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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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"title": "Ani DiFranco Relives Her Indie Rock Rise: 'I Wanted A Different Kind Of Power'",
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"content": "\u003cfigure id=\"attachment_13856809\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856809\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/05/nowwallsani-800x1208.jpg\" alt=\"Cover of Ani DiFranco's new memoir 'No Walls and the Recurring Dream.'\" width=\"800\" height=\"1208\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-768x1159.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-1020x1540.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani-795x1200.jpg 795w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/05/nowwallsani.jpg 1357w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover of Ani DiFranco’s new memoir ‘No Walls and the Recurring Dream.’ \u003ccite>(Courtesy of the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/14966211/ani-difranco\">Ani DiFranco\u003c/a> grew up in a house with no walls. “It was like a brick carriage house there. Inside there was just one room on the first floor and one room on the second floor. So it was an intimate house for a non-intimate family.”\u003c/p>\n\u003cp>DiFranco’s deep craving for intimacy led her to writing music. And the things DiFranco wanted to write were exactly what a generation of women coming of age in the ’90s wanted to hear. DiFranco relives those early years in her new memoir, \u003cem>No Walls and the Recurring Dream.\u003c/em>\u003c/p>\n\u003cp>During her adolescent years, DiFranco remembers searching for connection and intimacy she never felt at home. “As a teenager, I went out into the world armed with my guitar and my little songs and my aggressive eye contact and I was looking to connect with somebody else deeply,” she says.\u003c/p>\n\u003cp>At one point in the memoir, DiFranco reminisces on shaving her head at 18. “It’s funny to think back,” she says. “I shaved it all off because I didn’t want to be a sex object and there I was playing in bars you know mostly surrounded by men with drinks in their hands. And I was getting attention for not the right reasons. I wanted a different kind of power, I think.”\u003c/p>\n\u003cp>DiFranco remembers the power of shaving her head was polarizing. The catcalling from men stopped, but so did casual pleasantries with strangers. The musician recalls people thinking she was a skinhead or punk ready to vandalize property.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“People were visibly intimidated,” DiFranco says, “which, again: Here’s a girl moving through the world craving eye contact, craving human connection, even fleeting connection [from] passersby, you know. And so, the fact that people no longer even would look me in the eye … It really weighed on me and it started to accumulate in my chest. Even people who are politely nervous, just eventually enraged me.”\u003c/p>\n\u003cp>DiFranco poured that rage into her songwriting. As she wrote in her memoir, DiFranco struggled with making music and once it was made, she hated the idea of selling it. She remembers feeling repulsed by the idea of having to sell her tapes.\u003c/p>\n\u003cp>“I guess people were right in that I was kind of a punk kid. I was anti-everything, I was anti-capitalist,” DiFranco says.\u003c/p>\n\u003cp>Though she goes through many personal and professional trials in the book, DiFranco says her sheer determination always outweighed her self-doubt. “Youth is a powerful drug, you know? I was on a mission. So, yeah, I wasn’t gonna let anything stop me.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ani DiFranco will discuss her new memoir on Tuesday, May 14 at First Church Berkeley as part of Berkeley Arts & Letters. Details \u003ca href=\"https://nowalls.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\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>\u003c/p>\n\u003cp>“People were visibly intimidated,” DiFranco says, “which, again: Here’s a girl moving through the world craving eye contact, craving human connection, even fleeting connection [from] passersby, you know. And so, the fact that people no longer even would look me in the eye … It really weighed on me and it started to accumulate in my chest. Even people who are politely nervous, just eventually enraged me.”\u003c/p>\n\u003cp>DiFranco poured that rage into her songwriting. As she wrote in her memoir, DiFranco struggled with making music and once it was made, she hated the idea of selling it. She remembers feeling repulsed by the idea of having to sell her tapes.\u003c/p>\n\u003cp>“I guess people were right in that I was kind of a punk kid. I was anti-everything, I was anti-capitalist,” DiFranco says.\u003c/p>\n\u003cp>Though she goes through many personal and professional trials in the book, DiFranco says her sheer determination always outweighed her self-doubt. “Youth is a powerful drug, you know? I was on a mission. So, yeah, I wasn’t gonna let anything stop me.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Ani DiFranco will discuss her new memoir on Tuesday, May 14 at First Church Berkeley as part of Berkeley Arts & Letters. Details \u003ca href=\"https://nowalls.brownpapertickets.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\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>Comedian Dave Chappelle will be awarded the Mark Twain Prize for American Humor this year, the John F. Kennedy Center for the Performing Arts has announced.\u003c/p>\n\u003cp>The stand-up comic, actor, producer and director joins a prestigious group of comedians to receive the award. Among them are Carol Burnett, Whoopi Goldberg, Bob Newhart and Richard Pryor — who won the very first Twain Prize in 1998.\u003c/p>\n\u003cp>“Dave is one of the truly original voices in comedy — the definition of a creative artist,” Matthew Winer, director of comedy and special programming at the Kennedy Center, said to NPR. “He’s a modern day sociologist, skewering stereotypes, defying boundaries and showing us that laughter can be a way to contextualize issues that we struggle to understand.”\u003c/p>\n\u003cp>“Dave is the embodiment of Mark Twain’s observation that ‘against the assault of humor, nothing can stand,’ ” Deborah F. Rutter, president of the Kennedy Center, said in a prepared statement. “For three decades, Dave has challenged us to see hot-button issues from his entirely original yet relatable perspective.”