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"content": "\u003cp>On Tuesday, President Trump tweeted out a video. He gave no explanation of what it was or where it came from — just \u003ca href=\"https://www.bbc.com/news/world-us-canada-47878038\">an exhortation\u003c/a> to “MAKE AMERICA GREAT AGAIN!”\u003c/p>\n\u003cp>The video was odd — it opened with footage of various Washington landmarks interspersed with clips of Barack Obama and Hillary and Bill Clinton. Then came clips of Trump visiting a factory, Trump meeting with Kim Jong Un, the Brett Kavanaugh confirmation hearing, and clips of actors Rosie O’Donnell, Bryan Cranston and Amy Schumer, mixed in with shots of Trump at campaign rallies.\u003c/p>\n\u003cp>As a dramatic score played, words appeared on the screen: “First they ignore you. Then they laugh at you. Then they call you racist. Donald J. Trump. Your vote. Proved them all wrong. Trump: The Great Victory 2020.”\u003c/p>\n\u003cp>Just a few hours later, the video was taken down from YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13854764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854764\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-800x450.png\" alt=\"The video was removed from YouTube after Warner Bros. complained that the use of music from The Dark Knight Rises was a violation of its copyright.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a.png 905w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The video was removed from YouTube after Warner Bros. complained that the use of music from The Dark Knight Rises was a violation of its copyright. \u003ccite>(Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At issue was that dramatic score: It is music composed by Hans Zimmer for the soundtrack to the Warner Bros. 2012 Batman film \u003cem>The Dark Knight Rises\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In a statement, Warner Bros. said that the video’s use of its music was unauthorized: “We are working through the appropriate legal channels to have it removed.”\u003c/p>\n\u003cp>Trump later deleted the tweet. As of Wednesday afternoon, \u003ca href=\"https://www.youtube.com/watch?v=adu9nKQtGv0\">near-copies of the video\u003c/a> were still on YouTube.\u003c/p>\n\u003cp>The video was apparently not created by the Trump campaign but rather by a fan. “The video was made by a supporter,” a campaign aide \u003ca href=\"https://www.cnn.com/2019/04/10/politics/warner-bros-copyright-trump-2020-dark-knight-rises/index.html\">told CNN\u003c/a>. “We like to share content from diehard supporters, and this is just another example of how hard Trump supporters fight for the President.”\u003c/p>\n\u003cp>The video was \u003ca href=\"https://www.reddit.com/r/The_Donald/comments/b9m5do/trump_2020_coming_soon_keep_america_great/\">posted \u003c/a>to a pro-Trump Reddit channel last week. The account that posted the video to the r/The_Donald subreddit \u003ca href=\"https://www.reddit.com/user/knock-nevisTDF\">wrote\u003c/a> Tuesday that the video was made a couple of weeks ago, and its creator was shocked and delighted when Trump shared it.\u003c/p>\n\u003cp>“I’m honored,” the person wrote. “My dad has [Trump’s] tweet printed so I can frame it.”\u003c/p>\n\u003cp>Artists including \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/06/17/415158962/neil-young-is-displeased-that-donald-trump-was-rockin-in-the-free-world\">Neil Young\u003c/a>, \u003ca href=\"https://www.npr.org/2018/10/30/662168950/after-pittburgh-pharrell-demands-trump-never-play-happy-again\">Pharrell Williams\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/prince-estate-donald-trump-purple-rain-rally-737428/\">the estate of Prince\u003c/a> have all previously demanded that the Trump campaign stop playing their music, complaining that their songs had been used without permission.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Brandon Carter contributed to this report.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Tuesday, President Trump tweeted out a video. He gave no explanation of what it was or where it came from — just \u003ca href=\"https://www.bbc.com/news/world-us-canada-47878038\">an exhortation\u003c/a> to “MAKE AMERICA GREAT AGAIN!”\u003c/p>\n\u003cp>The video was odd — it opened with footage of various Washington landmarks interspersed with clips of Barack Obama and Hillary and Bill Clinton. Then came clips of Trump visiting a factory, Trump meeting with Kim Jong Un, the Brett Kavanaugh confirmation hearing, and clips of actors Rosie O’Donnell, Bryan Cranston and Amy Schumer, mixed in with shots of Trump at campaign rallies.\u003c/p>\n\u003cp>As a dramatic score played, words appeared on the screen: “First they ignore you. Then they laugh at you. Then they call you racist. Donald J. Trump. Your vote. Proved them all wrong. Trump: The Great Victory 2020.”\u003c/p>\n\u003cp>Just a few hours later, the video was taken down from YouTube.\u003c/p>\n\u003cfigure id=\"attachment_13854764\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13854764\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-800x450.png\" alt=\"The video was removed from YouTube after Warner Bros. complained that the use of music from The Dark Knight Rises was a violation of its copyright.\" width=\"800\" height=\"450\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/04/removed_wide-e5275f60617e7e69ae3468a86a6f432434bd518a.png 905w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The video was removed from YouTube after Warner Bros. complained that the use of music from The Dark Knight Rises was a violation of its copyright. \u003ccite>(Screenshot by NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At issue was that dramatic score: It is music composed by Hans Zimmer for the soundtrack to the Warner Bros. 2012 Batman film \u003cem>The Dark Knight Rises\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a statement, Warner Bros. said that the video’s use of its music was unauthorized: “We are working through the appropriate legal channels to have it removed.”\u003c/p>\n\u003cp>Trump later deleted the tweet. As of Wednesday afternoon, \u003ca href=\"https://www.youtube.com/watch?v=adu9nKQtGv0\">near-copies of the video\u003c/a> were still on YouTube.\u003c/p>\n\u003cp>The video was apparently not created by the Trump campaign but rather by a fan. “The video was made by a supporter,” a campaign aide \u003ca href=\"https://www.cnn.com/2019/04/10/politics/warner-bros-copyright-trump-2020-dark-knight-rises/index.html\">told CNN\u003c/a>. “We like to share content from diehard supporters, and this is just another example of how hard Trump supporters fight for the President.”\u003c/p>\n\u003cp>The video was \u003ca href=\"https://www.reddit.com/r/The_Donald/comments/b9m5do/trump_2020_coming_soon_keep_america_great/\">posted \u003c/a>to a pro-Trump Reddit channel last week. The account that posted the video to the r/The_Donald subreddit \u003ca href=\"https://www.reddit.com/user/knock-nevisTDF\">wrote\u003c/a> Tuesday that the video was made a couple of weeks ago, and its creator was shocked and delighted when Trump shared it.\u003c/p>\n\u003cp>“I’m honored,” the person wrote. “My dad has [Trump’s] tweet printed so I can frame it.”\u003c/p>\n\u003cp>Artists including \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/06/17/415158962/neil-young-is-displeased-that-donald-trump-was-rockin-in-the-free-world\">Neil Young\u003c/a>, \u003ca href=\"https://www.npr.org/2018/10/30/662168950/after-pittburgh-pharrell-demands-trump-never-play-happy-again\">Pharrell Williams\u003c/a> and \u003ca href=\"https://www.rollingstone.com/music/music-news/prince-estate-donald-trump-purple-rain-rally-737428/\">the estate of Prince\u003c/a> have all previously demanded that the Trump campaign stop playing their music, complaining that their songs had been used without permission.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Brandon Carter contributed to this report.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\">NPR\u003c/a>.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyond The Summer Of Love, 'Get Together' Is An Anthem For Every Season",
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"content": "\u003cp>The song sometimes called the “hippie national anthem” can be found in all kinds of places. It’s been used on \u003cem>The Simpsons\u003c/em> and in \u003cem>Forrest Gump,\u003c/em> recorded dozens of times by the likes of The Kingston Trio, The Dave Clark Five, Jefferson Airplane, The Staples Singers and the Carpenters (twice). You may have even heard it \u003ca href=\"https://www.youtube.com/watch?v=ha15CfHe3FI\">in a Walmart commercial\u003c/a> a few years ago.\u003c/p>\n\u003cp>The song has gone by a few different names: “Let’s Get Together,” Everybody Get Together.” But the best-known version is called, simply, “\u003ca href=\"https://www.youtube.com/watch?v=7xGxQXmu7Os\">Get Together\u003c/a>.” It was recorded by The Youngbloods in 1967 — the same year as the Summer of Love, where it would become a constant presence.\u003c/p>\n\u003cp>https://youtu.be/7xGxQXmu7Os\u003c/p>\n\u003cp>In 1967, the Vietnam War was raging. The Youngbloods’ lead singer, Jesse Colin Young, remembers, “Back then we were all subject to the draft. That made everything more life and death. And hope is what comes out of that song.”\u003c/p>\n\u003cp>Young was a folk singer and guitarist with two albums under his belt when he met guitarist Jerry Corbitt on the folk scene in Cambridge, Mass. They put The Youngbloods together in New York City with drummer Joe Bauer and multi-instrumentalist Lowell Levinger, known as Banana. The band rehearsed in Greenwich Village’s Café au Go Go when there wasn’t a show happening, and that’s where Young first heard “Get Together.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It was a Sunday afternoon and I was walking through the Village and thought, ‘Oh, the Go Go’s gonna be dark. I’ll call the band; we can rehearse,’ ” Young recalls. “I walked down the stairs and it turned out to be an open mic. I thought I would turn around and go home. But Buzzy Linhart was onstage singing ‘Get Together.’ That song just stopped me in my tracks.”\u003c/p>\n\u003cp>[aside postID='arts_13806888' *hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/08/AceofCups_KQEDthumb.jpg'* target='_blank']\u003c/p>\n\u003cp>Young says it was the lyrics that really grabbed him. ” ‘\u003cem>Love is but a song we sing / Fear’s the way we die\u003c/em>.’ Wow — the human condition in two lines.”\u003c/p>\n\u003cp>The lyrics grabbed \u003ca href=\"https://www.npr.org/artists/14948570/lizz-wright\">Lizz Wright\u003c/a>, too: The jazz and gospel singer recorded “Get Together” in 2004 for her album \u003cem>Dreaming Wide Awake\u003c/em>. She’s a fan of one verse in particular:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>If you hear the song I sing\u003cbr>\nYou will understand\u003cbr>\nYou hold the key to love and fear\u003cbr>\nAll in your trembling hand\u003cbr>\nJust one key unlocks them both\u003cbr>\nIt’s there at your command\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“It’s so clear, and the imagery is fantastic,” Wright says. “In our uncertainty, in our not fully knowing, we are still holding so much power and choosing to learn by love or to learn by fear as we go. And I just love how this verse puts it back in our in our court as individuals.”\u003c/p>\n\u003cp>https://youtu.be/OnNEBAU_NYo\u003c/p>\n\u003cp>The song was written in the early 1960s by Chester Powers, who performed under the name Dino Valenti. The son of carnival performers, he made a name for himself in the folk clubs of Greenwich Village. Though he had already left for the West Coast when The Youngbloods formed, Young did meet him years later.\u003c/p>\n\u003cp>“I met him at a motorcycle shop in Marin County — we were both living in the Bay Area,” Young says. “I was surprised Dino was kind of a tough guy. I thought to myself, ‘Wow, the angels just took a hold of you one day and put this song in your head, and you brought it to us.'”\u003c/p>\n\u003cp>David Freiberg of Jefferson Starship puts the song’s origin around 1964. He was in Los Angeles visiting a friend, “and in pops Dino Valenti driving in like a crazy [man] and says, ‘Hey man, listen to this song I just wrote!’ ” Freiberg recalls. “And we listened to it and went, ‘Oh my goodness! How great that song is.’ And we’re quickly writing down the lyrics to it.”\u003c/p>\n\u003cp>He also remembers hearing Valenti perform for the first time. “He stomped his foot so hard on the stage it was like there were drums playing with him,” he says. “A lot of energy, very fiery kind of guy, but he was so talented.” Freiberg eventually got to know Valenti well when they played together in Quicksilver Messenger Service.\u003c/p>\n\u003cp>When the Youngbloods’ version of Valenti’s song came out, it became part of the soundtrack for the Summer of Love in San Francisco, making Valenti something of a local celebrity. But when he got busted for drug possession, he had to sell the rights to “Get Together” to pay for a lawyer and avoid a possible 10-year prison sentence, according to music journalist \u003ca href=\"http://www.benfongtorres.com/\">Ben Fong-Torres\u003c/a>.\u003c/p>\n\u003cp>[aside postID='arts_13444149' *hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2017/06/920x920-001.jpg'* target='_blank']\u003c/p>\n\u003cp>“As he famously said,” Fong-Torres recalls, ” ‘For 10 years of my life? Man, I can write another song.’ ” Valenti did eventually recover the rights later in life, before his death in 1994.\u003c/p>\n\u003cp>Valenti’s most famous song went on to have a life of its own. Though it didn’t get much national attention in 1967, two years later The Youngbloods’ version was used in a public service announcement for the \u003ca href=\"https://nccj.org/about/our-story\">National Conference of Christians and Jews\u003c/a>. People started calling their radio stations requesting the song. Young remembers what happened next.\u003c/p>\n\u003cp>“Augie Blum, the head of promotion at RCA, went to his boss and said, ‘I want this song again. Now’s the time for it.’ And they told him, ‘Now Augie, we don’t do that. You know we released it once. That’s it.’ And he said, ‘You release a song again or I’m out of here.’ He was too valuable for them to lose,” Young explains. “So they put it out again, and he was right, of course. The country was ready.”\u003c/p>\n\u003cp>The Youngbloods’ version of “Get Together” went to No. 5 on \u003cem>Billboard\u003c/em>‘s Hot 100 chart. Fong-Torres says it captured the zeitgeist of the time, albeit in a roundabout way: “It took a band from New York City to give San Francisco and the Haight-Ashbury generation its anthem.”\u003c/p>\n\u003cp>One meaning of the word “anthem” is a psalm or hymn. “Get Together” definitely carries that message for Young, who was a born-again Christian in his teens.\u003c/p>\n\u003cp>“I think Dino must have had some church upbringing, because he’s talking about, ‘Some may come and some may go. We will surely pass.’ This is very Eastern philosophy, and new to some of us at that point,” Young says. ” ‘When the one that left us here returns for us at last / We are just a moment’s sunlight fading in the grass.’ Wow.”\u003c/p>\n\u003cp>Freiberg, however, points out a word change: “The Youngbloods’ version says, ‘When the \u003cem>one\u003c/em> that left us here returns for us at last.’ Dino said the lyric was supposed to be, ‘When the \u003cem>wind\u003c/em> that left us here.’ I like that best ’cause it symbolizes the cosmic wind and the interconnection of everything.” He adds, “But then, I’m a Buddhist.”\u003c/p>\n\u003cp>An early review of the song even asked why it’s not sung in church. Wright thinks it should be. “There was just all this imagery, some of it even edging on biblical imagery,” Wright says. “I just felt like this is one of those songs that helped me speak better, speak everything else better. And when I first heard it, I knew that it would make me better as a messenger.”\u003c/p>\n\u003cp>And Young says it still carries a message — for our times.\u003c/p>\n\u003cp>“Every night I sing it, it’s my favorite part of the show because the people sing,” he says. “I played it in Central Park this past summer, and that was on the first anniversary of Charlottesville. Those people sang it stronger than I’ve ever heard it sung. Some people were pumping their fists, and I realized they were saying, ‘We choose love.’ ”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/711545679/711693301\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>. To see more, visit .\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyond+The+Summer+Of+Love%2C+%27Get+Together%27+Is+An+Anthem+For+Every+Season&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The song sometimes called the “hippie national anthem” can be found in all kinds of places. It’s been used on \u003cem>The Simpsons\u003c/em> and in \u003cem>Forrest Gump,\u003c/em> recorded dozens of times by the likes of The Kingston Trio, The Dave Clark Five, Jefferson Airplane, The Staples Singers and the Carpenters (twice). You may have even heard it \u003ca href=\"https://www.youtube.com/watch?v=ha15CfHe3FI\">in a Walmart commercial\u003c/a> a few years ago.\u003c/p>\n\u003cp>The song has gone by a few different names: “Let’s Get Together,” Everybody Get Together.” But the best-known version is called, simply, “\u003ca href=\"https://www.youtube.com/watch?v=7xGxQXmu7Os\">Get Together\u003c/a>.” It was recorded by The Youngbloods in 1967 — the same year as the Summer of Love, where it would become a constant presence.\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/7xGxQXmu7Os'\n title='//www.youtube.com/embed/7xGxQXmu7Os'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1967, the Vietnam War was raging. The Youngbloods’ lead singer, Jesse Colin Young, remembers, “Back then we were all subject to the draft. That made everything more life and death. And hope is what comes out of that song.”\u003c/p>\n\u003cp>Young was a folk singer and guitarist with two albums under his belt when he met guitarist Jerry Corbitt on the folk scene in Cambridge, Mass. They put The Youngbloods together in New York City with drummer Joe Bauer and multi-instrumentalist Lowell Levinger, known as Banana. The band rehearsed in Greenwich Village’s Café au Go Go when there wasn’t a show happening, and that’s where Young first heard “Get Together.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Young says it was the lyrics that really grabbed him. ” ‘\u003cem>Love is but a song we sing / Fear’s the way we die\u003c/em>.’ Wow — the human condition in two lines.”\u003c/p>\n\u003cp>The lyrics grabbed \u003ca href=\"https://www.npr.org/artists/14948570/lizz-wright\">Lizz Wright\u003c/a>, too: The jazz and gospel singer recorded “Get Together” in 2004 for her album \u003cem>Dreaming Wide Awake\u003c/em>. She’s a fan of one verse in particular:\u003c/p>\n\u003cblockquote>\u003cp>\u003cem>If you hear the song I sing\u003cbr>\nYou will understand\u003cbr>\nYou hold the key to love and fear\u003cbr>\nAll in your trembling hand\u003cbr>\nJust one key unlocks them both\u003cbr>\nIt’s there at your command\u003c/em>\u003c/p>\u003c/blockquote>\n\u003cp>“It’s so clear, and the imagery is fantastic,” Wright says. “In our uncertainty, in our not fully knowing, we are still holding so much power and choosing to learn by love or to learn by fear as we go. And I just love how this verse puts it back in our in our court as individuals.”\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/OnNEBAU_NYo'\n title='//www.youtube.com/embed/OnNEBAU_NYo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The song was written in the early 1960s by Chester Powers, who performed under the name Dino Valenti. The son of carnival performers, he made a name for himself in the folk clubs of Greenwich Village. Though he had already left for the West Coast when The Youngbloods formed, Young did meet him years later.\u003c/p>\n\u003cp>“I met him at a motorcycle shop in Marin County — we were both living in the Bay Area,” Young says. “I was surprised Dino was kind of a tough guy. I thought to myself, ‘Wow, the angels just took a hold of you one day and put this song in your head, and you brought it to us.'”\u003c/p>\n\u003cp>David Freiberg of Jefferson Starship puts the song’s origin around 1964. He was in Los Angeles visiting a friend, “and in pops Dino Valenti driving in like a crazy [man] and says, ‘Hey man, listen to this song I just wrote!’ ” Freiberg recalls. “And we listened to it and went, ‘Oh my goodness! How great that song is.’ And we’re quickly writing down the lyrics to it.”\u003c/p>\n\u003cp>He also remembers hearing Valenti perform for the first time. “He stomped his foot so hard on the stage it was like there were drums playing with him,” he says. “A lot of energy, very fiery kind of guy, but he was so talented.” Freiberg eventually got to know Valenti well when they played together in Quicksilver Messenger Service.