg' target='_blank']\u003c/p>\n\u003cp>\u003cem>She-Punks\u003c/em>‘ chapters are divided not chronologically but by themes, and each section opens with a playlist of the songs Goldman cites throughout the chapter. In “Girly Identity,” she explores self-knowledge and self-image within punk, including the impact of ’60s and ’70s feminist movements and the riot grrrl movement. “Money” focuses on the way she-punks have contended with the pressures of global capitalism. “Love/Unlove” combines songs about love and lust with those about sexual violence, positing the latter category as the former’s opposite; it’s a vexing choice and might perhaps serve the subject matter better to analyze them separately. Finally, “Protest” considers how she-punks have pushed back against repressive political regimes, gendered expectations, class privilege and more.\u003c/p>\n\u003cp>Throughout \u003cem>She-Punks\u003c/em>, Goldman maintains a global view; while the majority of the book focuses on British and American music, it also includes punk bands from Japan, India, Colombia, Indonesia and the Czech Republic (among others). Goldman has worked extensively on reggae — she was, after all, Bob Marley’s first U.K. publicist — and is especially attuned to the impact of Jamaican music on the development of punk. And in keeping with her ethos that our traditional notions of punk can cut important voices out of the story, Goldman’s book takes a wide view of what the genre comprises and who deserves to fall under its umbrella, featuring stories about the Afropunk scene, supermodel and new wave queen Grace Jones and poet and activist Jayne Cortez.\u003c/p>\n\u003cp>[aside postID='arts_13808185' hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/09/BikiniKill.SR_-960x373.jpg' target='_blank']\u003c/p>\n\u003cp>Goldman’s tone throughout \u003cem>She-Punks\u003c/em> mixes her years of research with larger cultural observations and her own personal history (she’s thrift shopping with Patti Smith in one chapter; attending Ornette Coleman’s birthday party in another). The approach is both disarming and purposeful — supporting the feminist notion that women’s lived experiences constitute a valid form of knowledge — yet there are moments when her more casual word choice can be distracting (her claim that punk singer Poly Styrene’s biracial identity makes her representative of a “future breed,” for example, or her passing reference to homosexuality as a “subculture,” are disappointing).\u003c/p>\n\u003cp>There’s a thread of messiness that runs throughout \u003cem>She-Punks\u003c/em>: songs that could easily slip from one of the book’s chapter-defining themes to another; thoughts on race and LGBTQ identity that deserve to be more thoroughly developed. But attempting to encompass the entirety of this broad view of punk — and the diversity of women’s lives — in one volume is an ambitious mission. And for it to succeed, that messiness is inevitable; it only further underscores Goldman’s central argument that women’s contributions to punk are too important and varied to fit neatly into a clichéd article or two about “women who rock”; that womanhood is too complex and rich to be so easily categorized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The reality of women’s lives, Goldman and her playlists argue, can be brutal, rule-breaking and paradigm-redefining — and, after all, what’s more punk than that?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13856924\" class=\"wp-caption alignright\" style=\"max-width: 708px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13856924 size-full\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/Revenge-of-She-Punks.jpg\" alt=\"Cover of 'Revenge of the She Punks: A Feminist Music History from Poly Styrene to Pussy Riot' by Vivien Goldman.\" width=\"708\" height=\"900\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Revenge-of-She-Punks.jpg 708w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/Revenge-of-She-Punks-160x203.jpg 160w\" sizes=\"(max-width: 708px) 100vw, 708px\">\u003cfigcaption class=\"wp-caption-text\">Cover of ‘Revenge of the She Punks: A Feminist Music History from Poly Styrene to Pussy Riot’ by Vivien Goldman.\u003c/figcaption>\u003c/figure>\n\u003cp>Punk rock might be a relatively young genre, but the legend of its history has already become more or less solidified.\u003c/p>\n\u003cp>Ask what makes punk \u003cem>punk\u003c/em> and you’ll probably get a story that starts in 1970s London, or maybe New York; you’ll get The Sex Pistols, The Ramones or The Clash; counterculture, anti-establishment and leather jackets.\u003c/p>\n\u003cp>Would you hear about bashing the wage gap? Shutting down slut-shaming? Or even Patti Smith? If not, veteran punk (and punk scholar) Vivien Goldman has news for you. In \u003cem>Revenge Of The She-Punks,\u003c/em> Goldman sets out to rectify this gendered imbalance, tracing the formation, rise and global reach of punk rock and demonstrating women’s central place within it. A self-proclaimed “feminist music history from Poly Styrene to Pussy Riot,” the book doesn’t just retell the story of punk with an added woman or two; it centers the relationships between gender and the genre, showing how, through the right lens, the story of punk is a story about women’s ingenuity and power.