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"title": "'Generation Wealth' Offers Scattershot Glimpses Of Cultural Decadence",
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"content": "\u003cp>In the wake of the 2008 financial crisis, director Lauren Greenfield had the counterintuitive idea of understanding the recession through the declining fortunes of Florida billionaires. The result was \u003cem>The Queen of Versailles\u003c/em>, a hugely entertaining documentary about David and Jackie Siegel, a nouveau riche Orlando couple who were in middle of building a 90,000-square-foot estate, modeled after the Palace of Versailles, when the housing market collapsed. As hard as the indefatigable Jackie tried to keep things together, the Siegels were overextended and living beyond their means, and forced austerity halted the project and turned their mansion into a poop-smeared hoarder house.\u003c/p>\n\u003cp>For her follow-up, \u003cem>Generation Wealth\u003c/em>, Greenfield zooms the camera out and takes a much broader look at the excesses of American culture and how they signal an empire in its death throes. In the shift from the gaudy portraiture of \u003cem>The Queen of Versailles\u003c/em> to the essayistic sweep of \u003cem>Generation Wealth\u003c/em>, Greenfield inevitably sacrifices observational detail for a grim diagnosis of society in decline. The trade-off isn’t worth it: The Siegels’ story implies so much about unchecked greed and vanity, and the debased values that can seep into a family. By offering multiple case studies, as she does here, in support of an argument on late-capitalist decadence, the idolization of obscene wealth, the commodification of the body, and other related issues, Greenfield winds up spoon-feeding the audience some awfully thin gruel.\u003c/p>\n\u003cp>“Societies accrue their greatest wealth at the moment that they face death,” says Chris Hedges, a former \u003cem>New York Times\u003c/em> journalist, by way of introduction. And Greenfield dutifully cuts from the Great Pyramid of Giza to the tacky facsimile of the Luxor in Las Vegas, the epicenter of American indulgence. Stepping out in front of the camera herself, Greenfield reflects on her career in photography and documentary filmmaking, which has focused on the anthropological study of the ultra-wealthy. Greenfield is shown poring through half a million photos in her archives, all in an effort to assemble a new book about the peacocking of money worldwide, from debutante balls for oligarch’s daughters in Russia to status-obsessed teenagers in Beverly Hills. (The completed book, also called \u003cem>Generation Wealth\u003c/em>, lists for $75.)\u003c/p>\n\u003cp>Greenfield has an eye for the absurd, like a course where newly rich Chinese women pay $16,000 to learn how to pronounce brand names and cut bananas with a knife and a fork. But she eventually settles on a handful of subjects: Florian Homm, a former hedge-fund rogue who accumulated nearly a billion dollars before landing on the FBI’s Most Wanted list for fraud; Kacey Jordan, a retired porn star who found the wrong kind of fame through her association with Charlie Sheen; Cathy, a single mother who flew to Brazil for plastic surgeries she couldn’t afford and paid a terrible personal cost; Suzanne, another rapacious hedge-funder who put off having kids until 40; Eden Wood, a child beauty pageant contestant from \u003cem>Toddlers & Tiaras\u003c/em>; and several of the now-grown kids from Greenfield’s 1997 book \u003cem>Fast Forward\u003c/em>, about L.A. youth culture.\u003c/p>\n\u003cp>Any one of these stories suggest their own documentary, but their sum plays against Greenfield’s strengths for composition and storytelling. Her thumbnail history of the American dream, from a country that produces to a country that borrows and consumes, feels mostly persuasive, as do her assertions about the ruinous desire for exclusivity and status. But there’s not much of an organizational principle guiding \u003cem>Generation Wealth\u003c/em>, which picks through ideas like Greenfield picks through her old photos, choosing the ones she likes without necessarily figuring out how they go together. Talking heads like Hedges or Bret Easton Ellis, the author of \u003cem>Less Than Zero\u003c/em> and other fictions of money and spiritual vacancy, are there to patch the pieces like crude gobs of Elmer’s glue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The best moments in \u003cem>Generation Wealth\u003c/em> are incidental or anecdotal, like a shot of a tired Robin Leach, former host of \u003cem>Lifestyles of the Rich and Famous\u003c/em>, getting bottle service at a Vegas cabana or Homm’s son telling the story of how his father paid to have him deflowered by a prostitute in Amsterdam at 14. But Greenfield takes too heavy a hand in connecting all these stories, especially in a hopeful conclusion that airbrushes her subjects en masse and undermines her own doom-laden end-of-empire prognostications. She can’t describe a cancer that’s metastasized in the first reel and have it disappear in the last.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Generation+Wealth%27+Offers+Scattershot+Glimpses+Of+Cultural+Decadence+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the wake of the 2008 financial crisis, director Lauren Greenfield had the counterintuitive idea of understanding the recession through the declining fortunes of Florida billionaires. The result was \u003cem>The Queen of Versailles\u003c/em>, a hugely entertaining documentary about David and Jackie Siegel, a nouveau riche Orlando couple who were in middle of building a 90,000-square-foot estate, modeled after the Palace of Versailles, when the housing market collapsed. As hard as the indefatigable Jackie tried to keep things together, the Siegels were overextended and living beyond their means, and forced austerity halted the project and turned their mansion into a poop-smeared hoarder house.\u003c/p>\n\u003cp>For her follow-up, \u003cem>Generation Wealth\u003c/em>, Greenfield zooms the camera out and takes a much broader look at the excesses of American culture and how they signal an empire in its death throes. In the shift from the gaudy portraiture of \u003cem>The Queen of Versailles\u003c/em> to the essayistic sweep of \u003cem>Generation Wealth\u003c/em>, Greenfield inevitably sacrifices observational detail for a grim diagnosis of society in decline. The trade-off isn’t worth it: The Siegels’ story implies so much about unchecked greed and vanity, and the debased values that can seep into a family. By offering multiple case studies, as she does here, in support of an argument on late-capitalist decadence, the idolization of obscene wealth, the commodification of the body, and other related issues, Greenfield winds up spoon-feeding the audience some awfully thin gruel.