\u003c/p>\n\u003cp>The prize will be awarded at a Kennedy Center gala on Oct. 27, 2019, and a TV special of the evening will be broadcast on PBS stations Jan. 6, 2020.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Edgy, politically incorrect and occasionally scatological, Chappelle’s career skyrocketed with three seasons of \u003cem>Chappelle’s Show\u003c/em> (2003-2006), one of the most popular comedy shows on TV. Co-created \u003ca href=\"https://www.npr.org/2017/02/23/516739139/chappelles-show-co-creator-moves-into-the-limelight-with-3-mics\">with Neal Brennan\u003c/a>, the sketches on Comedy Central spared no one.\u003c/p>\n\u003cp>Chappelle’s impersonations of \u003ca href=\"http://www.cc.com/video-clips/e748yj/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---prince---uncensored\">Prince\u003c/a>, \u003ca href=\"http://www.cc.com/video-clips/iuegla/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---rick-james-pt--1---uncensored\">Rick James\u003c/a> and \u003ca href=\"http://www.cc.com/video-clips/m7u3o1/chappelle-s-show-a-moment-in-the-life-of-lil-jon---injury\">Lil Jon\u003c/a> are now legendary. In a sketch that stretched the imagination and boundaries of racial satire, Chappelle \u003ca href=\"https://www.youtube.com/watch?v=JBC-9k3y1ew\">played Clayton Bigsby\u003c/a>, a blind white supremacist who doesn’t know he’s black.\u003c/p>\n\u003cp>It was “revolutionary,” must-see TV, \u003ca href=\"http://grantland.com/features/a-battle-best-chappelle-show-sketch-ever/\">wrote Rembert Browne\u003c/a>, who was a teenager when \u003cem>Chappelle’s Show\u003c/em> aired: “It was unacceptable to show up to high school the next day without knowing all the material from the previous night’s episode.”\u003c/p>\n\u003cp>\u003cem>Chappelle’s Show\u003c/em> earned three Emmy nominations and became a bestseller on DVD. But after signing a reported $50 million deal for Seasons 3 and 4, Chappelle famously and abruptly disappeared from entertainment altogether. He spent two weeks in South Africa and then moved to Yellow Springs, Ohio, with his family.\u003c/p>\n\u003cp>“I felt in a lot of instances I was deliberately being put through stress because when you’re a guy who generates money, people have a vested interest in controlling you,” \u003ca href=\"https://www.today.com/popculture/chappelle-tells-oprah-i-wasn-t-crazy-wbna11163322\">he told Oprah Winfrey\u003c/a>.\u003c/p>\n\u003cp>Chappelle eventually returned to stand-up. He signed a multimillion-dollar deal with Netflix. Last year, two of his Netflix comedy specials — \u003cem>Equanimity\u003c/em> and \u003cem>The Bird Revelation\u003c/em> — won a Grammy Award (packaged together) for best comedy album. \u003cem>Equanimity \u003c/em>also won an Emmy for outstanding variety special.\u003c/p>\n\u003cp>His latest specials address hot-button issues such as race, class, gender, President Trump and the #MeToo movement. Chappelle compared the current women’s movement to African Americans’ long struggle for equal rights, and even suggests South Africa’s Truth and Reconciliation Commission as a model for inspiration.\u003c/p>\n\u003cp>Not all of the jokes in his recent specials have landed well with all audiences. Critics have repeatedly objected to his \u003ca href=\"https://medium.com/@tylergfoster/i-wrote-dave-chappelle-a-letter-about-his-terrible-transgender-jokes-55478970b9f\">jokes about people who are transgender\u003c/a> and the \u003ca href=\"https://www.nytimes.com/2018/01/02/arts/television/dave-chappelle-netflix-special.html\">#MeToo movement\u003c/a>.\u003c/p>\n\u003cp>Setting aside his fondness for dirty and transgressive material, Chappelle is socially conscious to his core. His father was a professor at Antioch College. His mother taught at Howard University. For high school, Chappelle attended the Duke Ellington School of the Arts in Washington.\u003c/p>\n\u003cp>“Dave is a hometown hero here in Washington, D.C., where he grew up,” Rutter also said. “We’re so looking forward to welcoming him back home [at the Kennedy Center].”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/11/13/501883403/snl-reflects-a-nations-emotional-tone-in-post-election-episode\">His appearance on\u003c/a> \u003cem>Saturday Night Live\u003c/em>, days after Donald Trump won the 2016 presidential election, also received an Emmy. His opening monologue took jabs at the president-elect, and skewered black and white stereotypes, before turning more serious at the end, as he reflected on a BET party he’d attended at the White House during the Obama administration.\u003c/p>\n\u003cp>“So, in that spirit, I’m wishing Donald Trump luck,” Chappelle said. “And I’m going to give him a chance, and we, the historically disenfranchised, demand that he give us one too.” He has, however, \u003ca href=\"https://thegrapevine.theroot.com/dave-chappelle-apologizes-for-snl-monologue-saying-to-1795253351\">since apologized for that remark.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/–IS0XiNdpk\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dave+Chappelle+To+Be+Awarded+Mark+Twain+Prize+For+American+Humor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Comedian Dave Chappelle will be awarded the Mark Twain Prize for American Humor this year, the John F. Kennedy Center for the Performing Arts has announced.\u003c/p>\n\u003cp>The stand-up comic, actor, producer and director joins a prestigious group of comedians to receive the award. Among them are Carol Burnett, Whoopi Goldberg, Bob Newhart and Richard Pryor — who won the very first Twain Prize in 1998.\u003c/p>\n\u003cp>“Dave is one of the truly original voices in comedy — the definition of a creative artist,” Matthew Winer, director of comedy and special programming at the Kennedy Center, said to NPR. “He’s a modern day sociologist, skewering stereotypes, defying boundaries and showing us that laughter can be a way to contextualize issues that we struggle to understand.”\u003c/p>\n\u003cp>“Dave is the embodiment of Mark Twain’s observation that ‘against the assault of humor, nothing can stand,’ ” Deborah F. Rutter, president of the Kennedy Center, said in a prepared statement. “For three decades, Dave has challenged us to see hot-button issues from his entirely original yet relatable perspective.”\u003c/p>\n\u003cp>The prize will be awarded at a Kennedy Center gala on Oct. 27, 2019, and a TV special of the evening will be broadcast on PBS stations Jan. 6, 2020.