\u003c/p>\n\u003cp>When the Youngbloods’ version of Valenti’s song came out, it became part of the soundtrack for the Summer of Love in San Francisco, making Valenti something of a local celebrity. But when he got busted for drug possession, he had to sell the rights to “Get Together” to pay for a lawyer and avoid a possible 10-year prison sentence, according to music journalist \u003ca href=\"http://www.benfongtorres.com/\">Ben Fong-Torres\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“As he famously said,” Fong-Torres recalls, ” ‘For 10 years of my life? Man, I can write another song.’ ” Valenti did eventually recover the rights later in life, before his death in 1994.\u003c/p>\n\u003cp>Valenti’s most famous song went on to have a life of its own. Though it didn’t get much national attention in 1967, two years later The Youngbloods’ version was used in a public service announcement for the \u003ca href=\"https://nccj.org/about/our-story\">National Conference of Christians and Jews\u003c/a>. People started calling their radio stations requesting the song. Young remembers what happened next.\u003c/p>\n\u003cp>“Augie Blum, the head of promotion at RCA, went to his boss and said, ‘I want this song again. Now’s the time for it.’ And they told him, ‘Now Augie, we don’t do that. You know we released it once. That’s it.’ And he said, ‘You release a song again or I’m out of here.’ He was too valuable for them to lose,” Young explains. “So they put it out again, and he was right, of course. The country was ready.”\u003c/p>\n\u003cp>The Youngbloods’ version of “Get Together” went to No. 5 on \u003cem>Billboard\u003c/em>‘s Hot 100 chart. Fong-Torres says it captured the zeitgeist of the time, albeit in a roundabout way: “It took a band from New York City to give San Francisco and the Haight-Ashbury generation its anthem.”\u003c/p>\n\u003cp>One meaning of the word “anthem” is a psalm or hymn. “Get Together” definitely carries that message for Young, who was a born-again Christian in his teens.\u003c/p>\n\u003cp>“I think Dino must have had some church upbringing, because he’s talking about, ‘Some may come and some may go. We will surely pass.’ This is very Eastern philosophy, and new to some of us at that point,” Young says. ” ‘When the one that left us here returns for us at last / We are just a moment’s sunlight fading in the grass.’ Wow.”\u003c/p>\n\u003cp>Freiberg, however, points out a word change: “The Youngbloods’ version says, ‘When the \u003cem>one\u003c/em> that left us here returns for us at last.’ Dino said the lyric was supposed to be, ‘When the \u003cem>wind\u003c/em> that left us here.’ I like that best ’cause it symbolizes the cosmic wind and the interconnection of everything.” He adds, “But then, I’m a Buddhist.”\u003c/p>\n\u003cp>An early review of the song even asked why it’s not sung in church. Wright thinks it should be. “There was just all this imagery, some of it even edging on biblical imagery,” Wright says. “I just felt like this is one of those songs that helped me speak better, speak everything else better. And when I first heard it, I knew that it would make me better as a messenger.”\u003c/p>\n\u003cp>And Young says it still carries a message — for our times.\u003c/p>\n\u003cp>“Every night I sing it, it’s my favorite part of the show because the people sing,” he says. “I played it in Central Park this past summer, and that was on the first anniversary of Charlottesville. Those people sang it stronger than I’ve ever heard it sung. Some people were pumping their fists, and I realized they were saying, ‘We choose love.’ ”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Updated at 2:07 p.m. PST\u003c/strong>\u003c/p>\n\u003cp>Thirteen parents and one coach charged in the college admissions scandal will plead guilty, federal prosecutors \u003ca href=\"https://www.justice.gov/usao-ma/pr/14-defendants-college-admissions-scandal-plead-guilty\">announced \u003c/a>Monday. One of the parents is Felicity Huffman, the actress who is among the best known of the wealthy individuals arrested in the cheating case that broke last month.\u003c/p>\n\u003cp>The 14 defendants were all charged with conspiracy to commit mail fraud and honest-services mail fraud. They have agreed to plead guilty in accordance with plea agreements.\u003c/p>\n\u003cp>Authorities charged 50 people in the scheme, in which parents allegedly paid millions of dollars in a conspiracy with William “Rick” Singer to have their children’s test scores and athletic achievements falsified to secure admission to elite colleges. \u003c/p>\n\u003cp>At least two of those colleges, Yale University and \u003ca href=\"https://news.stanford.edu/2019/03/14/admission-case-info/\">Stanford University\u003c/a>, have since \u003ca href=\"https://www.latimes.com/local/lanow/la-me-ln-college-admissions-scandal-stanford-discipline-20190408-story.html\">revoked their offers of admission\u003c/a> to students involved in the case.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Michael Center, 54, the former head men’s tennis coach at the University of Texas at Austin, is among those slated to plead guilty. Prosecutors say he accepted $60,000 in cash from Singer, as well as $40,000 earmarked for the University of Texas’ tennis program, in exchange for designating one of Singer’s clients as a tennis recruit.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.justice.gov/usao-ma/pr/14-defendants-college-admissions-scandal-plead-guilty\">Department of Justice says\u003c/a> 11 of the defendants will plead guilty to one count of conspiracy to commit mail fraud and honest-services mail fraud:\u003c/p>\n\u003col>\n\u003c/ol>\n\u003cblockquote>\n\u003cp>1. Gregory Abbott, 68, of New York, N.Y., together with his wife, Marcia, agreed to pay Singer $125,000 to participate in the college entrance exam cheating scheme for their daughter;\u003c/p>\n\u003cp>2. Marcia Abbott, 59, of New York, N.Y.;\u003c/p>\n\u003cp>3. Jane Buckingham, 50, of Beverly Hills, Calif., agreed to pay Singer $50,000 to participate in the college entrance exam cheating scheme for her son;\u003c/p>\n\u003cp>4. Gordon Caplan, 52, of Greenwich, Conn., agreed to pay Singer $75,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>5. Robert Flaxman, 62, of Laguna Beach, Calif., agreed to pay Singer $75,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>6. Felicity Huffman, 56, of Los Angeles, Calif., agreed to pay Singer at least $15,000 to participate in the college entrance exam cheating scheme for her oldest daughter;\u003c/p>\n\u003cp>7. Agustin Huneeus Jr., 53, of San Francisco, Calif., agreed to pay Singer $300,000 to participate in both the college entrance exam cheating scheme and the college recruitment scheme for his daughter;\u003c/p>\n\u003cp>8. Marjorie Klapper, 50, of Menlo Park, Calif., agreed to pay Singer $15,000 to participate in the college entrance exam cheating scheme for her son;\u003c/p>\n\u003cp>9. Peter Jan Sartorio, 53, of Menlo Park, Calif., agreed to pay Singer $15,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>10. Stephen Semprevivo, 53, of Los Angeles, Calif., agreed to pay Singer $400,000 to participate in the college recruitment scheme for his son; and\u003c/p>\n\u003cp>11. Devin Sloane, 53, of Los Angeles, Calif., agreed to pay Singer $250,000 to participate in the college recruitment scheme for his son.\u003c/p>\n\u003c/blockquote>\n\u003cp>Two other defendants, Bruce Isackson, 61, and Davina Isackson, 55, of Hillsborough, Calif., will plead guilty to one count of conspiracy to commit mail fraud and honest-services mail fraud. Bruce Isackson will also plead guilty to a count of money laundering conspiracy and one count of conspiracy to defraud the IRS. The Isacksons allegedly paid Singer $600,000 in schemes for both of their daughters and then deducted the bribes as charitable donations.\u003c/p>\n\u003cp>While the mail fraud charge carries a maximum sentence of 20 years in prison, three years of supervised release and a fine of $250,000 or more, the plea deals make clear that the defendants are unlikely to face penalties so severe.\u003c/p>\n\u003cp>In Huffman’s case, \u003ca href=\"https://www.justice.gov/usao-ma/press-release/file/1152521/download\">prosecutors recommended\u003c/a> incarceration at the “low end” of the sentencing guidelines, a $20,000 fine, 12 months of probation and restitution in an amount to be determined.\u003c/p>\n\u003cp>The court is not required to follow the calculations laid out in the deal, and the plea agreement dictates that Huffman may not withdraw her guilty plea if she disagrees with the court’s ultimate calculations or sentence.\u003c/p>\n\u003cp>Huffman released a statement of apology on Monday in which she said she is “ashamed” of the pain she caused her daughter and others: \u003c/p>\n\u003cblockquote>\n\u003cp>“I am in full acceptance of my guilt, and with deep regret and shame over what I have done, I accept full responsibility for my actions and will accept the consequences that stem from those actions.\u003c/p>\n\u003cp>“I am ashamed of the pain I have caused my daughter, my family, my friends, my colleagues and the educational community. I want to apologize to them and, especially, I want to apologize to the students who work hard every day to get into college, and to their parents who make tremendous sacrifices to support their children and do so honestly. \u003c/p>\n\u003cp>“My daughter knew absolutely nothing about my actions, and in my misguided and profoundly wrong way, I have betrayed her. This transgression toward her and the public I will carry for the rest of my life. My desire to help my daughter is no excuse to break the law or engage in dishonesty.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Plea hearings in the case have not yet been scheduled. The defendants who improperly took tax deductions for the bribes they paid have agreed to cooperate with the IRS to pay back taxes, prosecutors say. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Felicity+Huffman+And+12+Other+Parents+To+Plead+Guilty+In+College+Cheating+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Napa's Huneeus Vinters founder Agustin Huneeus Jr., 53, of San Francisco is among the 11 of the defendants who will plead guilty to one count of conspiracy to commit mail fraud and honest services mail fraud.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 2:07 p.m. PST\u003c/strong>\u003c/p>\n\u003cp>Thirteen parents and one coach charged in the college admissions scandal will plead guilty, federal prosecutors \u003ca href=\"https://www.justice.gov/usao-ma/pr/14-defendants-college-admissions-scandal-plead-guilty\">announced \u003c/a>Monday. One of the parents is Felicity Huffman, the actress who is among the best known of the wealthy individuals arrested in the cheating case that broke last month.\u003c/p>\n\u003cp>The 14 defendants were all charged with conspiracy to commit mail fraud and honest-services mail fraud. They have agreed to plead guilty in accordance with plea agreements.\u003c/p>\n\u003cp>Authorities charged 50 people in the scheme, in which parents allegedly paid millions of dollars in a conspiracy with William “Rick” Singer to have their children’s test scores and athletic achievements falsified to secure admission to elite colleges. \u003c/p>\n\u003cp>At least two of those colleges, Yale University and \u003ca href=\"https://news.stanford.edu/2019/03/14/admission-case-info/\">Stanford University\u003c/a>, have since \u003ca href=\"https://www.latimes.com/local/lanow/la-me-ln-college-admissions-scandal-stanford-discipline-20190408-story.html\">revoked their offers of admission\u003c/a> to students involved in the case.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Michael Center, 54, the former head men’s tennis coach at the University of Texas at Austin, is among those slated to plead guilty. Prosecutors say he accepted $60,000 in cash from Singer, as well as $40,000 earmarked for the University of Texas’ tennis program, in exchange for designating one of Singer’s clients as a tennis recruit.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.justice.gov/usao-ma/pr/14-defendants-college-admissions-scandal-plead-guilty\">Department of Justice says\u003c/a> 11 of the defendants will plead guilty to one count of conspiracy to commit mail fraud and honest-services mail fraud:\u003c/p>\n\u003col>\n\u003c/ol>\n\u003cblockquote>\n\u003cp>1. Gregory Abbott, 68, of New York, N.Y., together with his wife, Marcia, agreed to pay Singer $125,000 to participate in the college entrance exam cheating scheme for their daughter;\u003c/p>\n\u003cp>2. Marcia Abbott, 59, of New York, N.Y.;\u003c/p>\n\u003cp>3. Jane Buckingham, 50, of Beverly Hills, Calif., agreed to pay Singer $50,000 to participate in the college entrance exam cheating scheme for her son;\u003c/p>\n\u003cp>4. Gordon Caplan, 52, of Greenwich, Conn., agreed to pay Singer $75,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>5. Robert Flaxman, 62, of Laguna Beach, Calif., agreed to pay Singer $75,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>6. Felicity Huffman, 56, of Los Angeles, Calif., agreed to pay Singer at least $15,000 to participate in the college entrance exam cheating scheme for her oldest daughter;\u003c/p>\n\u003cp>7. Agustin Huneeus Jr., 53, of San Francisco, Calif., agreed to pay Singer $300,000 to participate in both the college entrance exam cheating scheme and the college recruitment scheme for his daughter;\u003c/p>\n\u003cp>8. Marjorie Klapper, 50, of Menlo Park, Calif., agreed to pay Singer $15,000 to participate in the college entrance exam cheating scheme for her son;\u003c/p>\n\u003cp>9. Peter Jan Sartorio, 53, of Menlo Park, Calif., agreed to pay Singer $15,000 to participate in the college entrance exam cheating scheme for his daughter;\u003c/p>\n\u003cp>10. Stephen Semprevivo, 53, of Los Angeles, Calif., agreed to pay Singer $400,000 to participate in the college recruitment scheme for his son; and\u003c/p>\n\u003cp>11. Devin Sloane, 53, of Los Angeles, Calif., agreed to pay Singer $250,000 to participate in the college recruitment scheme for his son.\u003c/p>\n\u003c/blockquote>\n\u003cp>Two other defendants, Bruce Isackson, 61, and Davina Isackson, 55, of Hillsborough, Calif., will plead guilty to one count of conspiracy to commit mail fraud and honest-services mail fraud. Bruce Isackson will also plead guilty to a count of money laundering conspiracy and one count of conspiracy to defraud the IRS. The Isacksons allegedly paid Singer $600,000 in schemes for both of their daughters and then deducted the bribes as charitable donations.\u003c/p>\n\u003cp>While the mail fraud charge carries a maximum sentence of 20 years in prison, three years of supervised release and a fine of $250,000 or more, the plea deals make clear that the defendants are unlikely to face penalties so severe.\u003c/p>\n\u003cp>In Huffman’s case, \u003ca href=\"https://www.justice.gov/usao-ma/press-release/file/1152521/download\">prosecutors recommended\u003c/a> incarceration at the “low end” of the sentencing guidelines, a $20,000 fine, 12 months of probation and restitution in an amount to be determined.\u003c/p>\n\u003cp>The court is not required to follow the calculations laid out in the deal, and the plea agreement dictates that Huffman may not withdraw her guilty plea if she disagrees with the court’s ultimate calculations or sentence.\u003c/p>\n\u003cp>Huffman released a statement of apology on Monday in which she said she is “ashamed” of the pain she caused her daughter and others: \u003c/p>\n\u003cblockquote>\n\u003cp>“I am in full acceptance of my guilt, and with deep regret and shame over what I have done, I accept full responsibility for my actions and will accept the consequences that stem from those actions.\u003c/p>\n\u003cp>“I am ashamed of the pain I have caused my daughter, my family, my friends, my colleagues and the educational community. I want to apologize to them and, especially, I want to apologize to the students who work hard every day to get into college, and to their parents who make tremendous sacrifices to support their children and do so honestly. \u003c/p>\n\u003cp>“My daughter knew absolutely nothing about my actions, and in my misguided and profoundly wrong way, I have betrayed her. This transgression toward her and the public I will carry for the rest of my life. My desire to help my daughter is no excuse to break the law or engage in dishonesty.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>Plea hearings in the case have not yet been scheduled. The defendants who improperly took tax deductions for the bribes they paid have agreed to cooperate with the IRS to pay back taxes, prosecutors say. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Felicity+Huffman+And+12+Other+Parents+To+Plead+Guilty+In+College+Cheating+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jazz Heavyweights Herbie Hancock And Kamasi Washington Announce Joint Tour",
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"content": "\u003cp>Herbie Hancock and Kamasi Washington, two of the biggest names in jazz, will join forces for a North American co-headlining tour this summer.\u003c/p>\n\u003cp>Their initial slew of dates, starting July 30 in Vienna, Va. and ending Aug. 23 in Berkeley, Calif., should go on sale to the general public this Friday. (Tickets for the pair’s first date, in Virginia, are \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=http-3A__www.wolftrap.org_f_073019&d=DwMGaQ&c=E2nBno7hEddFhl23N5nD1Q&r=vn4_qmdn67yk26Ar2jgxyeTiyH7gFcj_zMqcLtzTixE&m=yykryLsorWw_3_l2rL3sxKf0COh684nl5LPg2lE1_48&s=IrpMFsgsxl36-9T4rnTSR6mgzZW0Hyc8eoAmnJ01um8&e=\">already available\u003c/a>.)\u003c/p>\n\u003cp>Hancock, a 14-time Grammy-winning pianist and NEA Jazz Master, will lead a band similar to the one featured a few years ago in a\u003ca href=\"https://www.npr.org/2016/10/20/498672744/herbie-hancocks-latest-voyage\"> \u003cem>Jazz Night in America\u003c/em> concert film\u003c/a>: Lionel Loueke on guitars, Terrace Martin on alto saxophone and synthesizers, James Genus on electric bass, and Vinnie Colaiuta on drums. Their set list will combine Hancock favorites and material from a highly anticipated forthcoming album.\u003c/p>\n\u003cp>Hancock has long been an exemplar of jazz crossover: he’s the rare instrumental virtuoso to credibly break through to a mainstream audience, let alone the pop album chart. He received his first gold record in 1974 with \u003cem>Head Hunters\u003c/em>, the self-titled debut by his new jazz-funk band. At the time, the critic Lee Underwood stamped a concert review with a smirk: “Mr. Communicate-With-A-Wider-Audience, Herbie Hancock, opened to a full house recently, again pleasing the funkers while disappointing the more cerebrally oriented connoisseurs.”\u003c/p>\n\u003cp>Washington has earned a similar reputation since the release of his debut triple album, \u003cem>The Epic, \u003c/em>in 2015. A tenor saxophonist and bandleader with a talent for the ecstatic, Washington is the key figure in what has lately been touted as a jazz resurgence in popular culture. (“Mr. Communicate-With-A-Wider-Audience” is an epithet he’d probably wear as a badge of honor.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postID='arts_13845721' *hero='https://ww2.kqed.org/wp-content/uploads/sites/2/2018/12/GettyImages-946721988-1920x1080.jpg'* target='_blank']\u003c/p>\n\u003cp>His follow-up to \u003cem>The Epic\u003c/em>, a double album titled \u003cem>Heaven and Earth\u003c/em>, received widespread acclaim last year, landing at No. 12 on the\u003ca href=\"https://www.npr.org/2019/01/05/682193795/the-2018-npr-music-jazz-critics-poll\"> NPR Music Jazz Critics Poll\u003c/a>. And at the beginning of this year, Washington had a premiere at Sundance: \u003cem>As Told to G/D Thyself\u003c/em>, a dreamy, episodic short film, featuring the work of African-American filmmakers like Bradford Young and Jenn Nkiru. (The film has just been made\u003ca href=\"https://itunes.apple.com/us/music-movie/as-told-to-g-d-thyself/1455427714\"> available for streaming\u003c/a> on Apple Music.)\u003c/p>\n\u003cp>Both Hancock and Washington will be busy in the weeks and months leading up to their tour. Hancock, as chairman of the\u003ca href=\"https://hancockinstitute.org/\"> Herbie Hancock Institute of Jazz\u003c/a>, is preparing for International Jazz Day festivities in Australia at the end of this month, culminating in a global all-star concert in Melbourne on April 30. Hancock is also scheduled to perform at the Beacon Theater in New York on Aug. 1, and at the\u003ca href=\"http://www.newportjazz.org/\"> Newport Jazz Festival\u003c/a> in Rhode Island on Aug. 2 and 3.\u003c/p>\n\u003cp>Washington is also headlining at Newport, on Aug. 3, but that’s far from the only synchronicity he has with his co-headliner. Terrace Martin, a longtime Washington associate, is another one. (It seems likely that Martin will also play with Washington on the tour.) Hancock and Washington also both appeared on\u003ca href=\"https://vimeo.com/103317489\"> \u003cem>You’re Dead!\u003c/em>\u003c/a>\u003cem>, \u003c/em>the 2014 album by producer Flying Lotus. And there have been reliable reports that Hancock’s next album-in-progress will feature Washington (along with Martin, Flying Lotus and rapper Kendrick Lamar).\u003c/p>\n\u003cp>Moving out of the realm of the speculative, there’s a bit of precedent for this tour. In 2017, Hancock headlined a concert at the Hollywood Bowl, with Washington as the opener. Reviewing that concert for the \u003cem>Los Angeles Times, \u003c/em>Chris Barton \u003ca href=\"https://www.latimes.com/entertainment/music/la-et-ms-herbie-hancock-kamasi-washington-20170824-story.html\">painted the picture\u003c/a> of a hometown victory lap for Washington, and a show of dominion by Hancock.