\u003c/p>\n\u003cp>“Societies accrue their greatest wealth at the moment that they face death,” says Chris Hedges, a former \u003cem>New York Times\u003c/em> journalist, by way of introduction. And Greenfield dutifully cuts from the Great Pyramid of Giza to the tacky facsimile of the Luxor in Las Vegas, the epicenter of American indulgence. Stepping out in front of the camera herself, Greenfield reflects on her career in photography and documentary filmmaking, which has focused on the anthropological study of the ultra-wealthy. Greenfield is shown poring through half a million photos in her archives, all in an effort to assemble a new book about the peacocking of money worldwide, from debutante balls for oligarch’s daughters in Russia to status-obsessed teenagers in Beverly Hills. (The completed book, also called \u003cem>Generation Wealth\u003c/em>, lists for $75.)\u003c/p>\n\u003cp>Greenfield has an eye for the absurd, like a course where newly rich Chinese women pay $16,000 to learn how to pronounce brand names and cut bananas with a knife and a fork. But she eventually settles on a handful of subjects: Florian Homm, a former hedge-fund rogue who accumulated nearly a billion dollars before landing on the FBI’s Most Wanted list for fraud; Kacey Jordan, a retired porn star who found the wrong kind of fame through her association with Charlie Sheen; Cathy, a single mother who flew to Brazil for plastic surgeries she couldn’t afford and paid a terrible personal cost; Suzanne, another rapacious hedge-funder who put off having kids until 40; Eden Wood, a child beauty pageant contestant from \u003cem>Toddlers & Tiaras\u003c/em>; and several of the now-grown kids from Greenfield’s 1997 book \u003cem>Fast Forward\u003c/em>, about L.A. youth culture.\u003c/p>\n\u003cp>Any one of these stories suggest their own documentary, but their sum plays against Greenfield’s strengths for composition and storytelling. Her thumbnail history of the American dream, from a country that produces to a country that borrows and consumes, feels mostly persuasive, as do her assertions about the ruinous desire for exclusivity and status. But there’s not much of an organizational principle guiding \u003cem>Generation Wealth\u003c/em>, which picks through ideas like Greenfield picks through her old photos, choosing the ones she likes without necessarily figuring out how they go together. Talking heads like Hedges or Bret Easton Ellis, the author of \u003cem>Less Than Zero\u003c/em> and other fictions of money and spiritual vacancy, are there to patch the pieces like crude gobs of Elmer’s glue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The best moments in \u003cem>Generation Wealth\u003c/em> are incidental or anecdotal, like a shot of a tired Robin Leach, former host of \u003cem>Lifestyles of the Rich and Famous\u003c/em>, getting bottle service at a Vegas cabana or Homm’s son telling the story of how his father paid to have him deflowered by a prostitute in Amsterdam at 14. But Greenfield takes too heavy a hand in connecting all these stories, especially in a hopeful conclusion that airbrushes her subjects en masse and undermines her own doom-laden end-of-empire prognostications. She can’t describe a cancer that’s metastasized in the first reel and have it disappear in the last.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Generation+Wealth%27+Offers+Scattershot+Glimpses+Of+Cultural+Decadence+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "American Baby Trump Blimp Set To Breeze Onto Namesake's Home Turf",
"headTitle": "American Baby Trump Blimp Set To Breeze Onto Namesake’s Home Turf | KQED",
"content": "\u003cp>Like any tantruming toddler, the 20-foot-tall baby Trump blimp hovering above Friday’s \u003ca href=\"https://www.npr.org/2018/07/13/628715766/large-protests-baby-blimp-greet-trump-in-london-and-the-u-k\">protests in London\u003c/a> was difficult to ignore.\u003c/p>\n\u003cp>Now a plan to bring a replica of the yellow-haired, phone-toting, sneering and diapered balloon stateside has garnered so much support that organizers say they will use the funds to buy multiple blimps “so we can go coast-to-coast, border-to-border.”\u003c/p>\n\u003cp>New Jersey activists Didier Jiminez-Castro and Jim Girvan said they “were inspired by the patriotic actions of our friends in the UK,” so they created a \u003ca href=\"https://www.gofundme.com/fund-to-bring-baby-trump-to-america\">GoFundMe page\u003c/a> to see if they could make a similar statement domestically.\u003c/p>\n\u003cp>They overshot their goal.\u003c/p>\n\u003cp>By Thursday, they had raised $23,693 of their $4,500 aim and closed the page to donations in order “to keep control” of the campaign.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>They expect the first balloon to be ready by mid-August and they plan to fly it near the president’s National Golf Club in Bedminster, N.J.\u003c/p>\n\u003cp>Girvan, an organizer of The People’s Motorcade, \u003ca href=\"https://www.cnn.com/2018/07/17/politics/trump-baby-blimp-new-jersey-trnd/index.html\">told CNN\u003c/a> his group holds frequent protests outside the club.\u003c/p>\n\u003cp>“We’re comfortable that we’re going to have the opportunity to fly the balloon in relatively close proximity to his golf club while he’s here,” Girvan told the news outlet.\u003c/p>\n\u003cp>Under the social media handle @babytrumptour, Jiminez-Castro and Girvan say the goal is to branch out and “to make Baby Trump available to various locations around the country.”\u003c/p>\n\u003cp>They said they are working closely with the creators of the original Trump blimp “to use their design and not a knock off.”\u003c/p>\n\u003cp>CNN reports the New Jersey activists have received permission to make their own balloons using the original patterns and molds.\u003c/p>\n\u003cp>The hope is it will elevate their protests in more ways than one.\u003c/p>\n\u003cp>“The baby Trump is not just a piece of humor, but it is also a symbol of the administration,” \u003ca href=\"https://www.nj.com/news/index.ssf/2018/07/baby_trump_balloon_is_coming_to_new_jersey.html?utm_medium=social&utm_source=twitter&utm_campaign=njdotcom_sf&utm_content=nj_twitter_njdotcom\">Jiminez-Castro told N.J.com\u003c/a>. “It’s symbolic of the children that are in cages, it’s a symbol of racism, and we know that he hates to be ridiculed.”\u003c/p>\n\u003cp>The original blimp flew the same day the actual Trump met with Prime Minister Theresa May at Chequers, about 40 miles outside London, followed by tea with Queen Elizabeth at Windsor Castle.\u003c/p>\n\u003cp>In an interview, he acknowledged he knew about the blimp imitation and was not flattered.\u003c/p>\n\u003cp>“I guess when they put out blimps to make me feel unwelcome, no reason for me to go to London,” \u003ca href=\"https://www.thesun.co.uk/news/6766644/donald-trump-feels-unwelcome-london-protests/\">Trump told British newspaper the Sun\u003c/a>.\u003c/p>\n\u003cp>He spent a single night in London during his four-day U.K. trip.