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Edgy, politically incorrect and occasionally scatological, Chappelle’s career skyrocketed with three seasons of \u003cem>Chappelle’s Show\u003c/em> (2003-2006), one of the most popular comedy shows on TV. Co-created \u003ca href=\"https://www.npr.org/2017/02/23/516739139/chappelles-show-co-creator-moves-into-the-limelight-with-3-mics\">with Neal Brennan\u003c/a>, the sketches on Comedy Central spared no one.\u003c/p>\n\u003cp>Chappelle’s impersonations of \u003ca href=\"http://www.cc.com/video-clips/e748yj/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---prince---uncensored\">Prince\u003c/a>, \u003ca href=\"http://www.cc.com/video-clips/iuegla/chappelle-s-show-charlie-murphy-s-true-hollywood-stories---rick-james-pt--1---uncensored\">Rick James\u003c/a> and \u003ca href=\"http://www.cc.com/video-clips/m7u3o1/chappelle-s-show-a-moment-in-the-life-of-lil-jon---injury\">Lil Jon\u003c/a> are now legendary. In a sketch that stretched the imagination and boundaries of racial satire, Chappelle \u003ca href=\"https://www.youtube.com/watch?v=JBC-9k3y1ew\">played Clayton Bigsby\u003c/a>, a blind white supremacist who doesn’t know he’s black.\u003c/p>\n\u003cp>It was “revolutionary,” must-see TV, \u003ca href=\"http://grantland.com/features/a-battle-best-chappelle-show-sketch-ever/\">wrote Rembert Browne\u003c/a>, who was a teenager when \u003cem>Chappelle’s Show\u003c/em> aired: “It was unacceptable to show up to high school the next day without knowing all the material from the previous night’s episode.”\u003c/p>\n\u003cp>\u003cem>Chappelle’s Show\u003c/em> earned three Emmy nominations and became a bestseller on DVD. But after signing a reported $50 million deal for Seasons 3 and 4, Chappelle famously and abruptly disappeared from entertainment altogether. He spent two weeks in South Africa and then moved to Yellow Springs, Ohio, with his family.\u003c/p>\n\u003cp>“I felt in a lot of instances I was deliberately being put through stress because when you’re a guy who generates money, people have a vested interest in controlling you,” \u003ca href=\"https://www.today.com/popculture/chappelle-tells-oprah-i-wasn-t-crazy-wbna11163322\">he told Oprah Winfrey\u003c/a>.\u003c/p>\n\u003cp>Chappelle eventually returned to stand-up. He signed a multimillion-dollar deal with Netflix. Last year, two of his Netflix comedy specials — \u003cem>Equanimity\u003c/em> and \u003cem>The Bird Revelation\u003c/em> — won a Grammy Award (packaged together) for best comedy album. \u003cem>Equanimity \u003c/em>also won an Emmy for outstanding variety special.\u003c/p>\n\u003cp>His latest specials address hot-button issues such as race, class, gender, President Trump and the #MeToo movement. Chappelle compared the current women’s movement to African Americans’ long struggle for equal rights, and even suggests South Africa’s Truth and Reconciliation Commission as a model for inspiration.\u003c/p>\n\u003cp>Not all of the jokes in his recent specials have landed well with all audiences. Critics have repeatedly objected to his \u003ca href=\"https://medium.com/@tylergfoster/i-wrote-dave-chappelle-a-letter-about-his-terrible-transgender-jokes-55478970b9f\">jokes about people who are transgender\u003c/a> and the \u003ca href=\"https://www.nytimes.com/2018/01/02/arts/television/dave-chappelle-netflix-special.html\">#MeToo movement\u003c/a>.\u003c/p>\n\u003cp>Setting aside his fondness for dirty and transgressive material, Chappelle is socially conscious to his core. His father was a professor at Antioch College. His mother taught at Howard University. For high school, Chappelle attended the Duke Ellington School of the Arts in Washington.\u003c/p>\n\u003cp>“Dave is a hometown hero here in Washington, D.C., where he grew up,” Rutter also said. “We’re so looking forward to welcoming him back home [at the Kennedy Center].”\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/11/13/501883403/snl-reflects-a-nations-emotional-tone-in-post-election-episode\">His appearance on\u003c/a> \u003cem>Saturday Night Live\u003c/em>, days after Donald Trump won the 2016 presidential election, also received an Emmy. His opening monologue took jabs at the president-elect, and skewered black and white stereotypes, before turning more serious at the end, as he reflected on a BET party he’d attended at the White House during the Obama administration.\u003c/p>\n\u003cp>“So, in that spirit, I’m wishing Donald Trump luck,” Chappelle said. “And I’m going to give him a chance, and we, the historically disenfranchised, demand that he give us one too.” He has, however, \u003ca href=\"https://thegrapevine.theroot.com/dave-chappelle-apologizes-for-snl-monologue-saying-to-1795253351\">since apologized for that remark.\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>null\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Dave+Chappelle+To+Be+Awarded+Mark+Twain+Prize+For+American+Humor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "John Singleton's Groundbreaking Legacy, and How 'Boyz N the Hood' Changed the Game",
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"content": "\u003cp>Less than two weeks after John Singleton suffered a massive stroke, the trailblazing filmmaker has died in Los Angeles at the age of 51. The director, who made history with 1991’s \u003cem>Boyz n the Hood\u003c/em> as the youngest person and first African American ever nominated for a best director Oscar, died Monday at Cedars-Sinai Hospital after his family took him off life support.\u003c/p>\n\u003cp>“This was an agonizing decision, one that our family made, over a number of days, with the careful counsel of John’s doctors,” the family said in a statement released to NPR, adding that he “passed away peacefully, surrounded by his family and friends.”\u003c/p>\n\u003cp>“John Singleton is a prolific, ground-breaking director,” they said, “who changed the game and opened doors in Hollywood, a world that was just a few miles away, yet worlds away, from the neighborhood in which he grew up.”\u003c/p>\n\u003cp>[aside postID='arts_13856230' *hero='GettyImages-84985966_1920_JohnS-1020x834.jpg'* target='_blank']\u003c/p>\n\u003cp>Singleton wasted little time leaving his mark on the film industry. At just 23 years old, fresh out of the University of Southern California’s film school, the young filmmaker launched into the project that would become his signature achievement: \u003cem>Boyz n the Hood\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film was an ode to the neighborhood where he grew up, South Central LA, an area notorious for its pervasive poverty and gang violence. The film’s stars grapple with that environment onscreen, trying to make sense of the community tensions that helped catalyze the riots that \u003ca href=\"https://www.npr.org/series/525773617/the-los-angeles-riots-25-years-on\">erupted in LA\u003c/a> the following year.