\u003c/p>\n\u003cp>“The only note missing in Hancock’s arsenal was a guest spot from Washington, a seemingly natural choice that could have built a bridge between two generations,” Barton wrote. “A missed opportunity for a special moment, maybe — but if you were listening, the bridge was there all along.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>Dates\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>7/30/19 – Vienna, VA, Wolf Trap\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/4/19 – Philadelphia, PA, The Met\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/6/19 – Toronto, ONT, Roy Thompson Hall\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/7/19 – Huber Heights, OH, Rose Music Center at The Heights\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/8/19 – Detroit, MI, Aretha Franklin Amphitheatre\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/9 or 10/19 (TBC) – Chicago, IL, Huntington Bank Pavilion at Northerly Island\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/14/19 – Denver, CO, The Mission Ballroom\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/16/19 – Seattle, WA, Marymoor\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/17/19 – Portland, OR, Oregon Zoo\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/23/19 – Berkeley, CA, The Greek Theatre\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional performances are expected to be announced shortly.\u003c/em>\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=Jazz+Heavyweights+Herbie+Hancock+And+Kamasi+Washington+Announce+Joint+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Herbie Hancock and Kamasi Washington, two of the biggest names in jazz, will join forces for a North American co-headlining tour this summer.\u003c/p>\n\u003cp>Their initial slew of dates, starting July 30 in Vienna, Va. and ending Aug. 23 in Berkeley, Calif., should go on sale to the general public this Friday. (Tickets for the pair’s first date, in Virginia, are \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=http-3A__www.wolftrap.org_f_073019&d=DwMGaQ&c=E2nBno7hEddFhl23N5nD1Q&r=vn4_qmdn67yk26Ar2jgxyeTiyH7gFcj_zMqcLtzTixE&m=yykryLsorWw_3_l2rL3sxKf0COh684nl5LPg2lE1_48&s=IrpMFsgsxl36-9T4rnTSR6mgzZW0Hyc8eoAmnJ01um8&e=\">already available\u003c/a>.)\u003c/p>\n\u003cp>Hancock, a 14-time Grammy-winning pianist and NEA Jazz Master, will lead a band similar to the one featured a few years ago in a\u003ca href=\"https://www.npr.org/2016/10/20/498672744/herbie-hancocks-latest-voyage\"> \u003cem>Jazz Night in America\u003c/em> concert film\u003c/a>: Lionel Loueke on guitars, Terrace Martin on alto saxophone and synthesizers, James Genus on electric bass, and Vinnie Colaiuta on drums. Their set list will combine Hancock favorites and material from a highly anticipated forthcoming album.\u003c/p>\n\u003cp>Hancock has long been an exemplar of jazz crossover: he’s the rare instrumental virtuoso to credibly break through to a mainstream audience, let alone the pop album chart. He received his first gold record in 1974 with \u003cem>Head Hunters\u003c/em>, the self-titled debut by his new jazz-funk band. At the time, the critic Lee Underwood stamped a concert review with a smirk: “Mr. Communicate-With-A-Wider-Audience, Herbie Hancock, opened to a full house recently, again pleasing the funkers while disappointing the more cerebrally oriented connoisseurs.”\u003c/p>\n\u003cp>Washington has earned a similar reputation since the release of his debut triple album, \u003cem>The Epic, \u003c/em>in 2015. A tenor saxophonist and bandleader with a talent for the ecstatic, Washington is the key figure in what has lately been touted as a jazz resurgence in popular culture. (“Mr. Communicate-With-A-Wider-Audience” is an epithet he’d probably wear as a badge of honor.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His follow-up to \u003cem>The Epic\u003c/em>, a double album titled \u003cem>Heaven and Earth\u003c/em>, received widespread acclaim last year, landing at No. 12 on the\u003ca href=\"https://www.npr.org/2019/01/05/682193795/the-2018-npr-music-jazz-critics-poll\"> NPR Music Jazz Critics Poll\u003c/a>. And at the beginning of this year, Washington had a premiere at Sundance: \u003cem>As Told to G/D Thyself\u003c/em>, a dreamy, episodic short film, featuring the work of African-American filmmakers like Bradford Young and Jenn Nkiru. (The film has just been made\u003ca href=\"https://itunes.apple.com/us/music-movie/as-told-to-g-d-thyself/1455427714\"> available for streaming\u003c/a> on Apple Music.)\u003c/p>\n\u003cp>Both Hancock and Washington will be busy in the weeks and months leading up to their tour. Hancock, as chairman of the\u003ca href=\"https://hancockinstitute.org/\"> Herbie Hancock Institute of Jazz\u003c/a>, is preparing for International Jazz Day festivities in Australia at the end of this month, culminating in a global all-star concert in Melbourne on April 30. Hancock is also scheduled to perform at the Beacon Theater in New York on Aug. 1, and at the\u003ca href=\"http://www.newportjazz.org/\"> Newport Jazz Festival\u003c/a> in Rhode Island on Aug. 2 and 3.\u003c/p>\n\u003cp>Washington is also headlining at Newport, on Aug. 3, but that’s far from the only synchronicity he has with his co-headliner. Terrace Martin, a longtime Washington associate, is another one. (It seems likely that Martin will also play with Washington on the tour.) Hancock and Washington also both appeared on\u003ca href=\"https://vimeo.com/103317489\"> \u003cem>You’re Dead!\u003c/em>\u003c/a>\u003cem>, \u003c/em>the 2014 album by producer Flying Lotus. And there have been reliable reports that Hancock’s next album-in-progress will feature Washington (along with Martin, Flying Lotus and rapper Kendrick Lamar).\u003c/p>\n\u003cp>Moving out of the realm of the speculative, there’s a bit of precedent for this tour. In 2017, Hancock headlined a concert at the Hollywood Bowl, with Washington as the opener. Reviewing that concert for the \u003cem>Los Angeles Times, \u003c/em>Chris Barton \u003ca href=\"https://www.latimes.com/entertainment/music/la-et-ms-herbie-hancock-kamasi-washington-20170824-story.html\">painted the picture\u003c/a> of a hometown victory lap for Washington, and a show of dominion by Hancock.\u003c/p>\n\u003cp>“The only note missing in Hancock’s arsenal was a guest spot from Washington, a seemingly natural choice that could have built a bridge between two generations,” Barton wrote. “A missed opportunity for a special moment, maybe — but if you were listening, the bridge was there all along.”\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>\u003cem>Dates\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>\u003cem>7/30/19 – Vienna, VA, Wolf Trap\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/4/19 – Philadelphia, PA, The Met\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/6/19 – Toronto, ONT, Roy Thompson Hall\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/7/19 – Huber Heights, OH, Rose Music Center at The Heights\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/8/19 – Detroit, MI, Aretha Franklin Amphitheatre\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/9 or 10/19 (TBC) – Chicago, IL, Huntington Bank Pavilion at Northerly Island\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/14/19 – Denver, CO, The Mission Ballroom\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/16/19 – Seattle, WA, Marymoor\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/17/19 – Portland, OR, Oregon Zoo\u003c/em>\u003c/p>\n\u003cp>\u003cem>8/23/19 – Berkeley, CA, The Greek Theatre\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Additional performances are expected to be announced shortly.\u003c/em>\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=Jazz+Heavyweights+Herbie+Hancock+And+Kamasi+Washington+Announce+Joint+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In The Bleakly Beautiful 'Diane,' Mary Kay Place Can't Help But Keep Helping",
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"content": "\u003cp>In his first narrative feature, \u003cem>Diane\u003c/em>, the critic and documentary filmmaker Kent Jones (\u003cem>Hitchock/Truffaut\u003c/em>) comes in praise of older women, the crankier the better. The troubled New England woman at the center of his drama seems at first to embody a familiar type: the fussy old enabler without a life of her own. But Jones proves a loving, if clear-eyed world-builder who invites us into the orbit of a woman muddling through a complicated life, rather than peddling a tactfully edited “senior” identity. \u003c/p>\n\u003cp>It’s a world he knows with intimate particularity. A fictional composite of the women who peopled Jones’s childhood in the Berkshires, Diane (Mary Kay Place) is lined and worn and unobtrusive, the kind of older woman to whom you probably wouldn’t give a second glance on the street. But though I can think of other actresses who would do credit to the role of an invisible woman with a seething inner life—Annette Bening or Kathy Bates, for starters—no one can drab down her physical self while projecting inner tumult quite like Place. As the over-involved mother of a drug-addicted grown son, the actress projects a bewildered resignation that slowly escalates into impotent rage.\u003c/p>\n\u003cp>https://youtu.be/Yl1WJA0T5II\u003c/p>\n\u003cp>When she’s not driving the wintry back roads of New England to deliver casseroles to sick friends, Diane is a textbook enabler who can’t stop herself from stocking up the fridge, the coffers, and anything else that her son, Brian, can’t or won’t manage for himself. For his part Brian (ably rendered by Jake Lacy, whom you might have seen doing something altogether different as a wholesome love interest in 2015’s \u003cem>Obvious Child\u003c/em>) remains vocally ungrateful for services rendered, to the point of calling his mother a sexual organ. You may sympathize a little: His mother has the classic enabler’s habit of railing at her son even as she continues to baby him into sullen paralysis. \u003c/p>\n\u003cp>This is Diane’s story, though, and with a bleakly beautiful sense of place and a moody score, \u003cem>Diane\u003c/em> slowly and with strategic repetition builds her a rich inner universe and a vibrantly testy community of friends and family. She can’t stop serving them either, but though hers may be a grim existence, the tone is far from glum. Jones’s crisp dialogue is at its mordantly funniest when Diane gets together with the friends she’s known forever (it would spoil the fun if I named the movie’s terrific vintage female ensemble), a bunch of witty, fractious storytellers reliving their collective past, roaring at their own bawdy jokes, robustly dredging up old grudges—and falling into tactful silence when Brian’s name crops up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Again and again, Diane shows up in her son’s chaotically filthy den. Over and over, she is rebuffed or extorted until, at last, something happens to shift the neurotic power nexus that keeps this symbiotic pair unwillingly joined at the hip. Toward the end of \u003cem>Diane\u003c/em>, a secret is aired (without resorting to flashbacks) that turns out to mask a bigger reveal that involves Diane’s guilt over a long-ago perceived sin. Its fallout has spread like a malign ink stain through both their lives, stunting the ability of both to move ahead. \u003c/p>\n\u003cp>Brian will set Diane straight about her errors of judgment, but this isn’t the kind of movie where insight sends mother and son into a rosy sunset. “This time’s different,” a cleaned-up Brian insists, and you’d be right to murmur “maybe” under your breath. But the fundamentalist church that keeps him sober can never bring solace to a skeptic like Diane. Instead, Jones fills her existential space with a bracing, though never unfeeling, inquiry into what it feels like to confront the steady drip of accumulating pain, and loss, and no longer being needed as we age. If that makes \u003cem>Diane\u003c/em> sounds like a heaping pile of misery, it’s anything but. But look for no spurious closure here, unless you count the one sure outcome we all face. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In his first narrative feature, \u003cem>Diane\u003c/em>, the critic and documentary filmmaker Kent Jones (\u003cem>Hitchock/Truffaut\u003c/em>) comes in praise of older women, the crankier the better. The troubled New England woman at the center of his drama seems at first to embody a familiar type: the fussy old enabler without a life of her own. But Jones proves a loving, if clear-eyed world-builder who invites us into the orbit of a woman muddling through a complicated life, rather than peddling a tactfully edited “senior” identity. \u003c/p>\n\u003cp>It’s a world he knows with intimate particularity. A fictional composite of the women who peopled Jones’s childhood in the Berkshires, Diane (Mary Kay Place) is lined and worn and unobtrusive, the kind of older woman to whom you probably wouldn’t give a second glance on the street. But though I can think of other actresses who would do credit to the role of an invisible woman with a seething inner life—Annette Bening or Kathy Bates, for starters—no one can drab down her physical self while projecting inner tumult quite like Place. As the over-involved mother of a drug-addicted grown son, the actress projects a bewildered resignation that slowly escalates into impotent rage.\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/Yl1WJA0T5II'\n title='//www.youtube.com/embed/Yl1WJA0T5II'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>When she’s not driving the wintry back roads of New England to deliver casseroles to sick friends, Diane is a textbook enabler who can’t stop herself from stocking up the fridge, the coffers, and anything else that her son, Brian, can’t or won’t manage for himself. For his part Brian (ably rendered by Jake Lacy, whom you might have seen doing something altogether different as a wholesome love interest in 2015’s \u003cem>Obvious Child\u003c/em>) remains vocally ungrateful for services rendered, to the point of calling his mother a sexual organ. You may sympathize a little: His mother has the classic enabler’s habit of railing at her son even as she continues to baby him into sullen paralysis. \u003c/p>\n\u003cp>This is Diane’s story, though, and with a bleakly beautiful sense of place and a moody score, \u003cem>Diane\u003c/em> slowly and with strategic repetition builds her a rich inner universe and a vibrantly testy community of friends and family. She can’t stop serving them either, but though hers may be a grim existence, the tone is far from glum. Jones’s crisp dialogue is at its mordantly funniest when Diane gets together with the friends she’s known forever (it would spoil the fun if I named the movie’s terrific vintage female ensemble), a bunch of witty, fractious storytellers reliving their collective past, roaring at their own bawdy jokes, robustly dredging up old grudges—and falling into tactful silence when Brian’s name crops up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Again and again, Diane shows up in her son’s chaotically filthy den. Over and over, she is rebuffed or extorted until, at last, something happens to shift the neurotic power nexus that keeps this symbiotic pair unwillingly joined at the hip. Toward the end of \u003cem>Diane\u003c/em>, a secret is aired (without resorting to flashbacks) that turns out to mask a bigger reveal that involves Diane’s guilt over a long-ago perceived sin. Its fallout has spread like a malign ink stain through both their lives, stunting the ability of both to move ahead. \u003c/p>\n\u003cp>Brian will set Diane straight about her errors of judgment, but this isn’t the kind of movie where insight sends mother and son into a rosy sunset. “This time’s different,” a cleaned-up Brian insists, and you’d be right to murmur “maybe” under your breath. But the fundamentalist church that keeps him sober can never bring solace to a skeptic like Diane. Instead, Jones fills her existential space with a bracing, though never unfeeling, inquiry into what it feels like to confront the steady drip of accumulating pain, and loss, and no longer being needed as we age. If that makes \u003cem>Diane\u003c/em> sounds like a heaping pile of misery, it’s anything but. But look for no spurious closure here, unless you count the one sure outcome we all face. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Like A Rolling Stoner: Burnout Comedy 'The Beach Bum' Is A Balm",
"headTitle": "Like A Rolling Stoner: Burnout Comedy ‘The Beach Bum’ Is A Balm | KQED",
"content": "\u003cp>Harmony Korine has spent much of his cinematic career walking his audience through the depths of Hell in films like the poverty-stricken \u003cem>Gummo\u003c/em>, the schizophrenic nightmare \u003cem>Julien Donkey-Boy\u003c/em>, and his candy-colored, millennial opus \u003cem>Spring Breakers\u003c/em> (his first Floridian foray). He’s spent some time in Purgatory too (as in his offbeat 2007 drama \u003cem>Mister Lonely\u003c/em>, about a commune of celebrity impersonators). In his newest film, \u003cem>The Beach Bum\u003c/em>, artist, writer, poet, director Korine may have finally found what he was looking fo all along: a little bit of Heaven. \u003c/p>\n\u003cp>Narrative and plot don’t chug along, machine-like, in any of Korine’s work, least of all \u003cem>The Beach Bum\u003c/em>; rather, his tale of weirdo hedonistic poet Moondog (Matthew McConaughey) and his quest to finish his Great American Novel for the love of his wife, Minnie (Isla Fisher), gently unfurls like ribbons of marijuana smoke from the grizzled mouth of a once-great writer/current drifter. Korine is happy to let his film sail along, luxuriate in particular moments, elliptically recall the past, or burst briefly into the future. If \u003cem>Spring Breakers\u003c/em> could be compared structurally to a pop song, \u003cem>The Beach Bum\u003c/em> is more like a Jimmy Buffett record (more on him later). Scenery changes mid-conversation, and the movie begs a writer to bust out the word “hallucinatory” to describe its relationship to time and space. It is a pleasant, buoyant, joyful approximation of being happily stoned, with Moondog bubbling from one scenario to the next without too much thought. \u003c/p>\n\u003cp>https://youtu.be/3J7iyrFwPAY\u003c/p>\n\u003cp>In an oversized, barely buttoned canary yellow shirt, McConaughey easily taps into Moondog’s hippie-dippy attitude, here defined by a taste for excess rooted in benevolence and a genuine desire to find what little good life has left to offer him. He sails around Key West and Miami, almost floating on air when he’s not stumbling about, crab-like, on land. He throws back beers and burns through blunts like a pro, rubbing shoulders with Snoop Dog and Martin Lawrence (owner of a coke-addled parrot), emitting a hyena-like laugh infused with euphoria and kindness. The character waddles along, ready for whatever’s next—even when he decides to go to, and promptly skip out on, rehab. \u003c/p>\n\u003cp>Korine’s unusual brand of abrasive, provocative filmmaking (he was the first American director to take the “Vow of Chastity” and make a Dogme 95 film—the Danish manifesto calling for a back-to-basics approach to form), employs guns, drugs, and detritus to signify an atrophying American Dream. For those familiar with his work, the first ten minutes or so of \u003cem>The Beach Bum\u003c/em> will unsettle, because the film is imbued with a distinctly un-Harmony-ious tenderness and thoughtful sentimentality. But soon enough, a sun-drenched ecstasy leaches its way into Benoît Debie’s cinematography, as does a circuitous manner of exploring Moondog’s creative process. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It doesn’t really matter if Moondog’s poetry is good, by conventional standards. The way he negotiates his art (he is frequently, rightfully or otherwise, referred to as a genius) either eschews artist-movie tropes or subverts them; the film’s meandering quality never gives in to the typical rise-and-fall trajectory for Moondog and his work. Rather, it allows him to revel in his method of indulging in “total excess” to unlock his creative juices. Moondog’s best friend Lingerie (Snoop Dogg) offers him one strain of very strong weed which he calls “the safe cracker.” Moondog smokes, he has sex, he gets drunk, he writes; rinse, repeat. But unlike other portraits of the artist as a young genius, Moondog knows both the clock is ticking, and that his legacy in question. Yet, as driven as he is to complete his book, he’s less fixated on his own relevance; he values basic, sensual pleasures over wealth. \u003c/p>\n\u003cp>Korine offers moments for Moondog to reflect on the consequences of his actions … sort of. It’s not insincere, but there is a cheekiness to the character’s brief determination to clean up his act; he doesn’t ditch the excess, but the emotional transformation he’s urged to undergo by Lingerie and Jimmy Buffett(!) frees him up, and becomes a touching ode to love and art. Korine’s film is an unusual but much needed balm, a wild and wonderful guide to finding compassion and beauty in the strangest of places: Florida. I cannot think of another film that represents the perfect confluence of my own sensibilities with those of my father, or of another film that could move me to tears at the sound of “Margaritaville.” \u003c/p>\n\u003cp>Moondog and Minnie play Peggy Lee’s existential pop ballad “Is That All There Is?” as they dance around and smoke and drink up each other’s bodies and emotions, their love for one another offering a kind of high that narcotics can only approximate. This dizzying, funny, and moving combination of a love for the creative process, and love for the bodies around them, suggest that Korine has finally found in his films the Heaven that his characters have always chased. An American Dream presented as perverted, and decaying, yet splashed in neon and soaked in sunshine, \u003cem>The Beach Bum\u003c/em>‘s brilliant embrace of body, pleasure and art feels like Paradise. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "In writer/director Harmony Korine's latest, Matthew McConaughey plays a South Florida stoner/poet. It's a meandering, ecstatic, and ultimately \"brilliant embrace of body, pleasure and art.\" ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Harmony Korine has spent much of his cinematic career walking his audience through the depths of Hell in films like the poverty-stricken \u003cem>Gummo\u003c/em>, the schizophrenic nightmare \u003cem>Julien Donkey-Boy\u003c/em>, and his candy-colored, millennial opus \u003cem>Spring Breakers\u003c/em> (his first Floridian foray). He’s spent some time in Purgatory too (as in his offbeat 2007 drama \u003cem>Mister Lonely\u003c/em>, about a commune of celebrity impersonators). In his newest film, \u003cem>The Beach Bum\u003c/em>, artist, writer, poet, director Korine may have finally found what he was looking fo all along: a little bit of Heaven. \u003c/p>\n\u003cp>Narrative and plot don’t chug along, machine-like, in any of Korine’s work, least of all \u003cem>The Beach Bum\u003c/em>; rather, his tale of weirdo hedonistic poet Moondog (Matthew McConaughey) and his quest to finish his Great American Novel for the love of his wife, Minnie (Isla Fisher), gently unfurls like ribbons of marijuana smoke from the grizzled mouth of a once-great writer/current drifter. Korine is happy to let his film sail along, luxuriate in particular moments, elliptically recall the past, or burst briefly into the future. If \u003cem>Spring Breakers\u003c/em> could be compared structurally to a pop song, \u003cem>The Beach Bum\u003c/em> is more like a Jimmy Buffett record (more on him later). Scenery changes mid-conversation, and the movie begs a writer to bust out the word “hallucinatory” to describe its relationship to time and space. It is a pleasant, buoyant, joyful approximation of being happily stoned, with Moondog bubbling from one scenario to the next without too much thought. \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/3J7iyrFwPAY'\n title='//www.youtube.com/embed/3J7iyrFwPAY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In an oversized, barely buttoned canary yellow shirt, McConaughey easily taps into Moondog’s hippie-dippy attitude, here defined by a taste for excess rooted in benevolence and a genuine desire to find what little good life has left to offer him. He sails around Key West and Miami, almost floating on air when he’s not stumbling about, crab-like, on land. He throws back beers and burns through blunts like a pro, rubbing shoulders with Snoop Dog and Martin Lawrence (owner of a coke-addled parrot), emitting a hyena-like laugh infused with euphoria and kindness. The character waddles along, ready for whatever’s next—even when he decides to go to, and promptly skip out on, rehab. \u003c/p>\n\u003cp>Korine’s unusual brand of abrasive, provocative filmmaking (he was the first American director to take the “Vow of Chastity” and make a Dogme 95 film—the Danish manifesto calling for a back-to-basics approach to form), employs guns, drugs, and detritus to signify an atrophying American Dream. For those familiar with his work, the first ten minutes or so of \u003cem>The Beach Bum\u003c/em> will unsettle, because the film is imbued with a distinctly un-Harmony-ious tenderness and thoughtful sentimentality. But soon enough, a sun-drenched ecstasy leaches its way into Benoît Debie’s cinematography, as does a circuitous manner of exploring Moondog’s creative process. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It doesn’t really matter if Moondog’s poetry is good, by conventional standards. The way he negotiates his art (he is frequently, rightfully or otherwise, referred to as a genius) either eschews artist-movie tropes or subverts them; the film’s meandering quality never gives in to the typical rise-and-fall trajectory for Moondog and his work. Rather, it allows him to revel in his method of indulging in “total excess” to unlock his creative juices. Moondog’s best friend Lingerie (Snoop Dogg) offers him one strain of very strong weed which he calls “the safe cracker.” Moondog smokes, he has sex, he gets drunk, he writes; rinse, repeat. But unlike other portraits of the artist as a young genius, Moondog knows both the clock is ticking, and that his legacy in question. Yet, as driven as he is to complete his book, he’s less fixated on his own relevance; he values basic, sensual pleasures over wealth. \u003c/p>\n\u003cp>Korine offers moments for Moondog to reflect on the consequences of his actions … sort of. It’s not insincere, but there is a cheekiness to the character’s brief determination to clean up his act; he doesn’t ditch the excess, but the emotional transformation he’s urged to undergo by Lingerie and Jimmy Buffett(!) frees him up, and becomes a touching ode to love and art. Korine’s film is an unusual but much needed balm, a wild and wonderful guide to finding compassion and beauty in the strangest of places: Florida. I cannot think of another film that represents the perfect confluence of my own sensibilities with those of my father, or of another film that could move me to tears at the sound of “Margaritaville.” \u003c/p>\n\u003cp>Moondog and Minnie play Peggy Lee’s existential pop ballad “Is That All There Is?” as they dance around and smoke and drink up each other’s bodies and emotions, their love for one another offering a kind of high that narcotics can only approximate. This dizzying, funny, and moving combination of a love for the creative process, and love for the bodies around them, suggest that Korine has finally found in his films the Heaven that his characters have always chased. An American Dream presented as perverted, and decaying, yet splashed in neon and soaked in sunshine, \u003cem>The Beach Bum\u003c/em>‘s brilliant embrace of body, pleasure and art feels like Paradise. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "prosecutors-drop-all-charges-against-empire-actor-jussie-smollett",
"title": "Prosecutors Drop Smollett Charges In Move Decried As 'Whitewash Of Justice'",
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"content": "\u003cp>\u003cstrong>Updated at 3:48 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Prosecutors are dropping all charges against \u003cem>Empire\u003c/em> actor Jussie Smollett\u003cstrong> \u003c/strong>in a surprising and controversial move that has exposed a stark fault line between Chicago’s local authorities and their county and state counterparts. The decision Tuesday appears to clear Smollett of allegations that he filed a false police report \u003ca href=\"https://www.npr.org/2019/03/14/703325175/jussie-smollett-pleads-not-guilty-to-charges-he-faked-brutal-attack-against-hims\">earlier this year\u003c/a> when the actor, who is gay and black, claimed that he was attacked in Chicago in a possible hate crime.\u003c/p>\n\u003cp>Prosecutors in Cook County, Ill., said they would not pursue \u003ca href=\"https://www.npr.org/2019/03/08/701751613/jussie-smollett-indicted-on-16-felony-counts-by-chicago-grand-jury\">the grand jury indictment\u003c/a> against Smollett, which returned 16 felony counts of disorderly conduct against him. Tuesday’s decision, according to the Cook County State’s Attorney’s Office, had to do, in part, with the actor’s community service and bond payment to the city.\u003c/p>\n\u003cp>“After reviewing all of the facts and circumstances of the case, including Mr. Smollet[t]’s volunteer service in the community and agreement to forfeit his [$10,000] bond to the City of Chicago, we believe this outcome is a just disposition and appropriate resolution to this case,” the office led by \u003ca href=\"https://www.cookcountystatesattorney.org/about/kimberly-foxx\">State’s Attorney Kim Foxx\u003c/a> said in a statement emailed to NPR.\u003c/p>\n\u003cp>Foxx \u003ca href=\"https://www.nbcchicago.com/news/local/kim-foxx-jussie-smollett-recused-506070211.html\">recused herself\u003c/a> from the Smollett investigation last month to “address potential questions of impartiality based upon familiarity with potential witnesses in the case,” according to a statement released at the time. First Assistant State’s Attorney Joseph Magats, who took over on her behalf, said the decision should not necessarily be viewed as an exoneration.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The fact there was an alternative disposition in this case is not and should not be viewed as some kind of admission there was something wrong with the case or something wrong with the investigation that the Chicago police did,” Magats \u003ca href=\"https://chicago.suntimes.com/entertainment/empire-jussie-smollett-emergency-court-hearing/\">told the Chicago Sun-Times\u003c/a>, explaining: “It’s a nonviolent crime. He has no felony criminal background.”\u003c/p>\n\u003cp>The city’s police and mayor vehemently disagree with the move, however. \u003c/p>\n\u003cp>At a news conference called after the announcement, Mayor Rahm Emanuel, together with police Superintendent Eddie Johnson, railed against it as a “whitewash of justice.”\u003c/p>\n\u003cp>“It is not on the level, from beginning to end,” a visibly angry Emanuel told reporters. “There needs to be a level of accountability throughout the system, and this sends an unambiguous message that there is no accountability. And that is wrong.”\u003c/p>\n\u003cp>Last month, during a \u003ca href=\"https://www.npr.org/2019/02/21/696593870/chicago-police-empire-actor-jessie-smollett-faked-attack\">lengthy statement to the media\u003c/a>, Johnson explained the allegations: that Smollett paid two brothers to carry out a fake attack against him — involving racial and anti-gay slurs and a rope around his neck — and that Smollett filed a police report to that effect, all in an attempt to “further his own public profile.”\u003c/p>\n\u003cp>The police superintendent still stands by those accusations.\u003c/p>\n\u003cp>“I’ve been a cop now for about 31 years, and when I came on this job, I came on with my honor, my integrity and my reputation,” Johnson said Tuesday. “If someone accused me of doing anything that would circumvent that, then I would want my day in court, period — to clear my name. \u003c/p>\n\u003cp>“I’ve heard that they wanted their day in court with TV cameras so America could know the truth,” he added, “and now they chose to hide behind secrecy and broker a deal, to circumvent the judicial system.”\u003c/p>\n\u003cp>Chicago police spokesman Anthony Guglielmi summed up the department’s position more succinctly: “In our experience,” \u003ca href=\"https://twitter.com/i/web/status/1110600312887361536\">he tweeted\u003c/a>, “innocent individuals don’t forget bond & perform community service in exchange for dropped charges.”\u003c/p>\n\u003cp>Smollett’s attorneys, for their part, celebrated the decision to drop the charges as a vindication. They say the actor’s record has been “wiped clean of the filing of this tragic complaint against him.”\u003c/p>\n\u003cp>“He was a victim who was vilified and made to appear as a perpetrator as a result of false and inappropriate remarks made to the public causing an inappropriate rush to judgement,” attorneys Tina Glandian and Patricia Brown Holmes said in a statement released by a spokesperson.\u003c/p>\n\u003cp>“Jussie and many others were hurt by these unfair and unwarranted actions,” they continued. “This entire situation is a reminder that there should never be an attempt to prove a case in the court of public opinion. That is wrong. It is a reminder that a victim, in this case Jussie, deserves dignity and respect. Dismissal of charges against the victim in this case was the only just result.”\u003c/p>\n\u003cp>Not long after his arrest in February, the actor was removed from the final episodes of \u003cem>Empire\u003c/em>‘s season — “to avoid further disruption on set,” the show’s producers \u003ca href=\"https://www.npr.org/2019/02/22/697008758/jussie-smolletts-character-removed-from-final-episodes-of-empire-season\">said at the time\u003c/a>. 20th Century Fox Television, the company behind the show, issued a brief statement after Tuesday’s announcement.\u003c/p>\n\u003cp>“Jussie Smollett has always maintained his innocence and we are gratified that all charges against him have been dismissed,” the company said in its statement to NPR.\u003c/p>\n\u003cp>Smollett himself reasserted his innocence at a news conference after his hearing.\u003c/p>\n\u003cp>“I’ve been truthful and consistent on every single level since day one. I would not be my mother’s son if I was capable of one drop of what I was being accused of,” he said, in his first public comments since \u003ca href=\"https://www.youtube.com/watch?v=pXLx5OY21Bk\">an interview last month\u003c/a> with ABC News.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This has been an incredibly difficult time — honestly, one of the worst of my entire life. But I’m a man of faith and I’m a man that has knowledge of my history, and I would not bring my family, our lives or the movement through a fire like this.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2019 NPR. To see more, visit https://www.npr.org.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Prosecutors+Drop+Smollett+Charges+In+Move+Decried+As+%27Whitewash+Of+Justice%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 3:48 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Prosecutors are dropping all charges against \u003cem>Empire\u003c/em> actor Jussie Smollett\u003cstrong> \u003c/strong>in a surprising and controversial move that has exposed a stark fault line between Chicago’s local authorities and their county and state counterparts. The decision Tuesday appears to clear Smollett of allegations that he filed a false police report \u003ca href=\"https://www.npr.org/2019/03/14/703325175/jussie-smollett-pleads-not-guilty-to-charges-he-faked-brutal-attack-against-hims\">earlier this year\u003c/a> when the actor, who is gay and black, claimed that he was attacked in Chicago in a possible hate crime.\u003c/p>\n\u003cp>Prosecutors in Cook County, Ill., said they would not pursue \u003ca href=\"https://www.npr.org/2019/03/08/701751613/jussie-smollett-indicted-on-16-felony-counts-by-chicago-grand-jury\">the grand jury indictment\u003c/a> against Smollett, which returned 16 felony counts of disorderly conduct against him. Tuesday’s decision, according to the Cook County State’s Attorney’s Office, had to do, in part, with the actor’s community service and bond payment to the city.\u003c/p>\n\u003cp>“After reviewing all of the facts and circumstances of the case, including Mr. Smollet[t]’s volunteer service in the community and agreement to forfeit his [$10,000] bond to the City of Chicago, we believe this outcome is a just disposition and appropriate resolution to this case,” the office led by \u003ca href=\"https://www.cookcountystatesattorney.org/about/kimberly-foxx\">State’s Attorney Kim Foxx\u003c/a> said in a statement emailed to NPR.\u003c/p>\n\u003cp>Foxx \u003ca href=\"https://www.nbcchicago.com/news/local/kim-foxx-jussie-smollett-recused-506070211.html\">recused herself\u003c/a> from the Smollett investigation last month to “address potential questions of impartiality based upon familiarity with potential witnesses in the case,” according to a statement released at the time. First Assistant State’s Attorney Joseph Magats, who took over on her behalf, said the decision should not necessarily be viewed as an exoneration.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The fact there was an alternative disposition in this case is not and should not be viewed as some kind of admission there was something wrong with the case or something wrong with the investigation that the Chicago police did,” Magats \u003ca href=\"https://chicago.suntimes.com/entertainment/empire-jussie-smollett-emergency-court-hearing/\">told the Chicago Sun-Times\u003c/a>, explaining: “It’s a nonviolent crime. He has no felony criminal background.”\u003c/p>\n\u003cp>The city’s police and mayor vehemently disagree with the move, however. \u003c/p>\n\u003cp>At a news conference called after the announcement, Mayor Rahm Emanuel, together with police Superintendent Eddie Johnson, railed against it as a “whitewash of justice.”\u003c/p>\n\u003cp>“It is not on the level, from beginning to end,” a visibly angry Emanuel told reporters. “There needs to be a level of accountability throughout the system, and this sends an unambiguous message that there is no accountability. And that is wrong.”\u003c/p>\n\u003cp>Last month, during a \u003ca href=\"https://www.npr.org/2019/02/21/696593870/chicago-police-empire-actor-jessie-smollett-faked-attack\">lengthy statement to the media\u003c/a>, Johnson explained the allegations: that Smollett paid two brothers to carry out a fake attack against him — involving racial and anti-gay slurs and a rope around his neck — and that Smollett filed a police report to that effect, all in an attempt to “further his own public profile.”\u003c/p>\n\u003cp>The police superintendent still stands by those accusations.\u003c/p>\n\u003cp>“I’ve been a cop now for about 31 years, and when I came on this job, I came on with my honor, my integrity and my reputation,” Johnson said Tuesday. “If someone accused me of doing anything that would circumvent that, then I would want my day in court, period — to clear my name. \u003c/p>\n\u003cp>“I’ve heard that they wanted their day in court with TV cameras so America could know the truth,” he added, “and now they chose to hide behind secrecy and broker a deal, to circumvent the judicial system.”\u003c/p>\n\u003cp>Chicago police spokesman Anthony Guglielmi summed up the department’s position more succinctly: “In our experience,” \u003ca href=\"https://twitter.com/i/web/status/1110600312887361536\">he tweeted\u003c/a>, “innocent individuals don’t forget bond & perform community service in exchange for dropped charges.”\u003c/p>\n\u003cp>Smollett’s attorneys, for their part, celebrated the decision to drop the charges as a vindication. They say the actor’s record has been “wiped clean of the filing of this tragic complaint against him.”\u003c/p>\n\u003cp>“He was a victim who was vilified and made to appear as a perpetrator as a result of false and inappropriate remarks made to the public causing an inappropriate rush to judgement,” attorneys Tina Glandian and Patricia Brown Holmes said in a statement released by a spokesperson.\u003c/p>\n\u003cp>“Jussie and many others were hurt by these unfair and unwarranted actions,” they continued. “This entire situation is a reminder that there should never be an attempt to prove a case in the court of public opinion. That is wrong. It is a reminder that a victim, in this case Jussie, deserves dignity and respect. Dismissal of charges against the victim in this case was the only just result.”\u003c/p>\n\u003cp>Not long after his arrest in February, the actor was removed from the final episodes of \u003cem>Empire\u003c/em>‘s season — “to avoid further disruption on set,” the show’s producers \u003ca href=\"https://www.npr.org/2019/02/22/697008758/jussie-smolletts-character-removed-from-final-episodes-of-empire-season\">said at the time\u003c/a>. 20th Century Fox Television, the company behind the show, issued a brief statement after Tuesday’s announcement.\u003c/p>\n\u003cp>“Jussie Smollett has always maintained his innocence and we are gratified that all charges against him have been dismissed,” the company said in its statement to NPR.\u003c/p>\n\u003cp>Smollett himself reasserted his innocence at a news conference after his hearing.\u003c/p>\n\u003cp>“I’ve been truthful and consistent on every single level since day one. 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"title": "Disney Officially Owns 21st Century Fox",