\u003c/p>\n\u003cp>Meantime, another apparent opponent of the Trump baby blimp had plans to pop the offending item.\u003c/p>\n\u003cp>Kathie Kitt Conklin of New Jersey started her own GoFundMe page, this one asking for donations, should she be arrested for deflating the balloon and need to be bailed out, \u003ca href=\"https://www.app.com/story/news/weird/2018/07/19/ocean-county-woman-vows-pop-trump-baby-balloon/799786002/\">reports the Asbury Park Press\u003c/a>.\u003c/p>\n\u003cp>“I’m tired of people disrespecting our President! I plan on taking out this ridiculous balloon…” the page stated, before GoFundMe reportedly took it down for violating its terms of service.\u003c/p>\n\u003cp>She reportedly raised $285 toward her $1,000 goal, with donors getting refunds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Reached by phone, the newspaper reports Conklin said, “I don’t want to talk to the press. They always twist things. Thanks,” then hung up.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=American+Baby+Trump+Blimp+Set+To+Breeze+Onto+Namesake%27s+Home+Turf&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Like any tantruming toddler, the 20-foot-tall baby Trump blimp hovering above Friday’s \u003ca href=\"https://www.npr.org/2018/07/13/628715766/large-protests-baby-blimp-greet-trump-in-london-and-the-u-k\">protests in London\u003c/a> was difficult to ignore.\u003c/p>\n\u003cp>Now a plan to bring a replica of the yellow-haired, phone-toting, sneering and diapered balloon stateside has garnered so much support that organizers say they will use the funds to buy multiple blimps “so we can go coast-to-coast, border-to-border.”\u003c/p>\n\u003cp>New Jersey activists Didier Jiminez-Castro and Jim Girvan said they “were inspired by the patriotic actions of our friends in the UK,” so they created a \u003ca href=\"https://www.gofundme.com/fund-to-bring-baby-trump-to-america\">GoFundMe page\u003c/a> to see if they could make a similar statement domestically.\u003c/p>\n\u003cp>They overshot their goal.\u003c/p>\n\u003cp>By Thursday, they had raised $23,693 of their $4,500 aim and closed the page to donations in order “to keep control” of the campaign.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They expect the first balloon to be ready by mid-August and they plan to fly it near the president’s National Golf Club in Bedminster, N.J.\u003c/p>\n\u003cp>Girvan, an organizer of The People’s Motorcade, \u003ca href=\"https://www.cnn.com/2018/07/17/politics/trump-baby-blimp-new-jersey-trnd/index.html\">told CNN\u003c/a> his group holds frequent protests outside the club.\u003c/p>\n\u003cp>“We’re comfortable that we’re going to have the opportunity to fly the balloon in relatively close proximity to his golf club while he’s here,” Girvan told the news outlet.\u003c/p>\n\u003cp>Under the social media handle @babytrumptour, Jiminez-Castro and Girvan say the goal is to branch out and “to make Baby Trump available to various locations around the country.”\u003c/p>\n\u003cp>They said they are working closely with the creators of the original Trump blimp “to use their design and not a knock off.”\u003c/p>\n\u003cp>CNN reports the New Jersey activists have received permission to make their own balloons using the original patterns and molds.\u003c/p>\n\u003cp>The hope is it will elevate their protests in more ways than one.\u003c/p>\n\u003cp>“The baby Trump is not just a piece of humor, but it is also a symbol of the administration,” \u003ca href=\"https://www.nj.com/news/index.ssf/2018/07/baby_trump_balloon_is_coming_to_new_jersey.html?utm_medium=social&utm_source=twitter&utm_campaign=njdotcom_sf&utm_content=nj_twitter_njdotcom\">Jiminez-Castro told N.J.com\u003c/a>. “It’s symbolic of the children that are in cages, it’s a symbol of racism, and we know that he hates to be ridiculed.”\u003c/p>\n\u003cp>The original blimp flew the same day the actual Trump met with Prime Minister Theresa May at Chequers, about 40 miles outside London, followed by tea with Queen Elizabeth at Windsor Castle.\u003c/p>\n\u003cp>In an interview, he acknowledged he knew about the blimp imitation and was not flattered.\u003c/p>\n\u003cp>“I guess when they put out blimps to make me feel unwelcome, no reason for me to go to London,” \u003ca href=\"https://www.thesun.co.uk/news/6766644/donald-trump-feels-unwelcome-london-protests/\">Trump told British newspaper the Sun\u003c/a>.\u003c/p>\n\u003cp>He spent a single night in London during his four-day U.K. trip.\u003c/p>\n\u003cp>Meantime, another apparent opponent of the Trump baby blimp had plans to pop the offending item.\u003c/p>\n\u003cp>Kathie Kitt Conklin of New Jersey started her own GoFundMe page, this one asking for donations, should she be arrested for deflating the balloon and need to be bailed out, \u003ca href=\"https://www.app.com/story/news/weird/2018/07/19/ocean-county-woman-vows-pop-trump-baby-balloon/799786002/\">reports the Asbury Park Press\u003c/a>.\u003c/p>\n\u003cp>“I’m tired of people disrespecting our President! I plan on taking out this ridiculous balloon…” the page stated, before GoFundMe reportedly took it down for violating its terms of service.\u003c/p>\n\u003cp>She reportedly raised $285 toward her $1,000 goal, with donors getting refunds.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Reached by phone, the newspaper reports Conklin said, “I don’t want to talk to the press. They always twist things. Thanks,” then hung up.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=American+Baby+Trump+Blimp+Set+To+Breeze+Onto+Namesake%27s+Home+Turf&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "On 'Fanfare For The Common Man,' An Anthem For The American Century",
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"headTitle": "On ‘Fanfare For The Common Man,’ An Anthem For The American Century | KQED",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/629875534/630378178\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/artists/15404219/aaron-copland\">Aaron Copland\u003c/a>‘s “Fanfare for the Common Man” begins with dramatic percussion, heralding something big and exciting. Then comes a ladder of simple trumpet notes, solemn and heroic. The whole piece takes less than four minutes to play, but its admirers say it speaks volumes in that time.\u003c/p>\n\u003cp>“It’s a piece that feels like it was written by God,” says jazz trumpeter and composer \u003ca href=\"https://www.npr.org/artists/14864421/terence-blanchard\">Terence Blanchard\u003c/a>. “Whenever I hear it, it stops me in my tracks and makes me reflect on the goodness of man. And I know that sounds corny for some, but it really makes me think about [how], at the end of the day, most people in this country are good, God-fearing people. Honestly, that could have been our national anthem.”\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Copland: Fanfare for the Common Man - BBC Proms 2012\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/ZdqjcMmjeaA?