\u003c/p>\n\u003cfigure id=\"attachment_13856251\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856251\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ap_9107130115_custom-69a3f7e58140f3986a7a6280919e812c9bb513ee-800x1186.jpg\" alt=\"John Singleton, seen in Los Angeles in July 1991, not long after the release of Boyz n the Hood. The movie earned the young filmmaker two Oscar nominations.\" width=\"800\" height=\"1186\">\u003cfigcaption class=\"wp-caption-text\">John Singleton, seen in Los Angeles in July 1991, not long after the release of Boyz n the Hood. The movie earned the young filmmaker two Oscar nominations. \u003ccite>(Bob Galbraith/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those characters is Doughboy, played by rapper Ice Cube. Doughboy’s half-brother is gunned down — a fate that Singleton himself feared while growing up, as he told NPR around the time the film was released.\u003c/p>\n\u003cp>But Singleton, the son of a pharmaceutical sales rep and a mortgage broker, also explained that he probably shared more in common with Tre Styles — played by a young Cuba Gooding Jr. Like the character, his mother sent him to live with his father to keep him out of trouble.\u003c/p>\n\u003cp>“My father, you know, just did what he could do to set me straight, and you know, because it’s only so far you can go, you know, with your mom. Moms just like will rationalize what she [asks] — but Pops will say, ‘No, you do this because I said do this,’ you know?” he said in 1991. “And a lot of my friends didn’t have that.”\u003c/p>\n\u003cp>What they had instead, Singleton added, was a model rooted in the hopelessness of life in the ‘hood.\u003c/p>\n\u003cp>“It’s like: ‘My brother went to jail. My daddy went to jail. I know I’m going to go to jail.’ You know what I’m saying? That’s the mentality,” he said. “It’s like it’s a given. It’s like there’s no future.”\u003c/p>\n\u003cp>The film earned him Oscar nods for director and screenplay. Singleton was the first African American to be nominated for directing, and at just 24, he was the youngest nominee in that category’s history — a record that stands today.\u003c/p>\n\u003cp>https://www.instagram.com/p/Bws8Rssl9Ex/\u003c/p>\n\u003cp>In 2002, more than a decade after the film’s release, Singleton reflected on the sincerity of his project — and how that differed from some of the imitators born of its success — on NPR’s \u003cem>The Tavis Smiley Show\u003c/em>.\u003c/p>\n\u003cp>“If you see the films I make and if they are in an urban setting, I basically have an agenda to not only entertain, but for you to feel something and to say something. Because this is where I’m from, you know what I mean?” he explained. “I’m making you feel something for this environment. I’m not exploiting it.”\u003c/p>\n\u003cp>His seminal first film was far from his last.\u003c/p>\n\u003cp>Among other films, Singleton went on to direct 1993’s \u003cem>Poetic Justice,\u003c/em> starring \u003ca href=\"https://www.npr.org/artists/15817903/janet-jackson\">Janet Jackson\u003c/a> and a 22-year-old \u003ca href=\"https://www.npr.org/artists/88479205/tupac-shakur\">Tupac Shakur\u003c/a>, and the 2000 blockbuster remake of \u003cem>Shaft\u003c/em>. More recently, he shifted his attention to the small screen, directing episodes of \u003ca href=\"https://www.npr.org/tags/442559771/empire\">Empire \u003c/a>and \u003ca href=\"https://www.npr.org/2016/02/01/465136955/the-people-v-o-j-simpson-bursts-with-sharp-scenes-powerful-performances\">The People v. O.J. Simpson: American Crime Story\u003c/a>. He also co-created \u003ca href=\"https://www.npr.org/2017/07/02/535281096/-snowfall-fx-s-new-drama-about-the-crack-epidemic-in-los-angeles\">Snowfall\u003c/a>, an FX drama about the crack cocaine epidemic that returned Singleton to his roots in South Central LA.\u003c/p>\n\u003cp>Throughout, he continued to challenge the film industry to tell the kinds of stories — and see the kinds of faces — he never had the opportunity to see when he was a film student. And he didn’t forget to enjoy himself while he was at it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve been in this business for over 26 years, and I haven’t lost my soul.” Singleton \u003ca href=\"https://interviews.televisionacademy.com/interviews/john-singleton?clip=88433#about\">told the Television Academy Foundation\u003c/a> in 2016. “There are a whole lot of people who are very, very successful that they don’t even know which way is up anymore, right? And I feel really cool that I’ve had my highs and my lows and stuff — and I’m happy, you know what I mean?”\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>Less than two weeks after John Singleton suffered a massive stroke, the trailblazing filmmaker has died in Los Angeles at the age of 51. The director, who made history with 1991’s \u003cem>Boyz n the Hood\u003c/em> as the youngest person and first African American ever nominated for a best director Oscar, died Monday at Cedars-Sinai Hospital after his family took him off life support.\u003c/p>\n\u003cp>“This was an agonizing decision, one that our family made, over a number of days, with the careful counsel of John’s doctors,” the family said in a statement released to NPR, adding that he “passed away peacefully, surrounded by his family and friends.”\u003c/p>\n\u003cp>“John Singleton is a prolific, ground-breaking director,” they said, “who changed the game and opened doors in Hollywood, a world that was just a few miles away, yet worlds away, from the neighborhood in which he grew up.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Singleton wasted little time leaving his mark on the film industry. At just 23 years old, fresh out of the University of Southern California’s film school, the young filmmaker launched into the project that would become his signature achievement: \u003cem>Boyz n the Hood\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film was an ode to the neighborhood where he grew up, South Central LA, an area notorious for its pervasive poverty and gang violence. The film’s stars grapple with that environment onscreen, trying to make sense of the community tensions that helped catalyze the riots that \u003ca href=\"https://www.npr.org/series/525773617/the-los-angeles-riots-25-years-on\">erupted in LA\u003c/a> the following year.\u003c/p>\n\u003cfigure id=\"attachment_13856251\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856251\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/ap_9107130115_custom-69a3f7e58140f3986a7a6280919e812c9bb513ee-800x1186.jpg\" alt=\"John Singleton, seen in Los Angeles in July 1991, not long after the release of Boyz n the Hood. The movie earned the young filmmaker two Oscar nominations.