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"content": "\u003cp>Homer Simpson probably won’t become the newest member of the Avengers, but anything’s possible now that Disney owns 21st Century Fox.\u003c/p>\n\u003cp>One year after the Walt Disney Co. announced the $71.3 billion merger, it’s official. The deal, which closed Wednesday at 12:02 a.m. Eastern time, reshapes the media landscape and makes Disney an even greater entertainment behemoth. In bolstering its trove of characters and stories, the acquisition also puts Disney in a stronger position to take on Netflix and other streaming companies when it launches its own service, Disney+, later this year.\u003c/p>\n\u003cp>Disney, which already owns the Pixar, Marvel and the Star Wars brands, will now also get Deadpool and the Fox-owned Marvel characters such as the X-Men and Fantastic Four, allowing for the full Marvel family to be united. Disney also now owns former Fox television networks such as FX Networks and National Geographic Partners. Disney will also get Fox’s 30 percent ownership of Hulu, giving Disney a controlling share of 60 percent.\u003c/p>\n\u003cp>https://twitter.com/AlJean/status/1108134895799267329\u003c/p>\n\u003cp>Now that Fox Corp. has sold off most of its entertainment properties, it has become a standalone company that will retain ownership of its broadcast network, owned-and-operated network affiliates, the Fox News Channel, Fox Business Network and Fox Sports.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Former House speaker Paul Ryan is joining the board of directors of the new Fox Corp. NPR’s David Folkenflik \u003ca href=\"https://www.wbur.org/hereandnow/2019/03/19/paul-ryan-joins-fox\">told WBUR’s “Here and Now”\u003c/a> that Fox’s decision to retain Ryan “is in keeping with the way in which Rupert Murdoch and his family has operated over the years, where they have acquired, essentially, a lot of major political heavyweights to be on their corporate boards, occasionally as top executives — essentially as a hedge” against the fairly heavy regulations that media companies sometimes face.\u003c/p>\n\u003cp>https://twitter.com/VancityReynolds/status/1108002378064822272\u003c/p>\n\u003cp>The deal has been in the works for more than a year, but wasn’t official until various regulatory agencies around the world gave their approvals. After \u003ca href=\"https://variety.com/2018/biz/news/disney-fox-acquisition-comcast-timeline-1202758220/\">months of flirting\u003c/a> with the idea, Disney and Fox announced in December 2017 that they had agreed to a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/14/568829541/this-mouse-swallows-part-of-a-fox-disney-buys-much-of-murdoch-empire\">$52.4 billion deal\u003c/a> that would sell off most of Rupert Murdoch’s entertainment properties. As Folkenflik reported at the time, the acquisition offered a chance for Disney to “consolidate holdings, bringing together talented leaders in television and movie production, major cable properties and a vast network of local sports cable channels to fold into Disney’s ESPN programming.”\u003c/p>\n\u003cp>The deal hit a snag in 2018 when Comcast unexpectedly \u003ca href=\"https://www.npr.org/2018/06/13/619748496/comcast-puts-in-65-billion-bid-for-21st-century-fox\">bid $65 billion \u003c/a>to lure Fox away from Disney. But Disney was able to keep the deal moving forward when it \u003ca href=\"https://www.npr.org/2018/07/19/630439333/disney-prevails-in-hunt-for-fox-as-comcast-drops-bid\">upped its offer \u003c/a>to $71 billion. The Justice Department OK’d the acquisition last summer as long as Disney, which owns ESPN, \u003ca href=\"https://www.npr.org/2018/06/27/624075667/justice-department-disney-can-buy-21st-century-fox-but-with-one-caveat\">agreed to sell off\u003c/a> 22 regional sports networks that were originally part of the purchase.\u003c/p>\n\u003cp>For Fox, the decision to sell many of its entertainment properties was motivated mostly by “fear, opportunity and pragmatism,” Folkenflik explained. “Fear of the seemingly bottomless wallets of Netflix, Amazon and possibly Apple to spend on new shows; opportunity to cash out assets at a possible peak; and pragmatism in finally resolving the professional fates of Murdoch’s sons, Lachlan and James, as well the fortunes of four other Murdoch children who do not play a role in the company.”\u003c/p>\n\u003cp>The acquisition could have negative consequences. NPR TV Critic Eric Deggans told NPR’s Morning Edition that thousands of people will likely lose their jobs as Disney consolidates its properties.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Note:\u003c/em>\u003c/strong>\u003cem> Both Walt Disney Pictures and 20th Century Fox have funded NPR.\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>\u003cp>Homer Simpson probably won’t become the newest member of the Avengers, but anything’s possible now that Disney owns 21st Century Fox.\u003c/p>\n\u003cp>One year after the Walt Disney Co. announced the $71.3 billion merger, it’s official. The deal, which closed Wednesday at 12:02 a.m. Eastern time, reshapes the media landscape and makes Disney an even greater entertainment behemoth. In bolstering its trove of characters and stories, the acquisition also puts Disney in a stronger position to take on Netflix and other streaming companies when it launches its own service, Disney+, later this year.\u003c/p>\n\u003cp>Disney, which already owns the Pixar, Marvel and the Star Wars brands, will now also get Deadpool and the Fox-owned Marvel characters such as the X-Men and Fantastic Four, allowing for the full Marvel family to be united. Disney also now owns former Fox television networks such as FX Networks and National Geographic Partners. Disney will also get Fox’s 30 percent ownership of Hulu, giving Disney a controlling share of 60 percent.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The deal has been in the works for more than a year, but wasn’t official until various regulatory agencies around the world gave their approvals. After \u003ca href=\"https://variety.com/2018/biz/news/disney-fox-acquisition-comcast-timeline-1202758220/\">months of flirting\u003c/a> with the idea, Disney and Fox announced in December 2017 that they had agreed to a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/12/14/568829541/this-mouse-swallows-part-of-a-fox-disney-buys-much-of-murdoch-empire\">$52.4 billion deal\u003c/a> that would sell off most of Rupert Murdoch’s entertainment properties. As Folkenflik reported at the time, the acquisition offered a chance for Disney to “consolidate holdings, bringing together talented leaders in television and movie production, major cable properties and a vast network of local sports cable channels to fold into Disney’s ESPN programming.”\u003c/p>\n\u003cp>The deal hit a snag in 2018 when Comcast unexpectedly \u003ca href=\"https://www.npr.org/2018/06/13/619748496/comcast-puts-in-65-billion-bid-for-21st-century-fox\">bid $65 billion \u003c/a>to lure Fox away from Disney. But Disney was able to keep the deal moving forward when it \u003ca href=\"https://www.npr.org/2018/07/19/630439333/disney-prevails-in-hunt-for-fox-as-comcast-drops-bid\">upped its offer \u003c/a>to $71 billion. The Justice Department OK’d the acquisition last summer as long as Disney, which owns ESPN, \u003ca href=\"https://www.npr.org/2018/06/27/624075667/justice-department-disney-can-buy-21st-century-fox-but-with-one-caveat\">agreed to sell off\u003c/a> 22 regional sports networks that were originally part of the purchase.\u003c/p>\n\u003cp>For Fox, the decision to sell many of its entertainment properties was motivated mostly by “fear, opportunity and pragmatism,” Folkenflik explained. “Fear of the seemingly bottomless wallets of Netflix, Amazon and possibly Apple to spend on new shows; opportunity to cash out assets at a possible peak; and pragmatism in finally resolving the professional fates of Murdoch’s sons, Lachlan and James, as well the fortunes of four other Murdoch children who do not play a role in the company.”\u003c/p>\n\u003cp>The acquisition could have negative consequences. NPR TV Critic Eric Deggans told NPR’s Morning Edition that thousands of people will likely lose their jobs as Disney consolidates its properties.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Note:\u003c/em>\u003c/strong>\u003cem> Both Walt Disney Pictures and 20th Century Fox have funded NPR.\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>As it has annually for 17 years, the Library of Congress picked out a wide-ranging set of recordings — songs, albums, speeches, monologues, field recordings and some very old phonograph cylinders — to add to the National Recording Registry, bringing the total number of works within it to 525.\u003c/p>\n\u003cp>“The National Recording Registry honors the music that enriches our souls, the voices that tell our stories and the sounds that mirror our lives,” said Librarian of Congress Carla Hayden, who in 2016 \u003ca href=\"https://www.npr.org/2016/09/14/493965815/first-woman-and-african-american-sworn-in-as-librarian-of-congress\">became the first woman and the first African-American\u003c/a> to lead the Library.\u003c/p>\n\u003cp>The most modern of this year’s 25 selections is \u003cem>The Blueprint\u003c/em>, Jay-Z’s 2001 album that solidified the now-mogul’s place in history and boosted the rise of Kanye West, who produced several of its songs. In 2002, Grandmaster Flash and The Furious Five’s epochal single “The Message” became the first hip-hop recording included in the Registry, as part of its inaugural list. Since then, works from hip-hop luminaries Public Enemy, 2Pac, The Sugarhill Gang, N.W.A and Run-D.M.C. have been included in its catalog.\u003c/p>\n\u003cp>Nina Simone’s lament “Mississippi Goddam,” released in 1964 \u003ca href=\"https://www.npr.org/2019/01/08/683021559/nina-simone-to-be-young-gifted-and-black-american-anthem\">in response\u003c/a> to the murder of civil rights activist Medgar Evers by a Klansman and the bombing of a church in Birmingham, Ala. that killed four young girls, was also added to the rolls. (Simone would later say some of her songs from the civil rights era had \u003ca href=\"https://books.google.com/books?id=C7EDAAAAMBAJ&pg=PA54&dq=%22mississippi+goddam%22&hl=en&sa=X&ei=o_kDT6rhKIivgweo5_GfAg&ved=0CDAQ6AEwAA#v=onepage&q=%22mississippi%20goddam%22&f=false\">hurt her career\u003c/a>).\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - Mississippi Goddam (Live in Netherlands)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/ghhaREDM3X8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Richie Valens’ “La Bamba,” the Chicano rock pioneer’s \u003ca href=\"https://www.npr.org/2000/07/15/1079558/npr-100-la-bamba\">adaptation\u003c/a> of a Mexican folk song, made the young Valens’ legacy just before he died in a plane crash at the age of 17. (A biopic of the same title \u003ca href=\"https://www.loc.gov/item/prn-17-178/\">was named\u003c/a> to the National Film Registry in 2017). The song “continues to be a hallmark in American music and an influence on all Latino music that followed,” says Louie Pérez, whose band Los Lobos famously covered the song in the 1980s, in a statement issued by the Library of Congress.\u003c/p>\n\u003cp>Two heavily grooved, disco-era classics from 1978 also made the list — Earth, Wind & Fire’s song “September” (the date celebrated in the song, for what it’s worth, \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">has no meaning beyond its satisfying sound\u003c/a>) and Sylvester’s “\u003ca href=\"https://www.npr.org/2018/10/08/651794925/sylvester-you-make-me-feel-mighty-real-american-anthem-disco-celebration\">You Make Me Feel (Mighty Real)\u003c/a>.” Another album intrinsic to that decade’s sound, Curtis Mayfield’s soundtrack album for \u003cem>Super Fly\u003c/em>, was added as well.\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/bDWSemTCV40\">http://youtu.be/bDWSemTCV40\u003c/a>\u003c/p>\n\u003cp>Non-musical entries include Robert F. Kennedy’s April 4, 1968 speech, given in response to the assassination of Dr. Martin Luther King, Jr.; the monologues of Ruth Draper, whose theatrical performances brought her, by request, to \u003ca href=\"https://www.britannica.com/biography/Ruth-Draper\">Windsor Castle\u003c/a> to perform; the comedy-history album \u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years \u003c/em>from 1961; and documentation of 23 tribal languages of Native Americans from the Northwest of the country.\u003c/p>\n\u003cp>The Registry has added recordings every year \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\">since 2002\u003c/a> as part of the National Recording Preservation Act, which \u003ca href=\"https://www.congress.gov/bill/106th-congress/house-bill/4846\">passed\u003c/a> in 2000 and called for the establishment of the National Recording Registry and the use of the National Audio-Visual Conservation Center in Culpeper, Va., to “ensure proper storage of preserved sound recordings” — a resource that should be appreciated by all those who have \u003ca href=\"https://www.npr.org/2019/03/18/704458168/myspace-says-it-lost-years-of-user-uploaded-music\">reportedly lost\u003c/a> the music they uploaded to MySpace.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Full list of recordings added:\u003c/em>\u003c/p>\n\u003cul>\n\u003cli style=\"list-style-type: none\">\n\u003cul>\n\u003cli>Yiddish Cylinders from the Standard Phonograph Company of New York and the Thomas Lambert Company (c. 1901-1905)\u003c/li>\n\u003cli>“Memphis Blues,” Victor Military Band (1914)\u003c/li>\n\u003cli>Melville Jacobs Collection of Native Americans of the American Northwest (1929-1939)\u003c/li>\n\u003cli>“Minnie the Moocher,” Cab Calloway (1931)\u003c/li>\n\u003cli>Bach Six Cello Suites, Pablo Casals (c. 1939)\u003c/li>\n\u003cli>“They Look Like Men of War,” Deep River Boys (1941)\u003c/li>\n\u003cli>\u003cem>Gunsmoke\u003c/em> episode: “The Cabin” (Dec. 27, 1952)\u003c/li>\n\u003cli>Various monologues, Ruth Draper (1954-1956)\u003c/li>\n\u003cli>“La Bamba,” Ritchie Valens (1958)\u003c/li>\n\u003cli>“Long Black Veil,” Lefty Frizzell (1959)\u003c/li>\n\u003cli>\u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years\u003c/em>, Stan Freberg (1961)\u003c/li>\n\u003cli>\u003cem>GO\u003c/em>, Dexter Gordon (1962)\u003c/li>\n\u003cli>\u003cem>War Requiem\u003c/em>, Benjamin Britten (1963)\u003c/li>\n\u003cli>“Mississippi Goddam,” Nina Simone (1964)\u003c/li>\n\u003cli>“Soul Man,” Sam & Dave (1967)\u003c/li>\n\u003cli>\u003cem>Hair\u003c/em> (original Broadway cast album) (1968)\u003c/li>\n\u003cli>Speech on the death of Dr. Martin Luther King, Jr., Robert F. Kennedy (April 4, 1968)\u003c/li>\n\u003cli>“Sweet Caroline,” Neil Diamond (1969)\u003c/li>\n\u003cli>\u003cem>Super Fly\u003c/em>, Curtis Mayfield (1972)\u003c/li>\n\u003cli>\u003cem>Ola Belle Reed\u003c/em>, Ola Belle Reed (1973)\u003c/li>\n\u003cli>“September,” Earth, Wind & Fire (1978)\u003c/li>\n\u003cli>“You Make Me Feel (Mighty Real),” Sylvester (1978)\u003c/li>\n\u003cli>\u003cem>She’s So Unusual\u003c/em>, Cyndi Lauper (1983)\u003c/li>\n\u003cli>\u003cem>Schoolhouse Rock!: The Box Set\u003c/em> (1998)\u003c/li>\n\u003cli>\u003cem>The Blueprint\u003c/em>, Jay-Z (2001)\u003c/li>\n\u003c/ul>\n\u003c/li>\n\u003c/ul>\n\u003chr>\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=Jay-Z%2C+%27Super+Fly%2C%27+%27La+Bamba%27+Added+To+National+Recording+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As it has annually for 17 years, the Library of Congress picked out a wide-ranging set of recordings — songs, albums, speeches, monologues, field recordings and some very old phonograph cylinders — to add to the National Recording Registry, bringing the total number of works within it to 525.\u003c/p>\n\u003cp>“The National Recording Registry honors the music that enriches our souls, the voices that tell our stories and the sounds that mirror our lives,” said Librarian of Congress Carla Hayden, who in 2016 \u003ca href=\"https://www.npr.org/2016/09/14/493965815/first-woman-and-african-american-sworn-in-as-librarian-of-congress\">became the first woman and the first African-American\u003c/a> to lead the Library.\u003c/p>\n\u003cp>The most modern of this year’s 25 selections is \u003cem>The Blueprint\u003c/em>, Jay-Z’s 2001 album that solidified the now-mogul’s place in history and boosted the rise of Kanye West, who produced several of its songs. In 2002, Grandmaster Flash and The Furious Five’s epochal single “The Message” became the first hip-hop recording included in the Registry, as part of its inaugural list. Since then, works from hip-hop luminaries Public Enemy, 2Pac, The Sugarhill Gang, N.W.A and Run-D.M.C. have been included in its catalog.\u003c/p>\n\u003cp>Nina Simone’s lament “Mississippi Goddam,” released in 1964 \u003ca href=\"https://www.npr.org/2019/01/08/683021559/nina-simone-to-be-young-gifted-and-black-american-anthem\">in response\u003c/a> to the murder of civil rights activist Medgar Evers by a Klansman and the bombing of a church in Birmingham, Ala. that killed four young girls, was also added to the rolls. (Simone would later say some of her songs from the civil rights era had \u003ca href=\"https://books.google.com/books?id=C7EDAAAAMBAJ&pg=PA54&dq=%22mississippi+goddam%22&hl=en&sa=X&ei=o_kDT6rhKIivgweo5_GfAg&ved=0CDAQ6AEwAA#v=onepage&q=%22mississippi%20goddam%22&f=false\">hurt her career\u003c/a>).\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - Mississippi Goddam (Live in Netherlands)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/ghhaREDM3X8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Richie Valens’ “La Bamba,” the Chicano rock pioneer’s \u003ca href=\"https://www.npr.org/2000/07/15/1079558/npr-100-la-bamba\">adaptation\u003c/a> of a Mexican folk song, made the young Valens’ legacy just before he died in a plane crash at the age of 17. (A biopic of the same title \u003ca href=\"https://www.loc.gov/item/prn-17-178/\">was named\u003c/a> to the National Film Registry in 2017). The song “continues to be a hallmark in American music and an influence on all Latino music that followed,” says Louie Pérez, whose band Los Lobos famously covered the song in the 1980s, in a statement issued by the Library of Congress.\u003c/p>\n\u003cp>Two heavily grooved, disco-era classics from 1978 also made the list — Earth, Wind & Fire’s song “September” (the date celebrated in the song, for what it’s worth, \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">has no meaning beyond its satisfying sound\u003c/a>) and Sylvester’s “\u003ca href=\"https://www.npr.org/2018/10/08/651794925/sylvester-you-make-me-feel-mighty-real-american-anthem-disco-celebration\">You Make Me Feel (Mighty Real)\u003c/a>.” Another album intrinsic to that decade’s sound, Curtis Mayfield’s soundtrack album for \u003cem>Super Fly\u003c/em>, was added as well.\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/bDWSemTCV40\">http://youtu.be/bDWSemTCV40\u003c/a>\u003c/p>\n\u003cp>Non-musical entries include Robert F. Kennedy’s April 4, 1968 speech, given in response to the assassination of Dr. Martin Luther King, Jr.; the monologues of Ruth Draper, whose theatrical performances brought her, by request, to \u003ca href=\"https://www.britannica.com/biography/Ruth-Draper\">Windsor Castle\u003c/a> to perform; the comedy-history album \u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years \u003c/em>from 1961; and documentation of 23 tribal languages of Native Americans from the Northwest of the country.\u003c/p>\n\u003cp>The Registry has added recordings every year \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\">since 2002\u003c/a> as part of the National Recording Preservation Act, which \u003ca href=\"https://www.congress.gov/bill/106th-congress/house-bill/4846\">passed\u003c/a> in 2000 and called for the establishment of the National Recording Registry and the use of the National Audio-Visual Conservation Center in Culpeper, Va., to “ensure proper storage of preserved sound recordings” — a resource that should be appreciated by all those who have \u003ca href=\"https://www.npr.org/2019/03/18/704458168/myspace-says-it-lost-years-of-user-uploaded-music\">reportedly lost\u003c/a> the music they uploaded to MySpace.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Full list of recordings added:\u003c/em>\u003c/p>\n\u003cul>\n\u003cli style=\"list-style-type: none\">\n\u003cul>\n\u003cli>Yiddish Cylinders from the Standard Phonograph Company of New York and the Thomas Lambert Company (c. 1901-1905)\u003c/li>\n\u003cli>“Memphis Blues,” Victor Military Band (1914)\u003c/li>\n\u003cli>Melville Jacobs Collection of Native Americans of the American Northwest (1929-1939)\u003c/li>\n\u003cli>“Minnie the Moocher,” Cab Calloway (1931)\u003c/li>\n\u003cli>Bach Six Cello Suites, Pablo Casals (c. 1939)\u003c/li>\n\u003cli>“They Look Like Men of War,” Deep River Boys (1941)\u003c/li>\n\u003cli>\u003cem>Gunsmoke\u003c/em> episode: “The Cabin” (Dec. 27, 1952)\u003c/li>\n\u003cli>Various monologues, Ruth Draper (1954-1956)\u003c/li>\n\u003cli>“La Bamba,” Ritchie Valens (1958)\u003c/li>\n\u003cli>“Long Black Veil,” Lefty Frizzell (1959)\u003c/li>\n\u003cli>\u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years\u003c/em>, Stan Freberg (1961)\u003c/li>\n\u003cli>\u003cem>GO\u003c/em>, Dexter Gordon (1962)\u003c/li>\n\u003cli>\u003cem>War Requiem\u003c/em>, Benjamin Britten (1963)\u003c/li>\n\u003cli>“Mississippi Goddam,” Nina Simone (1964)\u003c/li>\n\u003cli>“Soul Man,” Sam & Dave (1967)\u003c/li>\n\u003cli>\u003cem>Hair\u003c/em> (original Broadway cast album) (1968)\u003c/li>\n\u003cli>Speech on the death of Dr. Martin Luther King, Jr., Robert F. 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"title": "'Night Witches' Sheds Some Light On Daring Female Flyers",