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>In 1942, Copland was commissioned by the music director of the Cincinnati Symphony Orchestra to write a fanfare. The U.S. had entered World War II, and then-Vice President Henry A. Wallace was trying to rally Americans against imperialism. Copland was inspired by a speech Wallace gave that spring at the Free World Association in New York City.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Some have spoken of the American Century,” Wallace proclaimed. “I say that the century on which we are entering, the century which will come out of this war, can be and must be the century of the common man.” Copland would later echo that sentiment himself, saying, “It was the common man, after all, who was doing all the dirty work in the war and the army. He deserved a fanfare.”\u003c/p>\n\u003cp>“Fanfare for the Common Man” premiered on March 12, 1943, in observance of income tax time — something every “common man” has to endure. Since then, it has been performed for presidents, played to honor victims at the opening of the National September 11 Memorial & Museum and lent a sense of gravity to television sports and news programs. It’s even been heard in space: In 2008, NASA pilot Eric Boe chose it as wake-up music for his crew of astronauts on the space shuttle Endeavor.\u003c/p>\n\u003cp>“What it made me think about is that, holy cow, I’m in space!” recalls Boe, who first heard the fanfare when he was studying at the Air Force Academy. He calls it magical, like his voyages above the globe: “You’re going around the planet once every 90 minutes, and just looking at the Earth and how beautiful it is and the thin layer that we call the atmosphere that’s protecting the planet — and then hearing this great music that goes with what’s going on down below.”\u003c/p>\n\u003cp>Back on Earth, \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones\u003c/a> have used the piece to open their concerts and British progressive rockers \u003ca href=\"https://www.npr.org/artists/16521011/emerson-lake-palmer\">Emerson, Lake & Palmer\u003c/a> went a step further and came up with their own version — which drummer Carl Palmer, the only living member, still plays at shows. Palmer says bandleader and keyboard player Keith Emerson once met with Aaron Copland in Switzerland and played him a bit of their version to ask for the composer’s blessing.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Fanfare for the Common Man - Emerson, Lake & Palmer (Olympic Stadium Montreal)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/fK92hdp6u18?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>“We were a little bit worried about playing him the actual rock section of it where we were ad-libbing and having some fun,” Palmer says. “And he thought it was OK! … He said, ‘At least you’ve done something different with it — that works for me. Go ahead, guys, I wish you the best of luck with it.’ ”\u003c/p>\n\u003cp>“Fanfare for the Common Man” has also been an inspiration to other composers, including Joan Tower, who started writing what became a series of fanfares in 1986. She wrote her “Fanfare for the Uncommon Woman” to honor women in the classical music world, including conductor and NPR contributor \u003ca href=\"https://www.npr.org/artists/15033224/marin-alsop\">Marin Alsop\u003c/a>. Tower explains, ” ‘Uncommon woman’ actually means a woman who’s adventurous and takes risks.”\u003c/p>\n\u003cp>But it is Copland’s original fanfare that \u003cem>has\u003c/em> become a kind of national anthem for so-called “common” men and women — like public radio listener Lynne Gilbert, who spoke with NPR from Bristol, Maine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In spite of the current political landscape,” she says, “I guess I still believe that there is an American dream of peace and prosperity for everyone. Music that soars and inspires like this piece does bring hope for the future. It’s powerful, it’s direct and it’s really just American.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27Fanfare+For+The+Common+Man%2C%27+An+Anthem+For+The+American+Century&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Some have spoken of the American Century,” Wallace proclaimed. “I say that the century on which we are entering, the century which will come out of this war, can be and must be the century of the common man.” Copland would later echo that sentiment himself, saying, “It was the common man, after all, who was doing all the dirty work in the war and the army. He deserved a fanfare.”\u003c/p>\n\u003cp>“Fanfare for the Common Man” premiered on March 12, 1943, in observance of income tax time — something every “common man” has to endure. Since then, it has been performed for presidents, played to honor victims at the opening of the National September 11 Memorial & Museum and lent a sense of gravity to television sports and news programs. It’s even been heard in space: In 2008, NASA pilot Eric Boe chose it as wake-up music for his crew of astronauts on the space shuttle Endeavor.\u003c/p>\n\u003cp>“What it made me think about is that, holy cow, I’m in space!” recalls Boe, who first heard the fanfare when he was studying at the Air Force Academy. He calls it magical, like his voyages above the globe: “You’re going around the planet once every 90 minutes, and just looking at the Earth and how beautiful it is and the thin layer that we call the atmosphere that’s protecting the planet — and then hearing this great music that goes with what’s going on down below.”\u003c/p>\n\u003cp>Back on Earth, \u003ca href=\"https://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15403019/the-rolling-stones\">The Rolling Stones\u003c/a> have used the piece to open their concerts and British progressive rockers \u003ca href=\"https://www.npr.org/artists/16521011/emerson-lake-palmer\">Emerson, Lake & Palmer\u003c/a> went a step further and came up with their own version — which drummer Carl Palmer, the only living member, still plays at shows. Palmer says bandleader and keyboard player Keith Emerson once met with Aaron Copland in Switzerland and played him a bit of their version to ask for the composer’s blessing.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Fanfare for the Common Man - Emerson, Lake & Palmer (Olympic Stadium Montreal)\" width=\"640\" height=\"360\" src=\"https://www.youtube.com/embed/fK92hdp6u18?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>“We were a little bit worried about playing him the actual rock section of it where we were ad-libbing and having some fun,” Palmer says. “And he thought it was OK! … He said, ‘At least you’ve done something different with it — that works for me. Go ahead, guys, I wish you the best of luck with it.’ ”\u003c/p>\n\u003cp>“Fanfare for the Common Man” has also been an inspiration to other composers, including Joan Tower, who started writing what became a series of fanfares in 1986. She wrote her “Fanfare for the Uncommon Woman” to honor women in the classical music world, including conductor and NPR contributor \u003ca href=\"https://www.npr.org/artists/15033224/marin-alsop\">Marin Alsop\u003c/a>. Tower explains, ” ‘Uncommon woman’ actually means a woman who’s adventurous and takes risks.”\u003c/p>\n\u003cp>But it is Copland’s original fanfare that \u003cem>has\u003c/em> become a kind of national anthem for so-called “common” men and women — like public radio listener Lynne Gilbert, who spoke with NPR from Bristol, Maine.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“In spite of the current political landscape,” she says, “I guess I still believe that there is an American dream of peace and prosperity for everyone. Music that soars and inspires like this piece does bring hope for the future. It’s powerful, it’s direct and it’s really just American.”\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+%27Fanfare+For+The+Common+Man%2C%27+An+Anthem+For+The+American+Century&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "large-protests-baby-blimp-greet-trump-in-london-and-the-u-k",
"title": "Large Protests, Baby Blimp Greet Trump In London And The U.K.",
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"headTitle": "Large Protests, Baby Blimp Greet Trump In London And The U.K. | KQED",
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"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/628715766/628725756\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>A baby blimp mocking President Trump floated over London on Friday, an emblem of protests that are expected to draw thousands of people who are angry with the American president’s policies and his views of the U.K.\u003c/p>\n\u003cp>The protests had been expected and promised — and after Trump arrived in England on Thursday, the flames were fanned anew, \u003ca href=\"https://www.thesun.co.uk/news/6766531/trump-may-brexit-us-deal-off/\">thanks to an interview with a tabloid\u003c/a> in which he gave scathing critiques of Prime Minister Theresa May, his host for the visit between allies.\u003c/p>\n\u003cp>A large-scale demonstration began at 2 p.m. local time, or 9 a.m. ET.\u003c/p>\n\u003cp>https://twitter.com/JoFloto/status/1017764997190037509\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As he has done in the past, Trump also targeted London Mayor Sadiq Khan, who approved the protesters’ plan to fly a “Trump Baby” blimp.\u003c/p>\n\u003cp>It was a matter of free speech and protest, even if it offends someone, Khan told NPR’s Mary Louise Kelly, adding that both Americans and Britons should be proud of that tradition.\u003c/p>\n\u003cp>“The key thing is, it should be done in a peaceful manner; it should be good-spirited,” Khan added.\u003c/p>\n\u003cp>Trump acknowledged that he knew about the plan to float a blimp caricature, telling \u003cem>The Sun\u003c/em>, “I guess when they put out blimps to make me feel unwelcome, no reason for me to go to London.”\u003c/p>\n\u003cp>The blimp depicts an angry-looking Trump-like figure in a diaper; a cellphone is clutched in its right hand. The protest balloon’s launch drew a large crowd to London’s Parliament Square, and media outlets covered the process of the baby blimp being inflated and lifting off into the sky.\u003c/p>\n\u003cp>One man in the crowd held up a sign addressed to Trump that read, “You know your name means fart here, right?” An old slang term, “trump,” has gained new prominence as the American politician rose to power.\u003c/p>\n\u003cp>https://twitter.com/BarryWeirSky/status/1017697591088250881\u003c/p>\n\u003cp>The baby blimp was airborne for around two hours, \u003ca href=\"https://www.instagram.com/p/BlK-ie5H2Uw/?hl=en&taken-by=becsully\">before it was deflated\u003c/a> and stowed in a bag.\u003c/p>\n\u003cp>Another elaborate protest \u003ca href=\"https://twitter.com/BenKentish/status/1017485301562990592\">saw a “Dalek Trump”\u003c/a> — a version of the robotic bad guys from \u003cem>Doctor Who\u003c/em>, customized with a red tie and blond wig — patrolling Whitehall in Central London amid a phalanx of mock security agents.\u003c/p>\n\u003cp>https://twitter.com/BenKentish/status/1017485301562990592\u003c/p>\n\u003cp>Security teams have put massive preparations into place for Trump’s visit. The U.S. Embassy in the country’s closest ally \u003ca href=\"https://uk.usembassy.gov/demonstration-alert-2018-july-10/\">warned Americans\u003c/a> to be aware of their surroundings and keep a low profile during the demonstrations in both England and Scotland (where Trump will spend the weekend). And London’s \u003ca href=\"https://www.standard.co.uk/news/politics/donald-trump-london-protests-ring-of-steel-in-westminster-with-thousands-set-to-protest-presidents-a3886341.html\">The Evening Standard says\u003c/a> a “ring of steel,” or temporary fencing, has been erected around Parliament to keep protesters at a distance.\u003c/p>\n\u003cp>Many of the president’s British critics are calling on May and other leaders to confront Trump \u003ca href=\"https://www.npr.org/2018/07/11/627961302/we-need-to-take-a-stand-protesters-mobilize-in-u-k-ahead-of-trumps-arrival\">“and take a firm moral stance”\u003c/a> against his policies, as one organizer told NPR’s Alice Fordham this week.\u003c/p>\n\u003cp>Chief among those policies is Trump’s program of separating migrant children from their parents at the southern border. Despite an easing of that policy, many of those families remain divided, detained hundreds of miles apart.\u003c/p>\n\u003cp>Trump’s trip to Britain had long been anticipated. It comes after a trip that had been planned for February — to officially open the new U.S. Embassy — was canceled.\u003c/p>\n\u003cp>When he was asked about the planned protests, \u003ca href=\"https://www.npr.org/2018/07/12/628329172/trump-says-no-problem-in-nato-touting-allies-spending-pledges\">Trump said on Thursday\u003c/a> as he prepared to fly to Britain from a NATO summit, “I think they like me a lot in the U.K. I think they agree with me on immigration.”\u003c/p>\n\u003cp>More protests are scheduled for this weekend in Scotland — where there are no signs that the public reception will be any warmer for Trump.\u003c/p>\n\u003cp>Glasgow-based Tennent’s brewery is joining those who have treated the American leader with derision. Directing a mocking tweet at Trump — a message that also promotes the brewery’s new small cans — Tennent’s posted a photo showing a small hand reaching out of a suit (with a U.S. flag cufflink) for a beer, beneath the slogan “Tiny cans for tiny hands.”\u003c/p>\n\u003cp>https://twitter.com/TennentsLager/status/1017358186523889664\u003c/p>\n\u003cp>And \u003ca href=\"https://twitter.com/Mark_Leggatt/status/1017385343967006720\">The Scotsman newspaper\u003c/a> published an op-ed in which it stated, “the 45th U.S. president is an appalling human being.” The paper went on to say that Trump “is a racist, a serial liar, and either a sexual abuser or someone who falsely brags about being one.”