\" width=\"800\" height=\"1186\">\u003cfigcaption class=\"wp-caption-text\">John Singleton, seen in Los Angeles in July 1991, not long after the release of Boyz n the Hood. The movie earned the young filmmaker two Oscar nominations. \u003ccite>(Bob Galbraith/AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Among those characters is Doughboy, played by rapper Ice Cube. Doughboy’s half-brother is gunned down — a fate that Singleton himself feared while growing up, as he told NPR around the time the film was released.\u003c/p>\n\u003cp>But Singleton, the son of a pharmaceutical sales rep and a mortgage broker, also explained that he probably shared more in common with Tre Styles — played by a young Cuba Gooding Jr. Like the character, his mother sent him to live with his father to keep him out of trouble.\u003c/p>\n\u003cp>“My father, you know, just did what he could do to set me straight, and you know, because it’s only so far you can go, you know, with your mom. Moms just like will rationalize what she [asks] — but Pops will say, ‘No, you do this because I said do this,’ you know?” he said in 1991. “And a lot of my friends didn’t have that.”\u003c/p>\n\u003cp>What they had instead, Singleton added, was a model rooted in the hopelessness of life in the ‘hood.\u003c/p>\n\u003cp>“It’s like: ‘My brother went to jail. My daddy went to jail. I know I’m going to go to jail.’ You know what I’m saying? That’s the mentality,” he said. “It’s like it’s a given. It’s like there’s no future.”\u003c/p>\n\u003cp>The film earned him Oscar nods for director and screenplay. Singleton was the first African American to be nominated for directing, and at just 24, he was the youngest nominee in that category’s history — a record that stands today.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2002, more than a decade after the film’s release, Singleton reflected on the sincerity of his project — and how that differed from some of the imitators born of its success — on NPR’s \u003cem>The Tavis Smiley Show\u003c/em>.\u003c/p>\n\u003cp>“If you see the films I make and if they are in an urban setting, I basically have an agenda to not only entertain, but for you to feel something and to say something. Because this is where I’m from, you know what I mean?” he explained. “I’m making you feel something for this environment. I’m not exploiting it.”\u003c/p>\n\u003cp>His seminal first film was far from his last.\u003c/p>\n\u003cp>Among other films, Singleton went on to direct 1993’s \u003cem>Poetic Justice,\u003c/em> starring \u003ca href=\"https://www.npr.org/artists/15817903/janet-jackson\">Janet Jackson\u003c/a> and a 22-year-old \u003ca href=\"https://www.npr.org/artists/88479205/tupac-shakur\">Tupac Shakur\u003c/a>, and the 2000 blockbuster remake of \u003cem>Shaft\u003c/em>. More recently, he shifted his attention to the small screen, directing episodes of \u003ca href=\"https://www.npr.org/tags/442559771/empire\">Empire \u003c/a>and \u003ca href=\"https://www.npr.org/2016/02/01/465136955/the-people-v-o-j-simpson-bursts-with-sharp-scenes-powerful-performances\">The People v. O.J. Simpson: American Crime Story\u003c/a>. He also co-created \u003ca href=\"https://www.npr.org/2017/07/02/535281096/-snowfall-fx-s-new-drama-about-the-crack-epidemic-in-los-angeles\">Snowfall\u003c/a>, an FX drama about the crack cocaine epidemic that returned Singleton to his roots in South Central LA.\u003c/p>\n\u003cp>Throughout, he continued to challenge the film industry to tell the kinds of stories — and see the kinds of faces — he never had the opportunity to see when he was a film student. And he didn’t forget to enjoy himself while he was at it.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I’ve been in this business for over 26 years, and I haven’t lost my soul.” Singleton \u003ca href=\"https://interviews.televisionacademy.com/interviews/john-singleton?clip=88433#about\">told the Television Academy Foundation\u003c/a> in 2016. “There are a whole lot of people who are very, very successful that they don’t even know which way is up anymore, right? And I feel really cool that I’ve had my highs and my lows and stuff — and I’m happy, you know what I mean?”\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>Woodstock 50, a wide-ranging festival that had hoped to bring the spirit of 1969 to a new generation this August, has been canceled. Tim O’Hearn, the administrator for Schuyler County, New York, where the event was to take place, confirmed the cancellation to NPR; he said he had been contacted by Dentsu Aegis Network, which had been bankrolling the planned festival.\u003c/p>\n\u003cp>The festival, which was supposed to run Aug. 16-18 in Watkins Glen, N.Y. — a different location than its namesake event — boasted an impressive \u003ca href=\"https://www.woodstock.com/\">lineup\u003c/a> that was meant to bridge multiple generations and musical genres, from Santana, David Crosby and John Fogerty to Jay-Z, Chance The Rapper and Miley Cyrus. One of the \u003ca href=\"https://www.npr.org/2019/01/09/683575133/woodstock-will-return-this-summer-for-its-50th-anniversary\">primary organizers\u003c/a> of Woodstock 50, promoter Michael Lang, was also a co-founder of the original Woodstock event in 1969.\u003c/p>\n\u003cp>On Monday morning, \u003cem>Billboard \u003c/em>\u003ca href=\"https://www.billboard.com/articles/news/festivals/8509091/woodstock-50-festival-cancelled\">published\u003c/a> a statement from Amplifi Live, a Dentsu Aegis division, that read in part: “Despite our tremendous investment of time, effort and commitment, we don’t believe the production of the festival can be executed as an event worthy of the Woodstock Brand name while also ensuring the health and safety of the artists, partners and attendees. As a result and after careful consideration, Dentsu Aegis Network’s Amplifi Live, a partner of Woodstock 50, has decided to cancel the festival. As difficult as it is, we believe this is the most prudent decision for all parties involved.”\u003c/p>\n\u003cp>Since the 50th anniversary event was announced in January, there have been multiple signs that the festival’s organizers did not have matters in order. Originally, organizers announced that tickets would initially go on sale in late January, and that the artist roster would be released in February. The festival missed both of those dates, as well as a plan to release tickets for sale on April 22. Tickets were still not on sale as of Monday afternoon.