\u003c/p>\n\u003cp>In the manifesto that opens \u003cem>She-Punks\u003c/em> — sorry, that’s the “Womanifesto” — Goldman places the book’s origins in 1976. She was fresh out of college and working as a journalist at the British rock publication \u003cem>Sounds\u003c/em> when she saw, for the first time in her life, a woman onstage playing rock music. It led her to publish her first article about women in rock. By the ’90s, Goldman says, this type of article had become “a predictable annual staple of rock magazines,” fueled by lifeless cliches — but at the time, it was an exhilarating angle and, as this book attests, fertile ground for her lifelong dedication to the topic.\u003c/p>\n\u003cp>Since writing that 1976 article, Goldman has built a reputation as a punk lifer in every conceivable role: She’s worked as a publicist, author, editor and biographer; she’s recorded and performed her own music; she’s been a producer and a back-up singer. She’s taught at NYU’s Clive Davis Institute of Recorded Music long enough to earn the title “the punk professor.” And throughout her five decades as a punk, she has paid careful attention to female musicians and fans — “she-punks,” as she affectionately calls them — from the groundbreaking work of X-Ray Spex and The Slits through contemporary artists like Fea and Big Joanie. Goldman is driven by a true passion for the music’s transformative potential: “For this writer,” she writes in \u003cem>She-Punks\u003c/em>, “punk’s most enduring and significant achievement will always be its liberating impact on the less-privileged sex.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>She-Punks\u003c/em>‘ chapters are divided not chronologically but by themes, and each section opens with a playlist of the songs Goldman cites throughout the chapter. In “Girly Identity,” she explores self-knowledge and self-image within punk, including the impact of ’60s and ’70s feminist movements and the riot grrrl movement. “Money” focuses on the way she-punks have contended with the pressures of global capitalism. “Love/Unlove” combines songs about love and lust with those about sexual violence, positing the latter category as the former’s opposite; it’s a vexing choice and might perhaps serve the subject matter better to analyze them separately. Finally, “Protest” considers how she-punks have pushed back against repressive political regimes, gendered expectations, class privilege and more.\u003c/p>\n\u003cp>Throughout \u003cem>She-Punks\u003c/em>, Goldman maintains a global view; while the majority of the book focuses on British and American music, it also includes punk bands from Japan, India, Colombia, Indonesia and the Czech Republic (among others). Goldman has worked extensively on reggae — she was, after all, Bob Marley’s first U.K. publicist — and is especially attuned to the impact of Jamaican music on the development of punk. And in keeping with her ethos that our traditional notions of punk can cut important voices out of the story, Goldman’s book takes a wide view of what the genre comprises and who deserves to fall under its umbrella, featuring stories about the Afropunk scene, supermodel and new wave queen Grace Jones and poet and activist Jayne Cortez.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Goldman’s tone throughout \u003cem>She-Punks\u003c/em> mixes her years of research with larger cultural observations and her own personal history (she’s thrift shopping with Patti Smith in one chapter; attending Ornette Coleman’s birthday party in another). The approach is both disarming and purposeful — supporting the feminist notion that women’s lived experiences constitute a valid form of knowledge — yet there are moments when her more casual word choice can be distracting (her claim that punk singer Poly Styrene’s biracial identity makes her representative of a “future breed,” for example, or her passing reference to homosexuality as a “subculture,” are disappointing).\u003c/p>\n\u003cp>There’s a thread of messiness that runs throughout \u003cem>She-Punks\u003c/em>: songs that could easily slip from one of the book’s chapter-defining themes to another; thoughts on race and LGBTQ identity that deserve to be more thoroughly developed. But attempting to encompass the entirety of this broad view of punk — and the diversity of women’s lives — in one volume is an ambitious mission. And for it to succeed, that messiness is inevitable; it only further underscores Goldman’s central argument that women’s contributions to punk are too important and varied to fit neatly into a clichéd article or two about “women who rock”; that womanhood is too complex and rich to be so easily categorized.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The reality of women’s lives, Goldman and her playlists argue, can be brutal, rule-breaking and paradigm-redefining — and, after all, what’s more punk than that?\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"radiolab": {
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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