\u003c/p>\n\u003cp>Trump’s schedule on Friday includes another meeting and a working lunch with May at Chequers — the prime minister’s country house — and a visit to Queen Elizabeth II at Windsor Castle, where they’ll have tea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the White House schedule, from the moment Trump and first lady Melania Trump greet the queen to the moment they leave for the castle’s landing zone to begin their trip to Scotland, the royal visit will have lasted an entirety of 40 minutes.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Large+Protests%2C+Baby+Blimp+Greet+Trump+In+London+And+The+U.K.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As he has done in the past, Trump also targeted London Mayor Sadiq Khan, who approved the protesters’ plan to fly a “Trump Baby” blimp.\u003c/p>\n\u003cp>It was a matter of free speech and protest, even if it offends someone, Khan told NPR’s Mary Louise Kelly, adding that both Americans and Britons should be proud of that tradition.\u003c/p>\n\u003cp>“The key thing is, it should be done in a peaceful manner; it should be good-spirited,” Khan added.\u003c/p>\n\u003cp>Trump acknowledged that he knew about the plan to float a blimp caricature, telling \u003cem>The Sun\u003c/em>, “I guess when they put out blimps to make me feel unwelcome, no reason for me to go to London.”\u003c/p>\n\u003cp>The blimp depicts an angry-looking Trump-like figure in a diaper; a cellphone is clutched in its right hand. The protest balloon’s launch drew a large crowd to London’s Parliament Square, and media outlets covered the process of the baby blimp being inflated and lifting off into the sky.\u003c/p>\n\u003cp>One man in the crowd held up a sign addressed to Trump that read, “You know your name means fart here, right?” An old slang term, “trump,” has gained new prominence as the American politician rose to power.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The baby blimp was airborne for around two hours, \u003ca href=\"https://www.instagram.com/p/BlK-ie5H2Uw/?hl=en&taken-by=becsully\">before it was deflated\u003c/a> and stowed in a bag.\u003c/p>\n\u003cp>Another elaborate protest \u003ca href=\"https://twitter.com/BenKentish/status/1017485301562990592\">saw a “Dalek Trump”\u003c/a> — a version of the robotic bad guys from \u003cem>Doctor Who\u003c/em>, customized with a red tie and blond wig — patrolling Whitehall in Central London amid a phalanx of mock security agents.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Security teams have put massive preparations into place for Trump’s visit. The U.S. Embassy in the country’s closest ally \u003ca href=\"https://uk.usembassy.gov/demonstration-alert-2018-july-10/\">warned Americans\u003c/a> to be aware of their surroundings and keep a low profile during the demonstrations in both England and Scotland (where Trump will spend the weekend). And London’s \u003ca href=\"https://www.standard.co.uk/news/politics/donald-trump-london-protests-ring-of-steel-in-westminster-with-thousands-set-to-protest-presidents-a3886341.html\">The Evening Standard says\u003c/a> a “ring of steel,” or temporary fencing, has been erected around Parliament to keep protesters at a distance.\u003c/p>\n\u003cp>Many of the president’s British critics are calling on May and other leaders to confront Trump \u003ca href=\"https://www.npr.org/2018/07/11/627961302/we-need-to-take-a-stand-protesters-mobilize-in-u-k-ahead-of-trumps-arrival\">“and take a firm moral stance”\u003c/a> against his policies, as one organizer told NPR’s Alice Fordham this week.\u003c/p>\n\u003cp>Chief among those policies is Trump’s program of separating migrant children from their parents at the southern border. Despite an easing of that policy, many of those families remain divided, detained hundreds of miles apart.\u003c/p>\n\u003cp>Trump’s trip to Britain had long been anticipated. It comes after a trip that had been planned for February — to officially open the new U.S. Embassy — was canceled.\u003c/p>\n\u003cp>When he was asked about the planned protests, \u003ca href=\"https://www.npr.org/2018/07/12/628329172/trump-says-no-problem-in-nato-touting-allies-spending-pledges\">Trump said on Thursday\u003c/a> as he prepared to fly to Britain from a NATO summit, “I think they like me a lot in the U.K. I think they agree with me on immigration.”\u003c/p>\n\u003cp>More protests are scheduled for this weekend in Scotland — where there are no signs that the public reception will be any warmer for Trump.\u003c/p>\n\u003cp>Glasgow-based Tennent’s brewery is joining those who have treated the American leader with derision. Directing a mocking tweet at Trump — a message that also promotes the brewery’s new small cans — Tennent’s posted a photo showing a small hand reaching out of a suit (with a U.S. flag cufflink) for a beer, beneath the slogan “Tiny cans for tiny hands.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And \u003ca href=\"https://twitter.com/Mark_Leggatt/status/1017385343967006720\">The Scotsman newspaper\u003c/a> published an op-ed in which it stated, “the 45th U.S. president is an appalling human being.” The paper went on to say that Trump “is a racist, a serial liar, and either a sexual abuser or someone who falsely brags about being one.”\u003c/p>\n\u003cp>Trump’s schedule on Friday includes another meeting and a working lunch with May at Chequers — the prime minister’s country house — and a visit to Queen Elizabeth II at Windsor Castle, where they’ll have tea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the White House schedule, from the moment Trump and first lady Melania Trump greet the queen to the moment they leave for the castle’s landing zone to begin their trip to Scotland, the royal visit will have lasted an entirety of 40 minutes.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Large+Protests%2C+Baby+Blimp+Greet+Trump+In+London+And+The+U.K.&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Three Identical Strangers': Nuanced Doc Tells A Gripping Tale — In Triplicate",
"headTitle": "‘Three Identical Strangers’: Nuanced Doc Tells A Gripping Tale — In Triplicate | KQED",