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em> also reported on Monday that the Woodstock 50 team reached out last week to both Live Nation and AEG — two giants in the touring industry — to broach a $20 million investment in the festival, but both companies declined. O’Hearn told NPR that while it would not be impossible for the festival to be resuscitated in time for the planned August dates, it would be very difficult.\u003c/p>\n\u003cp>Last week, \u003cem>Variety\u003c/em> reported the delay in ticket sales were due to a need to “\u003ca href=\"https://variety.com/2019/music/news/woodstock-50-promoters-issue-statement-on-ticket-on-sale-delay-1203197745/\">refine logistical plans\u003c/a>,” according to the event’s organizers. There have also been \u003ca href=\"https://www.vulture.com/2019/04/woodstock-50-canceled-by-investors-festival-denies-it.html\">media reports\u003c/a> that the festival organizers had trouble dealing with issues related to audience capacity and sanitation, which Lang dismissed as “rumors” to \u003cem>Variety\u003c/em>.\u003c/p>\n\u003cp>Neither Woodstock 50 nor Dentsu Aegis returned NPR’s requests for comments, but a Woodstock 50 representative told Vulture on Monday, “Woodstock 50 is currently on a call with Dentsu and Woodstock 50 vehemently denies the cancellation of the festival and will be seeking legal remedy to the comments.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Woodstock 50, a wide-ranging festival that had hoped to bring the spirit of 1969 to a new generation this August, has been canceled. Tim O’Hearn, the administrator for Schuyler County, New York, where the event was to take place, confirmed the cancellation to NPR; he said he had been contacted by Dentsu Aegis Network, which had been bankrolling the planned festival.\u003c/p>\n\u003cp>The festival, which was supposed to run Aug. 16-18 in Watkins Glen, N.Y. — a different location than its namesake event — boasted an impressive \u003ca href=\"https://www.woodstock.com/\">lineup\u003c/a> that was meant to bridge multiple generations and musical genres, from Santana, David Crosby and John Fogerty to Jay-Z, Chance The Rapper and Miley Cyrus. One of the \u003ca href=\"https://www.npr.org/2019/01/09/683575133/woodstock-will-return-this-summer-for-its-50th-anniversary\">primary organizers\u003c/a> of Woodstock 50, promoter Michael Lang, was also a co-founder of the original Woodstock event in 1969.\u003c/p>\n\u003cp>On Monday morning, \u003cem>Billboard \u003c/em>\u003ca href=\"https://www.billboard.com/articles/news/festivals/8509091/woodstock-50-festival-cancelled\">published\u003c/a> a statement from Amplifi Live, a Dentsu Aegis division, that read in part: “Despite our tremendous investment of time, effort and commitment, we don’t believe the production of the festival can be executed as an event worthy of the Woodstock Brand name while also ensuring the health and safety of the artists, partners and attendees. As a result and after careful consideration, Dentsu Aegis Network’s Amplifi Live, a partner of Woodstock 50, has decided to cancel the festival. As difficult as it is, we believe this is the most prudent decision for all parties involved.”\u003c/p>\n\u003cp>Since the 50th anniversary event was announced in January, there have been multiple signs that the festival’s organizers did not have matters in order. Originally, organizers announced that tickets would initially go on sale in late January, and that the artist roster would be released in February. The festival missed both of those dates, as well as a plan to release tickets for sale on April 22. Tickets were still not on sale as of Monday afternoon.\u003c/p>\n\u003cp>\u003cem>Billboard\u003c/em> also reported on Monday that the Woodstock 50 team reached out last week to both Live Nation and AEG — two giants in the touring industry — to broach a $20 million investment in the festival, but both companies declined. O’Hearn told NPR that while it would not be impossible for the festival to be resuscitated in time for the planned August dates, it would be very difficult.\u003c/p>\n\u003cp>Last week, \u003cem>Variety\u003c/em> reported the delay in ticket sales were due to a need to “\u003ca href=\"https://variety.com/2019/music/news/woodstock-50-promoters-issue-statement-on-ticket-on-sale-delay-1203197745/\">refine logistical plans\u003c/a>,” according to the event’s organizers. There have also been \u003ca href=\"https://www.vulture.com/2019/04/woodstock-50-canceled-by-investors-festival-denies-it.html\">media reports\u003c/a> that the festival organizers had trouble dealing with issues related to audience capacity and sanitation, which Lang dismissed as “rumors” to \u003cem>Variety\u003c/em>.\u003c/p>\n\u003cp>Neither Woodstock 50 nor Dentsu Aegis returned NPR’s requests for comments, but a Woodstock 50 representative told Vulture on Monday, “Woodstock 50 is currently on a call with Dentsu and Woodstock 50 vehemently denies the cancellation of the festival and will be seeking legal remedy to the comments.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/div>\n\u003c/div>\u003c/p>",
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"title": "In McEwan's Latest, the 'Machine' Is Too Much Like You",
"headTitle": "In McEwan’s Latest, the ‘Machine’ Is Too Much Like You | KQED",
"content": "\u003cfigure id=\"attachment_13856047\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856047\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/machines-like-me-800x1185.jpg\" alt=\"'Machines Like Me,' Ian McEwan.\" width=\"800\" height=\"1185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me-768x1138.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Machines Like Me,’ Ian McEwan.\u003c/figcaption>\u003c/figure>\n\u003cp>There are certain authors I read no matter what they write. Ian McEwan is one of them. Over the course of more than 40 years and some dozen and a half books—including \u003cem>Amsterdam, Atonement, \u003c/em>and \u003cem>The Children Act—\u003c/em>his generally realist, propulsive work reveals an abiding preoccupation with both the repercussions of deceit and how life can change in an instant.\u003c/p>\n\u003cp>His most recent novel, \u003cem>Nutshell \u003c/em>(2016), a clever twist on \u003cem>Hamlet\u003c/em> narrated by a near-full-term baby still in utero\u003cem>, \u003c/em>pushed the borders of possibility. Now, with his latest, \u003cem>Machines Like Me,\u003c/em> he ventures into science fiction and alternate history territory to explore the moral ramifications of AI and the creation of machines that can outsmart humans. His story involves a man “cuckolded by an artefact,” which leads to a newfangled ménage-à-trois.