"headTitle": "‘Night Witches’ Sheds Some Light On Daring Female Flyers | KQED",
"content": "\u003cfigure id=\"attachment_13853247\" class=\"wp-caption alignright\" style=\"max-width: 387px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13853247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/night-witches-cover.jpg\" alt=\"'Night Witches' by Garth Ennis and Russ Braun.\" width=\"387\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/night-witches-cover.jpg 387w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/night-witches-cover-160x248.jpg 160w\" sizes=\"(max-width: 387px) 100vw, 387px\">\u003cfigcaption class=\"wp-caption-text\">‘Night Witches’ by Garth Ennis and Russ Braun.\u003c/figcaption>\u003c/figure>\n\u003cp>Reading the graphic novel \u003cem>The Night Witches, \u003c/em>about female pilots who flew for the Russians in World War II, I thought about Jane Austen. More specifically, I thought about Helena Kelly’s 2017 book \u003cem>Jane Austen: The Secret Radical\u003c/em>, which issued an audacious call to incorporate creativity and imagination into women’s history. Noting that information about her subject is riddled with “so many gaps, so many silences,” Kelly feels free to invent “an imaginary Jane Austen.” The novelist herself would have approved, Kelly contends: “It’s in fiction, Jane says, that we should look for ‘the most thorough knowledge of human nature.'”\u003c/p>\n\u003cp>If women’s history sometimes needs fictional stories to flesh it out, it needs them most of all when it comes to women’s role in war. In fact, Garth Ennis was inspired to write \u003cem>The Night Witches\u003c/em> by the great historian John Keegan’s shocking dismissal of the very possibility that women have been fighters. Ennis quotes Keegan’s \u003cem>A History of Warfare\u003c/em>: “‘Warfare is … the one human activity from which women, with the most insignificant exceptions, have always and everywhere stood apart … [women] never, in any military sense, fight men.'” Ennis set out to rectify this assumption with \u003cem>The Night Witches\u003c/em> — originally published in 2009 and newly reissued.\u003c/p>\n\u003cp>Like Kelly, though, Ennis ran into a shortage of source material. Despite the efforts of recent researchers like Anne Noggle, who interviewed veteran flyers for 1994’s \u003cem>A Dance With Death: Soviet Airwomen in World War II\u003c/em>, little is known about the real lives of the Night Witches — or more properly, the 588th Night Bomber Regiment. After the war, the Soviet government downplayed the role of female personnel, and the women themselves were told not to talk about their experiences.\u003c/p>\n\u003cp>And so Ennis invents Anna Kharkova, a composite of female pilots from the same period. With this fiction, he does a remarkable service to women’s history. There are other books about the Night Witches, but none could possibly be this much fun. Anna, who’s so short she has to sit on a cushion in the cockpit, is sent with a handful of other women to fly nighttime raids across enemy lines — a mission with, at best, tepid support from the brass. The women are relegated to flying rattletrap biplanes so out-of-date and noisy, they dub them “sewing machines.” They have to turn off the engines and glide toward their targets so the Germans won’t hear them coming. Even so, they’re able to do plenty of damage to German equipment — and to the enemy soldiers’ nerves. It’s the Germans who dub the women flyers “Nachthexen.”\u003c/p>\n\u003cp>Ennis has Anna turn up everywhere from the Battle of Kursk to the fringes of the Korean War. She finds herself on the wrong side of both the German and Soviet governments, doing time in two different prison camps. She has various love affairs, but remains a fighter to the end — as is evident in the book’s most page-turning episode, when she’s shot down behind enemy lines. Anna may be female, but she teaches the enemy not to underestimate her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp style=\"font-weight: 400\">Ennis’ secondary characters aren’t as complex as Anna, but her fellow flyer Zoya shines. All the characters are realized more through their dialogue and actions than through Russ Braun and Tony Aviña’s art, which tends to look stiff when people express strong emotions. In every other respect, though, Braun and Aviña’s work is downright glorious. Scenes of ferocious dogfights, with planes peppered by bullets or exploding in midair, are as gripping as they are beautiful. Back on the ground, Braun draws people with formal precision and an almost frozen quality that makes every panel iconic. Aviña’s colors are gorgeously versatile, ranging from subtly enameled tones for the people to flat, bright hues for the action in the sky.\u003c/p>\n\u003cp style=\"font-weight: 400\">Most impressive of all is how vividly the artists show Anna’s progression from eager recruit to cynical veteran. She remains recognizable even as experience scars her beyond belief. In this regard, she illuminates the nature of warfare, no matter who’s fighting. Anna may be just a character, but she still represents an important contribution to women’s history. In this field, fiction can tell vital truths — as even Jane Austen would probably agree.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=http-3A__etelkawrites.com&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=JUbZuVGcudZcgORe1Tg8pNLoUkGn74HD8lH9PQjh1vM&e=\">Etelka Lehoczky\u003c/a>\u003ci>\u003cem style=\"font-weight: inherit\"> has written about comics for\u003c/em>\u003c/i> The Atlantic and The Los Angeles Review of Books. \u003ci>\u003cem style=\"font-weight: inherit\">She tweets at\u003c/em>\u003c/i> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13853247\" class=\"wp-caption alignright\" style=\"max-width: 387px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13853247\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/night-witches-cover.jpg\" alt=\"'Night Witches' by Garth Ennis and Russ Braun.\" width=\"387\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/night-witches-cover.jpg 387w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/night-witches-cover-160x248.jpg 160w\" sizes=\"(max-width: 387px) 100vw, 387px\">\u003cfigcaption class=\"wp-caption-text\">‘Night Witches’ by Garth Ennis and Russ Braun.\u003c/figcaption>\u003c/figure>\n\u003cp>Reading the graphic novel \u003cem>The Night Witches, \u003c/em>about female pilots who flew for the Russians in World War II, I thought about Jane Austen. More specifically, I thought about Helena Kelly’s 2017 book \u003cem>Jane Austen: The Secret Radical\u003c/em>, which issued an audacious call to incorporate creativity and imagination into women’s history. Noting that information about her subject is riddled with “so many gaps, so many silences,” Kelly feels free to invent “an imaginary Jane Austen.” The novelist herself would have approved, Kelly contends: “It’s in fiction, Jane says, that we should look for ‘the most thorough knowledge of human nature.'”\u003c/p>\n\u003cp>If women’s history sometimes needs fictional stories to flesh it out, it needs them most of all when it comes to women’s role in war. In fact, Garth Ennis was inspired to write \u003cem>The Night Witches\u003c/em> by the great historian John Keegan’s shocking dismissal of the very possibility that women have been fighters. Ennis quotes Keegan’s \u003cem>A History of Warfare\u003c/em>: “‘Warfare is … the one human activity from which women, with the most insignificant exceptions, have always and everywhere stood apart … [women] never, in any military sense, fight men.'” Ennis set out to rectify this assumption with \u003cem>The Night Witches\u003c/em> — originally published in 2009 and newly reissued.\u003c/p>\n\u003cp>Like Kelly, though, Ennis ran into a shortage of source material. Despite the efforts of recent researchers like Anne Noggle, who interviewed veteran flyers for 1994’s \u003cem>A Dance With Death: Soviet Airwomen in World War II\u003c/em>, little is known about the real lives of the Night Witches — or more properly, the 588th Night Bomber Regiment. After the war, the Soviet government downplayed the role of female personnel, and the women themselves were told not to talk about their experiences.\u003c/p>\n\u003cp>And so Ennis invents Anna Kharkova, a composite of female pilots from the same period. With this fiction, he does a remarkable service to women’s history. There are other books about the Night Witches, but none could possibly be this much fun. Anna, who’s so short she has to sit on a cushion in the cockpit, is sent with a handful of other women to fly nighttime raids across enemy lines — a mission with, at best, tepid support from the brass. The women are relegated to flying rattletrap biplanes so out-of-date and noisy, they dub them “sewing machines.” They have to turn off the engines and glide toward their targets so the Germans won’t hear them coming. Even so, they’re able to do plenty of damage to German equipment — and to the enemy soldiers’ nerves. It’s the Germans who dub the women flyers “Nachthexen.”\u003c/p>\n\u003cp>Ennis has Anna turn up everywhere from the Battle of Kursk to the fringes of the Korean War. She finds herself on the wrong side of both the German and Soviet governments, doing time in two different prison camps. She has various love affairs, but remains a fighter to the end — as is evident in the book’s most page-turning episode, when she’s shot down behind enemy lines. Anna may be female, but she teaches the enemy not to underestimate her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp style=\"font-weight: 400\">Ennis’ secondary characters aren’t as complex as Anna, but her fellow flyer Zoya shines. All the characters are realized more through their dialogue and actions than through Russ Braun and Tony Aviña’s art, which tends to look stiff when people express strong emotions. In every other respect, though, Braun and Aviña’s work is downright glorious. Scenes of ferocious dogfights, with planes peppered by bullets or exploding in midair, are as gripping as they are beautiful. Back on the ground, Braun draws people with formal precision and an almost frozen quality that makes every panel iconic. Aviña’s colors are gorgeously versatile, ranging from subtly enameled tones for the people to flat, bright hues for the action in the sky.\u003c/p>\n\u003cp style=\"font-weight: 400\">Most impressive of all is how vividly the artists show Anna’s progression from eager recruit to cynical veteran. She remains recognizable even as experience scars her beyond belief. In this regard, she illuminates the nature of warfare, no matter who’s fighting. Anna may be just a character, but she still represents an important contribution to women’s history. In this field, fiction can tell vital truths — as even Jane Austen would probably agree.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp style=\"font-weight: 400\">\u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=http-3A__etelkawrites.com&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=JUbZuVGcudZcgORe1Tg8pNLoUkGn74HD8lH9PQjh1vM&e=\">Etelka Lehoczky\u003c/a>\u003ci>\u003cem style=\"font-weight: inherit\"> has written about comics for\u003c/em>\u003c/i> The Atlantic and The Los Angeles Review of Books. \u003ci>\u003cem style=\"font-weight: inherit\">She tweets at\u003c/em>\u003c/i> \u003ca href=\"https://urldefense.proofpoint.com/v2/url?u=https-3A__twitter.com_EtelkaL&d=DwMFaQ&c=E2nBno7hEddFhl23N5nD1Q&r=eDR3RhrQF9JBI8Rzx0SRPw&m=vR6dskFG6Pki76w8marL327xnaWSpIVAqnkFp2Pm3ak&s=Mdo8__hjawldjbQthelAboNsxAd-9SFUx24643NrlUM&e=\">@EtelkaL\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2019 NPR. To see more, visit \u003ca href=\"https://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Dick Dale, the surf rock pioneer who took reverb to new levels, died on Saturday night. He was 81. The guitarist’s health had declined over the past 20 years due to a number of illnesses, including diabetes, kidney disease and rectal cancer. The news was confirmed to NPR by Dusty Watson, a drummer who worked and toured with Dale between 1995 and 2006, who says he spoke with Dale’s wife, Lana Dale. No cause was given.\u003c/p>\n\u003cp>Dale, born Richard Anthony Monsour in 1937, changed the sound of rock and roll in the early 1960s when he upped the reverb on his guitar and applied the Arabic scales of his father’s native Lebanon. Born and originally raised in Massachusetts, he found his aesthetic when his family moved to Orange County, California in 1954—where he took up surfing.\u003c/p>\n\u003cp>[contextly_sidebar id=”183YBqjoFCgM3n39IS44W6BARMAjhZrL”]\u003c/p>\n\u003cp>His high-energy interpretation of \u003ca href=\"https://www.youtube.com/watch?v=LW6qGy3RtwY\">an old song from Asia Minor\u003c/a>, “Misirlou” (Egyptian Girl), became the most famous song of surf rock: He had learned the tune from his Lebanese uncles, who played it on the \u003cem>oud\u003c/em>.\u003c/p>\n\u003cp>“I started playing it,” Dale, who had started out as a drummer, told \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=130111454\">NPR in a 2010 interview\u003c/a>, “and I said, ‘Oh no, that’s too slow.’ And I thought of Gene Krupa’s drumming, his staccato drumming… When we went to California, I got my first guitar, but I was using this rocket-attack, Gene Krupa rhythm on the guitar.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And that wildfire-tempo song became his signature: Dale self-released “Misirlou” as a single on Deltone Records in 1962, which led in part to a deal with Capitol Records to distribute his first album, 1962’s \u003cem>Surfer’s Choice\u003c/em>. Dale’s first album for Capitol was 1963’s \u003cem>King of the Surf Guitar\u003c/em>; he said that fans at an early show came up with the honorary moniker.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Miserlou\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/mKpsuGMeqHI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Dale’s collaborations with guitar inventor Leo Fender also made sonic history. “I met a man called Leo Fender,” he told NPR, “who is the Einstein of the guitar and the amplifiers. He says, ‘Here, I just made a guitar, it’s a Stratocaster. You just beat it to death and tell me what you think. So when I started playing on that thing, I wanted to get it to be as loud as I could, like Gene Krupa drums. And as I was surfing, when the waves picked me up and took me through the tubes, I would get that rumble sound.”\u003c/p>\n\u003cp>Fender and Dale also worked together on amplifiers, Dale told \u003cem>Fresh Air\u003c/em>‘s Terry Gross in 1993. “I wanted to get a fat, thick, deep sound,” Dale remarked.\u003c/p>\n\u003cp>[contextly_sidebar id=”5u88zYVPpPEqRdoseCXB3TYcWpy63tAH”]\u003c/p>\n\u003cp>Fender kept trying options, but Dale still wasn’t satisfied. “We kept on making all these adjustments with output transformers, with speakers,” Dale told \u003cem>Fresh Air\u003c/em>, “and that’s how I blew up over 48 speakers and amplifiers. They’d catch on fire, the speakers would freeze, the speakers would tear from the coils … So he went back to the drawing board came up and invented the Dick Dale Showman amplifier, and the dual Showman amplifier with the 15 inch Lansing speaker. That was the end result … along with the creations that we did on the Stratocaster guitar, making it a real thick body because the thicker the wood, the purer the sound.”\u003c/p>\n\u003cp>Three decades after he first released his most famous tune, Dale and “Misirlou” had a wave of resurgence after the song was featured in the opening credits of Quentin Tarantino’s 1994 film \u003cem>Pulp Fiction\u003c/em>. The movie’s soundtrack sold more than 3 million copies and helped put surf rock—and Dale himself—in front of a new generation of music fans. New compilations were issued and he was even booked on the 1996 Warped Tour.\u003c/p>\n\u003cp>Over the decades that followed, he released two more albums and kept playing in front of live audiences. “I make my guitar scream with pain or pleasure or sensuality,” he told NPR. “It makes people move their feet and shake their bodies. That’s what music does.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Andrew Flanagan contributed additional reporting.\u003c/em>\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=Dick+Dale%2C+Surf+Guitar+Legend%2C+Dead+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Dick Dale, the surf rock pioneer who took reverb to new levels, died on Saturday night. He was 81. The guitarist’s health had declined over the past 20 years due to a number of illnesses, including diabetes, kidney disease and rectal cancer. The news was confirmed to NPR by Dusty Watson, a drummer who worked and toured with Dale between 1995 and 2006, who says he spoke with Dale’s wife, Lana Dale. No cause was given.\u003c/p>\n\u003cp>Dale, born Richard Anthony Monsour in 1937, changed the sound of rock and roll in the early 1960s when he upped the reverb on his guitar and applied the Arabic scales of his father’s native Lebanon. Born and originally raised in Massachusetts, he found his aesthetic when his family moved to Orange County, California in 1954—where he took up surfing.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>His high-energy interpretation of \u003ca href=\"https://www.youtube.com/watch?v=LW6qGy3RtwY\">an old song from Asia Minor\u003c/a>, “Misirlou” (Egyptian Girl), became the most famous song of surf rock: He had learned the tune from his Lebanese uncles, who played it on the \u003cem>oud\u003c/em>.\u003c/p>\n\u003cp>“I started playing it,” Dale, who had started out as a drummer, told \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=130111454\">NPR in a 2010 interview\u003c/a>, “and I said, ‘Oh no, that’s too slow.’ And I thought of Gene Krupa’s drumming, his staccato drumming… When we went to California, I got my first guitar, but I was using this rocket-attack, Gene Krupa rhythm on the guitar.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that wildfire-tempo song became his signature: Dale self-released “Misirlou” as a single on Deltone Records in 1962, which led in part to a deal with Capitol Records to distribute his first album, 1962’s \u003cem>Surfer’s Choice\u003c/em>. Dale’s first album for Capitol was 1963’s \u003cem>King of the Surf Guitar\u003c/em>; he said that fans at an early show came up with the honorary moniker.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Miserlou\" width=\"640\" height=\"480\" src=\"https://www.youtube.com/embed/mKpsuGMeqHI?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>Dale’s collaborations with guitar inventor Leo Fender also made sonic history. “I met a man called Leo Fender,” he told NPR, “who is the Einstein of the guitar and the amplifiers. He says, ‘Here, I just made a guitar, it’s a Stratocaster. You just beat it to death and tell me what you think. So when I started playing on that thing, I wanted to get it to be as loud as I could, like Gene Krupa drums. And as I was surfing, when the waves picked me up and took me through the tubes, I would get that rumble sound.”\u003c/p>\n\u003cp>Fender and Dale also worked together on amplifiers, Dale told \u003cem>Fresh Air\u003c/em>‘s Terry Gross in 1993. “I wanted to get a fat, thick, deep sound,” Dale remarked.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Fender kept trying options, but Dale still wasn’t satisfied. “We kept on making all these adjustments with output transformers, with speakers,” Dale told \u003cem>Fresh Air\u003c/em>, “and that’s how I blew up over 48 speakers and amplifiers. They’d catch on fire, the speakers would freeze, the speakers would tear from the coils … So he went back to the drawing board came up and invented the Dick Dale Showman amplifier, and the dual Showman amplifier with the 15 inch Lansing speaker. That was the end result … along with the creations that we did on the Stratocaster guitar, making it a real thick body because the thicker the wood, the purer the sound.”\u003c/p>\n\u003cp>Three decades after he first released his most famous tune, Dale and “Misirlou” had a wave of resurgence after the song was featured in the opening credits of Quentin Tarantino’s 1994 film \u003cem>Pulp Fiction\u003c/em>. The movie’s soundtrack sold more than 3 million copies and helped put surf rock—and Dale himself—in front of a new generation of music fans. New compilations were issued and he was even booked on the 1996 Warped Tour.\u003c/p>\n\u003cp>Over the decades that followed, he released two more albums and kept playing in front of live audiences. “I make my guitar scream with pain or pleasure or sensuality,” he told NPR. “It makes people move their feet and shake their bodies. That’s what music does.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR’s Andrew Flanagan contributed additional reporting.\u003c/em>\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=Dick+Dale%2C+Surf+Guitar+Legend%2C+Dead+At+81&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "u-s-accuses-actresses-others-of-fraud-in-massive-college-admissions-scandal",
"title": "Massive College Admissions Scandal Includes Bay Area Parents, Hollywood Actors",
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"headTitle": "Massive College Admissions Scandal Includes Bay Area Parents, Hollywood Actors | KQED",