"content": "\u003cp>Now in his grizzled late fifties, Bobby Shafran is an affable, ordinary fellow whose life ran away from him back in 1980, when the nineteen-year-old freshman drove his beat-up Volvo to enter community college in upstate New York. He was puzzled at being effusively greeted by fellow students who called him Eddy. It quickly transpired that he was a dead ringer for another student at the college named Eddy Galland, who turned out to be the twin Bobby never knew he had. The discovery got into the local press, and soon a third lookalike, David Kellman, turned up. The identical triplets, all adopted by different families, were joyfully reunited and only too happy to take on the fairy-tale collective identity bestowed on them by the television talk shows. Which is when things began to really get weird, and not only because neither the boys nor their adoptive parents had known that other siblings existed.\u003c/p>\n\u003cp>If \u003cem>Three Identical Strangers\u003c/em> — an extraordinary documentary about the three brothers by British director Tim Wardle — were only about the deathless allure of identical offspring, it would still be a riveting tale. The demonstrable sameness of siblings hatched from the same egg excites the friction between our insistence on individual uniqueness and our desire for a mirror-image Other who will understand and defend us and keep us company forever. Or so the fantasy goes.\u003c/p>\n\u003cp>It didn’t hurt that the three boys, as we see in home movies and clips from the television talk circuit, were telegenic teddy bears with liquid brown eyes, masses of black curls and bashful, camera-ready grins. Paraded before an enthralled public, they dutifully showed up in the same outfits, crossed their legs in unison on demand, confessed under pressure to having the same taste in women. All had wrestled in high school, and wasn’t it amazing that they all had adopted sisters? Bobby, Eddy, and David made the nightclub rounds, got married, opened a restaurant together. Their celebrity status was predicated on their sameness, and for so long as they could play along with the packaging, it was all so super-cute. Until it wasn’t, and here the boys’ story, or stories (the plural bursts with significance), went from amazing to incredible to very, very dark.\u003c/p>\n\u003cp>https://youtu.be/uM5TQ4f7ycw\u003c/p>\n\u003cp>On its face, \u003cem>Three Identical Strangers\u003c/em> presents as a straight-ahead documentary with the usual mix of home and media footage, re-enactments, and testimony from friends, family, other interested parties as well as two of the siblings themselves. In fact, the film is an artfully constructed investigative narrative structured to give us the sense of discovering, along with the boys and their families, several layers of buried secrets and lies that blighted their adult lives. If ever a story called for multiple narratives and deep digging into the past it’s this one. The triplets kept shedding identities and starting over in cataclysmic renewal — once at birth, again when they met and got swept into a media circus, and then, as new information peeled back their histories apart and together, in a reckoning that undid one of them and did serious damage to the others.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From the moment they were born, the film shows, the adoptive families fell victim to casual abuses of power, from the adoption agency that concealed their biological parentage and their triplet status, to the scientists who used them as guinea pigs for a study of nature versus nurture that was never published, to the media that trapped them inside a fairy tale they could never live up to. Watching these families get gobbled up by skewed exposure to the public eye, I was reminded of Andrew Jarecki’s equally riveting 2003 doc \u003cem>Capturing the Friedmans\u003c/em>, in which an already troubled Long island family caught up in a child abuse case was further crucified by rushes to judgment on the part of the police, the courts, the media and their local community.\u003c/p>\n\u003cp>Wardle captures the families’ outrage at what had been kept from them. Sensitive to historical context too, he brings in journalist Lawrence Wright, who wrote a book about twin studies, as well as former researchers on the study, to show that ethical concerns about privacy and disclosure were less encoded into professional practice in the sixties than they are today. Still, interpreting the past through re-enactment can be tricky. The adoption agency is closed now and there’s no one to verify the dramatized memory of one adoptive father who recalls stumbling on board members toasting one another with champagne after a meeting in which they thought they’d pacified angry parents with half-truths.\u003c/p>\n\u003cp>In yet another twist to a serpentine tale that Wardle tracks like a thriller, we learn that the triplets had one more thing in common: All had troubled passages from childhood through adolescence, but its manifestations varied from boy to boy. All three grew up in Jewish families, but they spanned the class spectrum and their parenting styles varied, with one disciplinarian father taking the weight of blame for his son’s emotional instability. When a former researcher reads from the notes he took during the testing, we learn as much about the heedless parent-blaming that prevailed among psychologists after World War II as about the boys’ early difficulties.\u003c/p>\n\u003cp>Once the movie gets deep into the muck of how vulnerable the triplets were to forces beyond their control, the differences between them become stark, and even the similarities don’t tally up to the fable of happy similarity in which the media had wrapped them. Here the nature-nurture debate heats up and the movie’s pendulum swings from heredity to environment as we witness the disparate fates that befell the three men. “It’s all about nurture!” exclaims one relative. Not \u003cem>all\u003c/em>, this nuanced film makes clear. And in one triplet’s baffled, anguished cry about a lost brother, “Why him and not me? I don’t know,” a clue emerges that there is nature, and there is nurture, and beyond both lie the unknowable mysteries of human character: Who succumbs to trauma and who survives, and what survival even means when you’ve lost your flesh and blood many times over.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Toward the end of \u003cem>Three Identical Strangers\u003c/em> Wardle brings two brothers together to inspect new information about their past on a laptop. What they discover is disturbing enough, but what really breaks the viewer’s heart is the nervous unease with which they greet each other, two identical strangers who were once close but seem not to have met in a while, and who seem to have lost the one thing that we assume twins should be able to count on. Trust.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Now in his grizzled late fifties, Bobby Shafran is an affable, ordinary fellow whose life ran away from him back in 1980, when the nineteen-year-old freshman drove his beat-up Volvo to enter community college in upstate New York. He was puzzled at being effusively greeted by fellow students who called him Eddy. It quickly transpired that he was a dead ringer for another student at the college named Eddy Galland, who turned out to be the twin Bobby never knew he had. The discovery got into the local press, and soon a third lookalike, David Kellman, turned up. The identical triplets, all adopted by different families, were joyfully reunited and only too happy to take on the fairy-tale collective identity bestowed on them by the television talk shows. Which is when things began to really get weird, and not only because neither the boys nor their adoptive parents had known that other siblings existed.