\u003c/p>\n\u003cp>McEwan is not the first to broach these issues, and his dismissal of “conventional science fiction” \u003ca href=\"https://www.theguardian.com/books/2019/apr/14/ian-mcewan-interview-machines-like-me-artificial-intelligence\" target=\"_blank\" rel=\"noopener\">in a recent \u003cem>Guardian\u003c/em> interview\u003c/a>—coupled with a failure to acknowledge his many sci-fi forerunners—has raised hackles among some sci-fi aficionados.\u003c/p>\n\u003cp>But what McEwan brings to the table is crossover appeal to readers who don’t usually gravitate toward sci-fi. \u003cem>Machines Like Me, \u003c/em>like his other novels, is a thought-provoking, well-oiled literary machine. It is set in an alternate 1982 London which has already surpassed us technologically. Its streets are crowded with self-driving electric cars, and the first batch of pricy, eerily life-like artificial humans—12 Adams and 13 Eves—have just been sold to private buyers. McEwan’s narrator, a 32-year-old electronics and robotics buff named Charlie Friend, decides to sink his recent inheritance into one of the Adams. (He misses out on the Eves, seven of which land in Riyadh—one of many wry editorial comments embedded in the book.)\u003c/p>\n\u003cp>Charlie is, he confesses, a “culturally undernourished” wash-out who, after running afoul of the law for tax fraud, has decided that full-time employment is not for him. After various losing “schemes,” he currently plays the stock and currency markets (on his ancient 1960s computer!) from the “genteel ruin” of his two-room, ground floor flat in south London.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Charlie’s impulsive purchase is a 170-pound walking, talking, peeing, and yes, fornicating, “intellectual sparring partner.” Adam is a technological breakthrough with access to all the wisdom of the internet and a fixed notion of right and wrong. He’s creepy, but fascinating. One of the many ironies of this novel is that its human characters, Charlie and his inamorata—Miranda, a 22-year-old doctoral student who lives above him—are interesting mainly in the context of their fraught, shifting relationships with Adam.\u003c/p>\n\u003cp>Why 1982? Yes, it coincides with the Falklands War, an alternate account of which factors into the novel. But perhaps more significantly—although unacknowledged by McEwan—1982 also happens to be the year \u003cem>Blade Runner \u003c/em>was released. Based on Philip K. Dick’s 1968 novel \u003cem>Do Androids Dream of Electric Sheep?,\u003c/em> Ridley Scott’s cult classic explores the alarming effects of technology and “replicant” humans on society.\u003c/p>\n\u003cp>McEwan has fun with counterfactuals, many of which involve wishful historical rewrites: John F. Kennedy survives “near-death in Dallas”; Jimmy Carter wins a second term instead of losing to Ronald Reagan; John Lennon isn’t assassinated, and the Beatles regroup; Margaret Thatcher is vilified after \u003cem>losing \u003c/em>the Falklands War.\u003c/p>\n\u003cp>Most notably, in McEwan’s alternate world, Alan Turing didn’t die in 1954 or opt for chemical castration in lieu of prison after his conviction for homosexuality. Instead, he is alive and knighted, a driving force behind AI and computational biology. He plays a pivotal role in making Charlie realize that Adam is far more than just an “ambulant laptop,” arguing that he has a good mind and a conscious existence, although he’s admittedly “ill-equipped to understand human decision-making.”\u003c/p>\n\u003cp>McEwan certainly has a flair for unusual points of view. Adam, like the baby-in-waiting who narrates \u003cem>Nutshell, \u003c/em>is an extraordinarily smart, well-informed, and unorthodox character who catches his supposed caretakers off-guard with his perspicacity. Charlie drops clues that he is telling this tale decades after the fact: He relays the “well-known” (counter-factual to us) history of the Falklands war “for the benefit of younger readers who won’t be aware of its emotional impact,” and notes a resemblance between Turing in 1982 and the painter Lucian Freud in his later years. (Freud died in 2011 at age 88.) This time-lapse explains the lack of youthfulness of Charlie’s narrative voice, but only hints about how his personal future and that of technology will unfold.\u003c/p>\n\u003cp>\u003cem>Machines Like Me\u003c/em> involves a couple of dubious subplots, one concerning Miranda’s highly questionable judgement call involving vengeance for a violently wronged friend, and another her fierce attachment to a troubled foster child—which seems meant to show that she’s a fundamentally good person. But we’re distrustful of Miranda from early on, after Adam warns Charlie that she’s possibly a “systematic, malicious liar.” Interestingly, even after we learn that Adam has been inflexibly programmed to insist that “truth is everything” and a lie is a lie regardless of extenuating circumstances, it’s hard to override our earlier prejudices.\u003c/p>\n\u003cp>“There are some decisions, even moral ones, that are formed in regions below conscious thought,” McEwan writes at one intense turning point. \u003cem>Machines Like Me \u003c/em>explores some of those decisions. It also manages to flesh out—literally and grippingly—questions about what constitutes a person, and the troubling future of humans if the smart machines we create can overtake us.\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>\u003c/p>\n\u003cp>Copyright 2019 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\n",
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"excerpt": "In 'Machines Like Me,' 'Atonement' author Ian McEwan imagines AI that can outsmart humans.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13856047\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13856047\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/machines-like-me-800x1185.jpg\" alt=\"'Machines Like Me,' Ian McEwan.\" width=\"800\" height=\"1185\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me-160x237.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/machines-like-me-768x1138.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">‘Machines Like Me,’ Ian McEwan.\u003c/figcaption>\u003c/figure>\n\u003cp>There are certain authors I read no matter what they write. Ian McEwan is one of them. Over the course of more than 40 years and some dozen and a half books—including \u003cem>Amsterdam, Atonement, \u003c/em>and \u003cem>The Children Act—\u003c/em>his generally realist, propulsive work reveals an abiding preoccupation with both the repercussions of deceit and how life can change in an instant.