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"content": "\u003cp>\u003cstrong>Updated at 4:00 p.m., Wednesday:\u003c/strong>\u003c/p>\n\u003cp>BOSTON (AP) — The latest on a college admissions bribery scandal that has led to charges against coaches and celebrities:\u003c/p>\n\u003cp>A federal judge says “Full House” actress Lori Loughlin (LAWK’-lin) can be released after posting $1 million bond in a case in which she and her husband are accused of paying bribes to get their daughters into college.\u003c/p>\n\u003cp>Loughlin stood with her lawyer in the Los Angeles courtroom Wednesday and didn’t speak except to answer “yes” to the judge’s questions. Magistrate Judge Steve Kim said Loughlin must limit her travel to the continental U.S. and areas around Vancouver, Canada, for work.\u003c/p>\n\u003cp>Dozens of defendants in the alleged nationwide scheme, including Loughlin’s husband fashion designer Mossimo Giannulli, were arrested Tuesday. Giannulli posted bond and was released Tuesday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prosecutors allege the couple paid $500,000 to have their daughters labeled as crew-team recruits at the University of Southern California, even though neither is a rower.\u003c/p>\n\u003cp>Federal officials have charged dozens of well-heeled parents, including actresses Felicity Huffman and Lori Loughlin, in what the Justice Department says was a multimillion-dollar scheme to cheat college admissions standards. The parents allegedly paid a consultant who then fabricated academic and athletic credentials and arranged bribes to help get their children into prestigious universities.\u003c/p>\n\u003cp>“We’re talking about deception and fraud — fake test scores, fake credentials, fake photographs, bribed college officials,” Andrew Lelling, U.S. attorney for the District of Massachusetts, said at a news conference Tuesday in Boston.\u003c/p>\n\u003cp>Lelling said 33 parents “paid enormous sums” to try to ensure that their children got into universities such as Stanford and Yale, sending money to entities controlled by a California man named William Rick Singer in return for obtaining false records and false scores on important tests such as the SAT and ACT.\u003c/p>\n\u003cp>Singer also presented his clients’ children as elite athletes, Lelling said. “In many instances, Singer helped parents take staged photographs of their children engaged in particular sports,” he said. “Other times, Singer and his associates used stock photos that they pulled off the Internet — sometimes photoshopping the face of the child onto the picture of the athlete” and submitting them to desirable schools.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.justice.gov/file/1142876/download\">a report\u003c/a> submitted to the U.S. Department of Justice, Agustin Huneeus Jr., 53, of San Francisco, Calif., owner of Huneeus Vinters, allegedly paid for fraudulent SAT scores and a fabricated athletic profile that falsely identified her as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with the following photograph, which is of another individual.\u003c/p>\n\u003cfigure id=\"attachment_13852782\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852782\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter.jpg\" alt=\"A fabricated athletic profile falsely identified Augustin Huneeus Jr.'s daughter as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with this fabricated photograph, which is of another individual.\" width=\"664\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter.jpg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter-160x132.jpg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">A fabricated athletic profile falsely identified Augustin Huneeus Jr.’s daughter as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with this fabricated photograph, which is of another individual. \u003ccite>(U.S. Department of Justice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Singer’s clients paid him anywhere between $200,000 and $6.5 million for this service,” Lelling said. The alleged scheme, he noted, was uncovered after his office got a lead from someone who “was a target of an entirely separate investigation, who gave us a tip that this activity might be going on.”\u003c/p>\n\u003cp>The scope of the case is massive — a total of 50 people have been charged in the admissions scheme. More than three dozen people in multiple states were taken into custody Tuesday as part of “Operation Varsity Blues,” said Joseph Bonavolonta, special agent in charge of the FBI’s Boston division, at the news conference.\u003c/p>\n\u003cp>A judge in Los Angeles ruled Tuesday that Huffman could be released on $250,000 bond and Loughlin’s husband, fashion designer Mossimo Giannulli, could be released on $1 million bond. Loughlin has not yet been arrested.\u003c/p>\n\u003cp>The scheme operated from 2011 through February 2019, Lelling said, adding that in most cases, parents paid Singer between $250,000 and $400,000 per student.\u003c/p>\n\u003cp>[documentcloud url=”https://www.documentcloud.org/documents/5766750-Complaint.html” width=800 height=800]\u003c/p>\n\u003cp>“These parents are a catalog of wealth and privilege,” Lelling said. “They include, for example, CEOs of private and public companies, successful securities and real estate investors, two well-known actresses, a famous fashion designer and the co-chairman of a global law firm.”\u003c/p>\n\u003cp>The parents were already able to give their children “every legitimate advantage,” but instead they “chose to corrupt and illegally manipulate the system for their benefit,” Lelling said.\u003c/p>\n\u003cp>“There will not be a separate admissions system for the wealthy,” he added. “And there will not be a separate criminal justice system either.”\u003c/p>\n\u003cp>The parents were charged with conspiracy to commit mail fraud and honest-services mail fraud. Other defendants in the case include university athletic coaches and college exam administrators — some of whom are accused of accepting bribes.\u003c/p>\n\u003cp>The charges are part of a complex case that has been kept under seal. Documents related to the case were revealed Tuesday, as Singer pleaded guilty to a number of federal crimes from conspiracy to commit racketeering and money laundering to obstruction of justice, according to Lelling. A former head sailing coach at Stanford, John Vandemoer, also pleaded guilty Tuesday.\u003c/p>\n\u003cp>Singer “owned and operated the Edge College & Career Network LLC (‘The Key’) – a for-profit college counseling and preparation business – and served as the CEO of the Key Worldwide Foundation (KWF) – a non-profit corporation that he established as a purported charity,” the Justice Department \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">said in a statement\u003c/a>.\u003c/p>\n\u003cp>On \u003ca href=\"http://thekeyworldwide.com/getintocollege/why_the_key.html\">its website\u003c/a>, The Key promises to “unlock the door to academic, social, personal and career success.” The \u003ca href=\"http://thekeyworldwide.com/foundation/the_key_foundation.html\">foundation says\u003c/a> it “has touched the lives of hundreds of students that would never have been exposed to what higher education could do for them.”\u003c/p>\n\u003cp>Court documents state that the following schools were targeted as part of a “student-athlete recruitment scam”: Yale University, the University of Southern California, Georgetown University, UCLA, Wake Forest University, Stanford University, the University of San Diego and the \u003ca href=\"https://www.kut.org/post/ut-austin-tennis-coach-accepted-nearly-100000-college-admission-scheme-authorities-say\">University of Texas, Austin\u003c/a>.\u003c/p>\n\u003cp>Parents allegedly paid Singer a total of about $25 million that was then funneled into bribes for coaches and a university athletic administrator, according to court documents. In return, the students were allegedly designated as “recruited athletes,” which could increase their chances at gaining admission.\u003c/p>\n\u003cp>For example, the indictment states that “Singer and his co-conspirators made payments totaling $250,000 to a bank account at USC that funded [then USC head water polo coach Jovan Vavic’s] water polo team.” Vavic then allegedly designated two students as water polo recruits. The complaint also says that Singer contributed to the private school tuition for Vavic’s children in exchange for his “commitment to designate Singer’s clients as recruits for the USC water polo team in the future.”\u003c/p>\n\u003cp>USC said in a statement that it is carrying out an internal investigation into Vavic and other current and former employees who have been charged “and will take employment actions as appropriate.”\u003c/p>\n\u003cp>In another example of the scam, Lelling said former Yale women’s soccer coach Rudy Meredith took $400,000 to designate a potential student as a recruit for the team — boosting the student’s admission prospects — despite knowing that the student didn’t play the sport competitively.\u003c/p>\n\u003cp>Once the student was accepted to Yale, her relatives paid Singer approximately $1.2 million, including $900,000 to one of KWF’s charitable accounts, according to court documents.\u003c/p>\n\u003cp>Last April, Meredith allegedly met with the father of a second prospective student in a hotel room in Boston — a meeting that was secretly recorded by the FBI. In it, Meredith offered to designate the man’s daughter as a soccer recruit in exchange for $450,000, court documents state.\u003c/p>\n\u003cp>Meredith resigned his long-held post in November. In a statement to NPR, a Yale representative said: “As the indictment makes clear, the Department of Justice believes that Yale has been the victim of a crime perpetrated by its former women’s soccer coach. The university has cooperated fully in the investigation and will continue to cooperate as the case moves forward.”\u003c/p>\n\u003cp>The court documents also detail numerous examples of how the test score scheme worked.\u003c/p>\n\u003cp>The Justice Department said Singer sought to manipulate college entrance exams either by gaining extra time for his clients’ children to take the SAT and ACT through bogus claims of learning disabilities or by bribing test officials outright.\u003c/p>\n\u003cp>Singer also orchestrated scenarios under which students took tests overseen by test administrators at two locations, at a public high school in Houston and at a private college prep school in West Hollywood, Calif. Federal prosecutors say Singer paid administrators Niki Williams (in Houston) and Igor Dvorskiy (in California) bribes of as much as $10,000 per test.\u003c/p>\n\u003cp>To ensure a high score, Singer allegedly arranged for a third person “to take the exams in place of the students, to give the students the correct answers during the exams, or to correct the students’ answers” after they took the test, the \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">Justice Department said\u003c/a>. That role allegedly was often played by 36-year-old Mark Riddell of Palmetto, Fla.\u003c/p>\n\u003cp>“Singer’s clients paid him between $15,000 and $75,000 per test, with the payments structured as purported donations” to a purported charity that Singer controlled, the Justice Department said. “In many instances, the students taking the exams were unaware that their parents had arranged for the cheating.”\u003c/p>\n\u003cp>Bribe payments were allegedly disguised as charitable payments to Singer’s foundation, the KWF, the Justice Department says — an arrangement that enabled the clients to “deduct the bribes from their federal income taxes.”\u003c/p>\n\u003cp>On its website, KWF describes many of the students it has helped as having “only known life on the streets, surrounded by the gang violence of the inner-city.”\u003c/p>\n\u003cp>The foundation says it has worked with a number of groups, from Los Angeles-based LadyLike Foundation to the Houston Hoops youth basketball program.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">Justice Department’s statement \u003c/a>lists each of the 50 defendants, along with some basic facts about them and the charges they face:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>William Rick Singer\u003c/strong>, 58, of Newport Beach, Calif., owner of the Edge College & Career Network and CEO of the Key Worldwide Foundation, was charged in an Information with racketeering conspiracy, money laundering conspiracy, conspiracy to defraud the United States, and obstruction of justice. … [Singer pleaded guilty on Tuesday.]\u003c/li>\n\u003cli>\u003cstrong>Mark Riddell\u003c/strong>, 36, of Palmetto, Fla., was charged in an Information with conspiracy to commit mail fraud and honest services mail fraud as well as conspiracy to commit money laundering;\u003c/li>\n\u003cli>\u003cstrong>Rudolph “Rudy” Meredith\u003c/strong>, 51, of Madison, Conn., the former head women’s soccer coach at Yale University, was charged in an Information with conspiracy to commit wire fraud and honest services wire fraud as well as honest services wire fraud;\u003c/li>\n\u003cli>\u003cstrong>John Vandemoer\u003c/strong>, 41, of Stanford, Calif., the former sailing coach at Stanford University, was charged in an Information with racketeering conspiracy. [Vandemoer pleaded guilty before a federal court in Boston on Tuesday.]\u003c/li>\n\u003cli>\u003cstrong>David Sidoo\u003c/strong>, 59, of Vancouver, Canada, was charged in an indictment with conspiracy to commit mail and wire fraud. Sidoo was arrested on Friday, March 8\u003csup>th\u003c/sup> in San Jose, Calif., and appeared in U.S. District Court for the Northern District of California [on Monday]. A date for his initial appearance in federal court in Boston has not yet been scheduled.\u003c/li>\n\u003c/ol>\n\u003cp>The following defendants were charged in an indictment with racketeering conspiracy:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Igor Dvorskiy\u003c/strong>, 52, of Sherman Oaks, Calif., director of a private elementary and high school in Los Angeles and a test administrator for the College Board and ACT;\u003c/li>\n\u003cli>\u003cstrong>Gordon Ernst\u003c/strong>, 52, of Chevy Chase, Md., former head coach of men and women’s tennis at Georgetown University;\u003c/li>\n\u003cli>\u003cstrong>William Ferguson\u003c/strong>, 48, of Winston-Salem, N.C., former women’s volleyball coach at Wake Forest University;\u003c/li>\n\u003cli>\u003cstrong>Martin Fox\u003c/strong>, 62, of Houston, Texas, president of a private tennis academy in Houston;\u003c/li>\n\u003cli>\u003cstrong>Donna Heinel\u003c/strong>, 57, of Long Beach, Calif., the senior associate athletic director at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Laura Janke\u003c/strong>, 36, of North Hollywood, Calif., former assistant coach of women’s soccer at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Ali Kho[s]roshahin\u003c/strong>, 49, of Fountain Valley, Calif., former head coach of women’s soccer at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Steven Masera\u003c/strong>, 69, of Folsom, Calif., accountant and financial officer for the Edge College & Career Network and the Key Worldwide Foundation;\u003c/li>\n\u003cli>\u003cstrong>Jorge Salcedo\u003c/strong>, 46, of Los Angeles, Calif., former head coach of men’s soccer at the University of California at Los Angeles;\u003c/li>\n\u003cli>\u003cstrong>Mikaela Sanford\u003c/strong>, 32, of Folsom, Calif., employee of the Edge College & Career Network and the Key Worldwide Foundation;\u003c/li>\n\u003cli>\u003cstrong>Jovan Vavic\u003c/strong>, 57, of Rancho Palos Verdes, Calif., former water polo coach at the University of Southern California; and\u003c/li>\n\u003cli>\u003cstrong>Niki Williams\u003c/strong>, 44, of Houston, Texas, assistant teacher at a Houston high school and test administrator for the College Board and ACT.\u003c/li>\n\u003c/ol>\n\u003cp>The following defendant was charged in a criminal complaint with conspiracy to commit mail fraud and honest services mail fraud:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Michael Center\u003c/strong>, 54, of Austin Texas, head coach of men’s tennis at the University of Texas at Austin\u003c/li>\n\u003c/ol>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The following defendants were charged in a criminal complaint with conspiracy to commit mail and wire fraud:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Gregory Abbott\u003c/strong>, 68, of New York, N.Y., the founder and chairman of a food and beverage packaging company;\u003c/li>\n\u003cli>\u003cstrong>Marcia Abbott\u003c/strong>, 59, of New York, N.Y.;\u003c/li>\n\u003cli>\u003cstrong>Gamal Abdelaziz\u003c/strong>, 62, of Las Vegas, Nev., the former senior executive of a resort and casino operator in Macau, China;\u003c/li>\n\u003cli>\u003cstrong>Diane Blake\u003c/strong>, 55, of San Francisco, Calif., an executive at a retail merchandising firm;\u003c/li>\n\u003cli>\u003cstrong>Todd Blake\u003c/strong>, 53, of San Francisco, Calif., an entrepreneur and investor;\u003c/li>\n\u003cli>\u003cstrong>Jane Buckingham\u003c/strong>, 50, of Beverly Hills, Calif., the CEO of a boutique marketing company;\u003c/li>\n\u003cli>\u003cstrong>Gordon Caplan\u003c/strong>, 52, of Greenwich, Conn., co-chairman of an international law firm based in New York City;\u003c/li>\n\u003cli>\u003cstrong>I-Hin “Joey” Chen\u003c/strong>, 64, of Newport Beach, Calif., operates a provider of warehousing and related services for the shipping industry;\u003c/li>\n\u003cli>\u003cstrong>Amy Colburn\u003c/strong>, 59, of Palo Alto, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Gregory Colburn\u003c/strong>, 61, of Palo Alto, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Robert Flaxman\u003c/strong>, 62, of Laguna Beach, Calif., founder and CEO of real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Mossimo Giannulli\u003c/strong>, 55, of Los Angeles, Calif., fashion designer;\u003c/li>\n\u003cli>\u003cstrong>Elizabeth Henriquez\u003c/strong>, 56, of Atherton, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Manuel Henriquez\u003c/strong>, 55, of Atherton, Calif., founder, chairman and CEO of a publicly traded specialty finance company;\u003c/li>\n\u003cli>\u003cstrong>Douglas Hodge\u003c/strong>, 61, of Laguna Beach, Calif., former CEO of investment management company;\u003c/li>\n\u003cli>\u003cstrong>Felicity Huffman\u003c/strong>, 56, of Los Angeles, Calif., an actress;\u003c/li>\n\u003cli>\u003cstrong>Agustin Huneeus Jr.\u003c/strong>, 53, of San Francisco, Calif., owner of wine vineyards;\u003c/li>\n\u003cli>\u003cstrong>Bruce Isackson\u003c/strong>, 61, of Hillsborough, Calif., president of a real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Davina Isackson\u003c/strong>, 55, of Hillsborough, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Michelle Janavs\u003c/strong>, 48, of Newport Coast, Calif., former executive of a large food manufacturer;\u003c/li>\n\u003cli>\u003cstrong>Elisabeth Kimmel\u003c/strong>, 54, of Las Vegas, Nev., owner and president of a media company;\u003c/li>\n\u003cli>\u003cstrong>Marjorie Klapper\u003c/strong>, 50, of Menlo Park, Calif., co-owner of jewelry business;\u003c/li>\n\u003cli>\u003cstrong>Lori Loughlin\u003c/strong>, 54, of Los Angeles, Calif., an actress;\u003c/li>\n\u003cli>\u003cstrong>Toby MacFarlane\u003c/strong>, 56, of Del Mar, Calif., former senior executive at a title insurance company;\u003c/li>\n\u003cli>\u003cstrong>William McGlashan Jr.\u003c/strong>, 55, of Mill Valley, Calif., senior executive at a global equity firm;\u003c/li>\n\u003cli>\u003cstrong>Marci Palatella\u003c/strong>, 63, of Healdsburg, Calif., CEO of a liquor distribution company;\u003c/li>\n\u003cli>\u003cstrong>Peter Jan Sartorio\u003c/strong>, 53, of Menlo Park, Calif., packaged food entrepreneur;\u003c/li>\n\u003cli>\u003cstrong>Stephen Semprevivo\u003c/strong>, 53, of Los Angeles, Calif., executive at privately held provider of outsourced sales teams;\u003c/li>\n\u003cli>\u003cstrong>Devin Sloane\u003c/strong>, 53, of Los Angeles, Calif., founder and CEO of provider of drinking and wastewater systems;\u003c/li>\n\u003cli>\u003cstrong>John Wilson\u003c/strong>, 59, of Hyannis Port, Mass., founder and CEO of private equity and real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Homayoun Zadeh\u003c/strong>, 57, of Calabasas, Calif., an associate professor of dentistry; and\u003c/li>\n\u003cli>\u003cstrong>Robert Zangrillo\u003c/strong>, 52, of Miami, Fla., founder and CEO of private investment firm.\u003c/li>\n\u003c/ol>\n\u003cdiv class=\"fullattribution\">\n\u003cp>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=U.S.+Charges+Dozens+Of+Parents%2C+Coaches+In+Massive+College+Admissions+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This story includes reporting from The Associated Press\u003c/em>\u003c/p>\n\u003c/div>\n\n",
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"excerpt": "Actresses Felicity Huffman and Lori Loughlin are among 33 parents who paid large sums of money to cheat admissions standards at prestigious schools, federal prosecutors say. ",
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"title": "Massive College Admissions Scandal Includes Bay Area Parents, Hollywood Actors | KQED",