\u003c/p>\n\u003cp>His most recent novel, \u003cem>Nutshell \u003c/em>(2016), a clever twist on \u003cem>Hamlet\u003c/em> narrated by a near-full-term baby still in utero\u003cem>, \u003c/em>pushed the borders of possibility. Now, with his latest, \u003cem>Machines Like Me,\u003c/em> he ventures into science fiction and alternate history territory to explore the moral ramifications of AI and the creation of machines that can outsmart humans. His story involves a man “cuckolded by an artefact,” which leads to a newfangled ménage-à-trois.\u003c/p>\n\u003cp>McEwan is not the first to broach these issues, and his dismissal of “conventional science fiction” \u003ca href=\"https://www.theguardian.com/books/2019/apr/14/ian-mcewan-interview-machines-like-me-artificial-intelligence\" target=\"_blank\" rel=\"noopener\">in a recent \u003cem>Guardian\u003c/em> interview\u003c/a>—coupled with a failure to acknowledge his many sci-fi forerunners—has raised hackles among some sci-fi aficionados.\u003c/p>\n\u003cp>But what McEwan brings to the table is crossover appeal to readers who don’t usually gravitate toward sci-fi. \u003cem>Machines Like Me, \u003c/em>like his other novels, is a thought-provoking, well-oiled literary machine. It is set in an alternate 1982 London which has already surpassed us technologically. Its streets are crowded with self-driving electric cars, and the first batch of pricy, eerily life-like artificial humans—12 Adams and 13 Eves—have just been sold to private buyers. McEwan’s narrator, a 32-year-old electronics and robotics buff named Charlie Friend, decides to sink his recent inheritance into one of the Adams. (He misses out on the Eves, seven of which land in Riyadh—one of many wry editorial comments embedded in the book.)\u003c/p>\n\u003cp>Charlie is, he confesses, a “culturally undernourished” wash-out who, after running afoul of the law for tax fraud, has decided that full-time employment is not for him. After various losing “schemes,” he currently plays the stock and currency markets (on his ancient 1960s computer!) from the “genteel ruin” of his two-room, ground floor flat in south London.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Charlie’s impulsive purchase is a 170-pound walking, talking, peeing, and yes, fornicating, “intellectual sparring partner.” Adam is a technological breakthrough with access to all the wisdom of the internet and a fixed notion of right and wrong. He’s creepy, but fascinating. One of the many ironies of this novel is that its human characters, Charlie and his inamorata—Miranda, a 22-year-old doctoral student who lives above him—are interesting mainly in the context of their fraught, shifting relationships with Adam.\u003c/p>\n\u003cp>Why 1982? Yes, it coincides with the Falklands War, an alternate account of which factors into the novel. But perhaps more significantly—although unacknowledged by McEwan—1982 also happens to be the year \u003cem>Blade Runner \u003c/em>was released. Based on Philip K. Dick’s 1968 novel \u003cem>Do Androids Dream of Electric Sheep?,\u003c/em> Ridley Scott’s cult classic explores the alarming effects of technology and “replicant” humans on society.\u003c/p>\n\u003cp>McEwan has fun with counterfactuals, many of which involve wishful historical rewrites: John F. Kennedy survives “near-death in Dallas”; Jimmy Carter wins a second term instead of losing to Ronald Reagan; John Lennon isn’t assassinated, and the Beatles regroup; Margaret Thatcher is vilified after \u003cem>losing \u003c/em>the Falklands War.\u003c/p>\n\u003cp>Most notably, in McEwan’s alternate world, Alan Turing didn’t die in 1954 or opt for chemical castration in lieu of prison after his conviction for homosexuality. Instead, he is alive and knighted, a driving force behind AI and computational biology. He plays a pivotal role in making Charlie realize that Adam is far more than just an “ambulant laptop,” arguing that he has a good mind and a conscious existence, although he’s admittedly “ill-equipped to understand human decision-making.”\u003c/p>\n\u003cp>McEwan certainly has a flair for unusual points of view. Adam, like the baby-in-waiting who narrates \u003cem>Nutshell, \u003c/em>is an extraordinarily smart, well-informed, and unorthodox character who catches his supposed caretakers off-guard with his perspicacity. Charlie drops clues that he is telling this tale decades after the fact: He relays the “well-known” (counter-factual to us) history of the Falklands war “for the benefit of younger readers who won’t be aware of its emotional impact,” and notes a resemblance between Turing in 1982 and the painter Lucian Freud in his later years. (Freud died in 2011 at age 88.) This time-lapse explains the lack of youthfulness of Charlie’s narrative voice, but only hints about how his personal future and that of technology will unfold.\u003c/p>\n\u003cp>\u003cem>Machines Like Me\u003c/em> involves a couple of dubious subplots, one concerning Miranda’s highly questionable judgement call involving vengeance for a violently wronged friend, and another her fierce attachment to a troubled foster child—which seems meant to show that she’s a fundamentally good person. But we’re distrustful of Miranda from early on, after Adam warns Charlie that she’s possibly a “systematic, malicious liar.” Interestingly, even after we learn that Adam has been inflexibly programmed to insist that “truth is everything” and a lie is a lie regardless of extenuating circumstances, it’s hard to override our earlier prejudices.\u003c/p>\n\u003cp>“There are some decisions, even moral ones, that are formed in regions below conscious thought,” McEwan writes at one intense turning point. \u003cem>Machines Like Me \u003c/em>explores some of those decisions. It also manages to flesh out—literally and grippingly—questions about what constitutes a person, and the troubling future of humans if the smart machines we create can overtake us.\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>\u003c/p>\n\u003cp>Copyright 2019 \u003ca href=\"http://npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"source": "American Public Media"
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"source": "PRI"
},
"link": "/radio/program/pri-the-world",
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"tuneIn": "https://tunein.com/podcasts/News--Politics-Podcasts/PRIs-The-World-p24/",
"rss": "http://feeds.feedburner.com/pri/theworld"
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
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