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"headline": "Massive College Admissions Scandal Includes Bay Area Parents, Hollywood Actors",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 4:00 p.m., Wednesday:\u003c/strong>\u003c/p>\n\u003cp>BOSTON (AP) — The latest on a college admissions bribery scandal that has led to charges against coaches and celebrities:\u003c/p>\n\u003cp>A federal judge says “Full House” actress Lori Loughlin (LAWK’-lin) can be released after posting $1 million bond in a case in which she and her husband are accused of paying bribes to get their daughters into college.\u003c/p>\n\u003cp>Loughlin stood with her lawyer in the Los Angeles courtroom Wednesday and didn’t speak except to answer “yes” to the judge’s questions. Magistrate Judge Steve Kim said Loughlin must limit her travel to the continental U.S. and areas around Vancouver, Canada, for work.\u003c/p>\n\u003cp>Dozens of defendants in the alleged nationwide scheme, including Loughlin’s husband fashion designer Mossimo Giannulli, were arrested Tuesday. Giannulli posted bond and was released Tuesday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prosecutors allege the couple paid $500,000 to have their daughters labeled as crew-team recruits at the University of Southern California, even though neither is a rower.\u003c/p>\n\u003cp>Federal officials have charged dozens of well-heeled parents, including actresses Felicity Huffman and Lori Loughlin, in what the Justice Department says was a multimillion-dollar scheme to cheat college admissions standards. The parents allegedly paid a consultant who then fabricated academic and athletic credentials and arranged bribes to help get their children into prestigious universities.\u003c/p>\n\u003cp>“We’re talking about deception and fraud — fake test scores, fake credentials, fake photographs, bribed college officials,” Andrew Lelling, U.S. attorney for the District of Massachusetts, said at a news conference Tuesday in Boston.\u003c/p>\n\u003cp>Lelling said 33 parents “paid enormous sums” to try to ensure that their children got into universities such as Stanford and Yale, sending money to entities controlled by a California man named William Rick Singer in return for obtaining false records and false scores on important tests such as the SAT and ACT.\u003c/p>\n\u003cp>Singer also presented his clients’ children as elite athletes, Lelling said. “In many instances, Singer helped parents take staged photographs of their children engaged in particular sports,” he said. “Other times, Singer and his associates used stock photos that they pulled off the Internet — sometimes photoshopping the face of the child onto the picture of the athlete” and submitting them to desirable schools.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.justice.gov/file/1142876/download\">a report\u003c/a> submitted to the U.S. Department of Justice, Agustin Huneeus Jr., 53, of San Francisco, Calif., owner of Huneeus Vinters, allegedly paid for fraudulent SAT scores and a fabricated athletic profile that falsely identified her as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with the following photograph, which is of another individual.\u003c/p>\n\u003cfigure id=\"attachment_13852782\" class=\"wp-caption aligncenter\" style=\"max-width: 664px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13852782\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter.jpg\" alt=\"A fabricated athletic profile falsely identified Augustin Huneeus Jr.'s daughter as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with this fabricated photograph, which is of another individual.\" width=\"664\" height=\"546\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter.jpg 664w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Agustin-Huneeus-Jr.-daughter-160x132.jpg 160w\" sizes=\"(max-width: 664px) 100vw, 664px\">\u003cfigcaption class=\"wp-caption-text\">A fabricated athletic profile falsely identified Augustin Huneeus Jr.’s daughter as a “3-year Varsity Letter winner” in water polo and “Team MVP 2017,” along with this fabricated photograph, which is of another individual. \u003ccite>(U.S. Department of Justice)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Singer’s clients paid him anywhere between $200,000 and $6.5 million for this service,” Lelling said. The alleged scheme, he noted, was uncovered after his office got a lead from someone who “was a target of an entirely separate investigation, who gave us a tip that this activity might be going on.”\u003c/p>\n\u003cp>The scope of the case is massive — a total of 50 people have been charged in the admissions scheme. More than three dozen people in multiple states were taken into custody Tuesday as part of “Operation Varsity Blues,” said Joseph Bonavolonta, special agent in charge of the FBI’s Boston division, at the news conference.\u003c/p>\n\u003cp>A judge in Los Angeles ruled Tuesday that Huffman could be released on $250,000 bond and Loughlin’s husband, fashion designer Mossimo Giannulli, could be released on $1 million bond. Loughlin has not yet been arrested.\u003c/p>\n\u003cp>The scheme operated from 2011 through February 2019, Lelling said, adding that in most cases, parents paid Singer between $250,000 and $400,000 per student.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These parents are a catalog of wealth and privilege,” Lelling said. “They include, for example, CEOs of private and public companies, successful securities and real estate investors, two well-known actresses, a famous fashion designer and the co-chairman of a global law firm.”\u003c/p>\n\u003cp>The parents were already able to give their children “every legitimate advantage,” but instead they “chose to corrupt and illegally manipulate the system for their benefit,” Lelling said.\u003c/p>\n\u003cp>“There will not be a separate admissions system for the wealthy,” he added. “And there will not be a separate criminal justice system either.”\u003c/p>\n\u003cp>The parents were charged with conspiracy to commit mail fraud and honest-services mail fraud. Other defendants in the case include university athletic coaches and college exam administrators — some of whom are accused of accepting bribes.\u003c/p>\n\u003cp>The charges are part of a complex case that has been kept under seal. Documents related to the case were revealed Tuesday, as Singer pleaded guilty to a number of federal crimes from conspiracy to commit racketeering and money laundering to obstruction of justice, according to Lelling. A former head sailing coach at Stanford, John Vandemoer, also pleaded guilty Tuesday.\u003c/p>\n\u003cp>Singer “owned and operated the Edge College & Career Network LLC (‘The Key’) – a for-profit college counseling and preparation business – and served as the CEO of the Key Worldwide Foundation (KWF) – a non-profit corporation that he established as a purported charity,” the Justice Department \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">said in a statement\u003c/a>.\u003c/p>\n\u003cp>On \u003ca href=\"http://thekeyworldwide.com/getintocollege/why_the_key.html\">its website\u003c/a>, The Key promises to “unlock the door to academic, social, personal and career success.” The \u003ca href=\"http://thekeyworldwide.com/foundation/the_key_foundation.html\">foundation says\u003c/a> it “has touched the lives of hundreds of students that would never have been exposed to what higher education could do for them.”\u003c/p>\n\u003cp>Court documents state that the following schools were targeted as part of a “student-athlete recruitment scam”: Yale University, the University of Southern California, Georgetown University, UCLA, Wake Forest University, Stanford University, the University of San Diego and the \u003ca href=\"https://www.kut.org/post/ut-austin-tennis-coach-accepted-nearly-100000-college-admission-scheme-authorities-say\">University of Texas, Austin\u003c/a>.\u003c/p>\n\u003cp>Parents allegedly paid Singer a total of about $25 million that was then funneled into bribes for coaches and a university athletic administrator, according to court documents. In return, the students were allegedly designated as “recruited athletes,” which could increase their chances at gaining admission.\u003c/p>\n\u003cp>For example, the indictment states that “Singer and his co-conspirators made payments totaling $250,000 to a bank account at USC that funded [then USC head water polo coach Jovan Vavic’s] water polo team.” Vavic then allegedly designated two students as water polo recruits. The complaint also says that Singer contributed to the private school tuition for Vavic’s children in exchange for his “commitment to designate Singer’s clients as recruits for the USC water polo team in the future.”\u003c/p>\n\u003cp>USC said in a statement that it is carrying out an internal investigation into Vavic and other current and former employees who have been charged “and will take employment actions as appropriate.”\u003c/p>\n\u003cp>In another example of the scam, Lelling said former Yale women’s soccer coach Rudy Meredith took $400,000 to designate a potential student as a recruit for the team — boosting the student’s admission prospects — despite knowing that the student didn’t play the sport competitively.\u003c/p>\n\u003cp>Once the student was accepted to Yale, her relatives paid Singer approximately $1.2 million, including $900,000 to one of KWF’s charitable accounts, according to court documents.\u003c/p>\n\u003cp>Last April, Meredith allegedly met with the father of a second prospective student in a hotel room in Boston — a meeting that was secretly recorded by the FBI. In it, Meredith offered to designate the man’s daughter as a soccer recruit in exchange for $450,000, court documents state.\u003c/p>\n\u003cp>Meredith resigned his long-held post in November. In a statement to NPR, a Yale representative said: “As the indictment makes clear, the Department of Justice believes that Yale has been the victim of a crime perpetrated by its former women’s soccer coach. The university has cooperated fully in the investigation and will continue to cooperate as the case moves forward.”\u003c/p>\n\u003cp>The court documents also detail numerous examples of how the test score scheme worked.\u003c/p>\n\u003cp>The Justice Department said Singer sought to manipulate college entrance exams either by gaining extra time for his clients’ children to take the SAT and ACT through bogus claims of learning disabilities or by bribing test officials outright.\u003c/p>\n\u003cp>Singer also orchestrated scenarios under which students took tests overseen by test administrators at two locations, at a public high school in Houston and at a private college prep school in West Hollywood, Calif. Federal prosecutors say Singer paid administrators Niki Williams (in Houston) and Igor Dvorskiy (in California) bribes of as much as $10,000 per test.\u003c/p>\n\u003cp>To ensure a high score, Singer allegedly arranged for a third person “to take the exams in place of the students, to give the students the correct answers during the exams, or to correct the students’ answers” after they took the test, the \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">Justice Department said\u003c/a>. That role allegedly was often played by 36-year-old Mark Riddell of Palmetto, Fla.\u003c/p>\n\u003cp>“Singer’s clients paid him between $15,000 and $75,000 per test, with the payments structured as purported donations” to a purported charity that Singer controlled, the Justice Department said. “In many instances, the students taking the exams were unaware that their parents had arranged for the cheating.”\u003c/p>\n\u003cp>Bribe payments were allegedly disguised as charitable payments to Singer’s foundation, the KWF, the Justice Department says — an arrangement that enabled the clients to “deduct the bribes from their federal income taxes.”\u003c/p>\n\u003cp>On its website, KWF describes many of the students it has helped as having “only known life on the streets, surrounded by the gang violence of the inner-city.”\u003c/p>\n\u003cp>The foundation says it has worked with a number of groups, from Los Angeles-based LadyLike Foundation to the Houston Hoops youth basketball program.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.justice.gov/usao-ma/pr/arrests-made-nationwide-college-admissions-scam-alleged-exam-cheating-athletic\">Justice Department’s statement \u003c/a>lists each of the 50 defendants, along with some basic facts about them and the charges they face:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>William Rick Singer\u003c/strong>, 58, of Newport Beach, Calif., owner of the Edge College & Career Network and CEO of the Key Worldwide Foundation, was charged in an Information with racketeering conspiracy, money laundering conspiracy, conspiracy to defraud the United States, and obstruction of justice. … [Singer pleaded guilty on Tuesday.]\u003c/li>\n\u003cli>\u003cstrong>Mark Riddell\u003c/strong>, 36, of Palmetto, Fla., was charged in an Information with conspiracy to commit mail fraud and honest services mail fraud as well as conspiracy to commit money laundering;\u003c/li>\n\u003cli>\u003cstrong>Rudolph “Rudy” Meredith\u003c/strong>, 51, of Madison, Conn., the former head women’s soccer coach at Yale University, was charged in an Information with conspiracy to commit wire fraud and honest services wire fraud as well as honest services wire fraud;\u003c/li>\n\u003cli>\u003cstrong>John Vandemoer\u003c/strong>, 41, of Stanford, Calif., the former sailing coach at Stanford University, was charged in an Information with racketeering conspiracy. [Vandemoer pleaded guilty before a federal court in Boston on Tuesday.]\u003c/li>\n\u003cli>\u003cstrong>David Sidoo\u003c/strong>, 59, of Vancouver, Canada, was charged in an indictment with conspiracy to commit mail and wire fraud. Sidoo was arrested on Friday, March 8\u003csup>th\u003c/sup> in San Jose, Calif., and appeared in U.S. District Court for the Northern District of California [on Monday]. A date for his initial appearance in federal court in Boston has not yet been scheduled.\u003c/li>\n\u003c/ol>\n\u003cp>The following defendants were charged in an indictment with racketeering conspiracy:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Igor Dvorskiy\u003c/strong>, 52, of Sherman Oaks, Calif., director of a private elementary and high school in Los Angeles and a test administrator for the College Board and ACT;\u003c/li>\n\u003cli>\u003cstrong>Gordon Ernst\u003c/strong>, 52, of Chevy Chase, Md., former head coach of men and women’s tennis at Georgetown University;\u003c/li>\n\u003cli>\u003cstrong>William Ferguson\u003c/strong>, 48, of Winston-Salem, N.C., former women’s volleyball coach at Wake Forest University;\u003c/li>\n\u003cli>\u003cstrong>Martin Fox\u003c/strong>, 62, of Houston, Texas, president of a private tennis academy in Houston;\u003c/li>\n\u003cli>\u003cstrong>Donna Heinel\u003c/strong>, 57, of Long Beach, Calif., the senior associate athletic director at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Laura Janke\u003c/strong>, 36, of North Hollywood, Calif., former assistant coach of women’s soccer at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Ali Kho[s]roshahin\u003c/strong>, 49, of Fountain Valley, Calif., former head coach of women’s soccer at the University of Southern California;\u003c/li>\n\u003cli>\u003cstrong>Steven Masera\u003c/strong>, 69, of Folsom, Calif., accountant and financial officer for the Edge College & Career Network and the Key Worldwide Foundation;\u003c/li>\n\u003cli>\u003cstrong>Jorge Salcedo\u003c/strong>, 46, of Los Angeles, Calif., former head coach of men’s soccer at the University of California at Los Angeles;\u003c/li>\n\u003cli>\u003cstrong>Mikaela Sanford\u003c/strong>, 32, of Folsom, Calif., employee of the Edge College & Career Network and the Key Worldwide Foundation;\u003c/li>\n\u003cli>\u003cstrong>Jovan Vavic\u003c/strong>, 57, of Rancho Palos Verdes, Calif., former water polo coach at the University of Southern California; and\u003c/li>\n\u003cli>\u003cstrong>Niki Williams\u003c/strong>, 44, of Houston, Texas, assistant teacher at a Houston high school and test administrator for the College Board and ACT.\u003c/li>\n\u003c/ol>\n\u003cp>The following defendant was charged in a criminal complaint with conspiracy to commit mail fraud and honest services mail fraud:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Michael Center\u003c/strong>, 54, of Austin Texas, head coach of men’s tennis at the University of Texas at Austin\u003c/li>\n\u003c/ol>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The following defendants were charged in a criminal complaint with conspiracy to commit mail and wire fraud:\u003c/p>\n\u003col>\n\u003cli>\u003cstrong>Gregory Abbott\u003c/strong>, 68, of New York, N.Y., the founder and chairman of a food and beverage packaging company;\u003c/li>\n\u003cli>\u003cstrong>Marcia Abbott\u003c/strong>, 59, of New York, N.Y.;\u003c/li>\n\u003cli>\u003cstrong>Gamal Abdelaziz\u003c/strong>, 62, of Las Vegas, Nev., the former senior executive of a resort and casino operator in Macau, China;\u003c/li>\n\u003cli>\u003cstrong>Diane Blake\u003c/strong>, 55, of San Francisco, Calif., an executive at a retail merchandising firm;\u003c/li>\n\u003cli>\u003cstrong>Todd Blake\u003c/strong>, 53, of San Francisco, Calif., an entrepreneur and investor;\u003c/li>\n\u003cli>\u003cstrong>Jane Buckingham\u003c/strong>, 50, of Beverly Hills, Calif., the CEO of a boutique marketing company;\u003c/li>\n\u003cli>\u003cstrong>Gordon Caplan\u003c/strong>, 52, of Greenwich, Conn., co-chairman of an international law firm based in New York City;\u003c/li>\n\u003cli>\u003cstrong>I-Hin “Joey” Chen\u003c/strong>, 64, of Newport Beach, Calif., operates a provider of warehousing and related services for the shipping industry;\u003c/li>\n\u003cli>\u003cstrong>Amy Colburn\u003c/strong>, 59, of Palo Alto, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Gregory Colburn\u003c/strong>, 61, of Palo Alto, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Robert Flaxman\u003c/strong>, 62, of Laguna Beach, Calif., founder and CEO of real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Mossimo Giannulli\u003c/strong>, 55, of Los Angeles, Calif., fashion designer;\u003c/li>\n\u003cli>\u003cstrong>Elizabeth Henriquez\u003c/strong>, 56, of Atherton, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Manuel Henriquez\u003c/strong>, 55, of Atherton, Calif., founder, chairman and CEO of a publicly traded specialty finance company;\u003c/li>\n\u003cli>\u003cstrong>Douglas Hodge\u003c/strong>, 61, of Laguna Beach, Calif., former CEO of investment management company;\u003c/li>\n\u003cli>\u003cstrong>Felicity Huffman\u003c/strong>, 56, of Los Angeles, Calif., an actress;\u003c/li>\n\u003cli>\u003cstrong>Agustin Huneeus Jr.\u003c/strong>, 53, of San Francisco, Calif., owner of wine vineyards;\u003c/li>\n\u003cli>\u003cstrong>Bruce Isackson\u003c/strong>, 61, of Hillsborough, Calif., president of a real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Davina Isackson\u003c/strong>, 55, of Hillsborough, Calif.;\u003c/li>\n\u003cli>\u003cstrong>Michelle Janavs\u003c/strong>, 48, of Newport Coast, Calif., former executive of a large food manufacturer;\u003c/li>\n\u003cli>\u003cstrong>Elisabeth Kimmel\u003c/strong>, 54, of Las Vegas, Nev., owner and president of a media company;\u003c/li>\n\u003cli>\u003cstrong>Marjorie Klapper\u003c/strong>, 50, of Menlo Park, Calif., co-owner of jewelry business;\u003c/li>\n\u003cli>\u003cstrong>Lori Loughlin\u003c/strong>, 54, of Los Angeles, Calif., an actress;\u003c/li>\n\u003cli>\u003cstrong>Toby MacFarlane\u003c/strong>, 56, of Del Mar, Calif., former senior executive at a title insurance company;\u003c/li>\n\u003cli>\u003cstrong>William McGlashan Jr.\u003c/strong>, 55, of Mill Valley, Calif., senior executive at a global equity firm;\u003c/li>\n\u003cli>\u003cstrong>Marci Palatella\u003c/strong>, 63, of Healdsburg, Calif., CEO of a liquor distribution company;\u003c/li>\n\u003cli>\u003cstrong>Peter Jan Sartorio\u003c/strong>, 53, of Menlo Park, Calif., packaged food entrepreneur;\u003c/li>\n\u003cli>\u003cstrong>Stephen Semprevivo\u003c/strong>, 53, of Los Angeles, Calif., executive at privately held provider of outsourced sales teams;\u003c/li>\n\u003cli>\u003cstrong>Devin Sloane\u003c/strong>, 53, of Los Angeles, Calif., founder and CEO of provider of drinking and wastewater systems;\u003c/li>\n\u003cli>\u003cstrong>John Wilson\u003c/strong>, 59, of Hyannis Port, Mass., founder and CEO of private equity and real estate development firm;\u003c/li>\n\u003cli>\u003cstrong>Homayoun Zadeh\u003c/strong>, 57, of Calabasas, Calif., an associate professor of dentistry; and\u003c/li>\n\u003cli>\u003cstrong>Robert Zangrillo\u003c/strong>, 52, of Miami, Fla., founder and CEO of private investment firm.\u003c/li>\n\u003c/ol>\n\u003cdiv class=\"fullattribution\">\n\u003cp>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=U.S.+Charges+Dozens+Of+Parents%2C+Coaches+In+Massive+College+Admissions+Scandal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/p>\n\u003chr>\n\u003cp>\u003cem>This story includes reporting from The Associated Press\u003c/em>\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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