\u003c/p>\n\u003cp>If \u003cem>Three Identical Strangers\u003c/em> — an extraordinary documentary about the three brothers by British director Tim Wardle — were only about the deathless allure of identical offspring, it would still be a riveting tale. The demonstrable sameness of siblings hatched from the same egg excites the friction between our insistence on individual uniqueness and our desire for a mirror-image Other who will understand and defend us and keep us company forever. Or so the fantasy goes.\u003c/p>\n\u003cp>It didn’t hurt that the three boys, as we see in home movies and clips from the television talk circuit, were telegenic teddy bears with liquid brown eyes, masses of black curls and bashful, camera-ready grins. Paraded before an enthralled public, they dutifully showed up in the same outfits, crossed their legs in unison on demand, confessed under pressure to having the same taste in women. All had wrestled in high school, and wasn’t it amazing that they all had adopted sisters? Bobby, Eddy, and David made the nightclub rounds, got married, opened a restaurant together. Their celebrity status was predicated on their sameness, and for so long as they could play along with the packaging, it was all so super-cute. Until it wasn’t, and here the boys’ story, or stories (the plural bursts with significance), went from amazing to incredible to very, very dark.\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/uM5TQ4f7ycw'\n title='//www.youtube.com/embed/uM5TQ4f7ycw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>On its face, \u003cem>Three Identical Strangers\u003c/em> presents as a straight-ahead documentary with the usual mix of home and media footage, re-enactments, and testimony from friends, family, other interested parties as well as two of the siblings themselves. In fact, the film is an artfully constructed investigative narrative structured to give us the sense of discovering, along with the boys and their families, several layers of buried secrets and lies that blighted their adult lives. If ever a story called for multiple narratives and deep digging into the past it’s this one. The triplets kept shedding identities and starting over in cataclysmic renewal — once at birth, again when they met and got swept into a media circus, and then, as new information peeled back their histories apart and together, in a reckoning that undid one of them and did serious damage to the others.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From the moment they were born, the film shows, the adoptive families fell victim to casual abuses of power, from the adoption agency that concealed their biological parentage and their triplet status, to the scientists who used them as guinea pigs for a study of nature versus nurture that was never published, to the media that trapped them inside a fairy tale they could never live up to. Watching these families get gobbled up by skewed exposure to the public eye, I was reminded of Andrew Jarecki’s equally riveting 2003 doc \u003cem>Capturing the Friedmans\u003c/em>, in which an already troubled Long island family caught up in a child abuse case was further crucified by rushes to judgment on the part of the police, the courts, the media and their local community.\u003c/p>\n\u003cp>Wardle captures the families’ outrage at what had been kept from them. Sensitive to historical context too, he brings in journalist Lawrence Wright, who wrote a book about twin studies, as well as former researchers on the study, to show that ethical concerns about privacy and disclosure were less encoded into professional practice in the sixties than they are today. Still, interpreting the past through re-enactment can be tricky. The adoption agency is closed now and there’s no one to verify the dramatized memory of one adoptive father who recalls stumbling on board members toasting one another with champagne after a meeting in which they thought they’d pacified angry parents with half-truths.\u003c/p>\n\u003cp>In yet another twist to a serpentine tale that Wardle tracks like a thriller, we learn that the triplets had one more thing in common: All had troubled passages from childhood through adolescence, but its manifestations varied from boy to boy. All three grew up in Jewish families, but they spanned the class spectrum and their parenting styles varied, with one disciplinarian father taking the weight of blame for his son’s emotional instability. When a former researcher reads from the notes he took during the testing, we learn as much about the heedless parent-blaming that prevailed among psychologists after World War II as about the boys’ early difficulties.\u003c/p>\n\u003cp>Once the movie gets deep into the muck of how vulnerable the triplets were to forces beyond their control, the differences between them become stark, and even the similarities don’t tally up to the fable of happy similarity in which the media had wrapped them. Here the nature-nurture debate heats up and the movie’s pendulum swings from heredity to environment as we witness the disparate fates that befell the three men. “It’s all about nurture!” exclaims one relative. Not \u003cem>all\u003c/em>, this nuanced film makes clear. And in one triplet’s baffled, anguished cry about a lost brother, “Why him and not me? I don’t know,” a clue emerges that there is nature, and there is nurture, and beyond both lie the unknowable mysteries of human character: Who succumbs to trauma and who survives, and what survival even means when you’ve lost your flesh and blood many times over.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Toward the end of \u003cem>Three Identical Strangers\u003c/em> Wardle brings two brothers together to inspect new information about their past on a laptop. What they discover is disturbing enough, but what really breaks the viewer’s heart is the nervous unease with which they greet each other, two identical strangers who were once close but seem not to have met in a while, and who seem to have lost the one thing that we assume twins should be able to count on. Trust.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Somewhere at Donald Glover HQ, decked out in Gucci formals and the comfiest of loafers, I can imagine one of the busiest entertainers in America musing, “I got \u003cem>Atlanta\u003c/em>. Lando Calrissian was the best thing about \u003cem>Solo\u003c/em> (don’t @ me). ‘This Is America,’ a noisy \u003ca href=\"https://www.npr.org/2018/05/07/609150167/donald-glovers-this-is-america-holds-ugly-truths-to-be-self-evident\">barrage of symbolism and chaos\u003c/a>, is an unlikely (but truly bangin’) contender for the song of the summer. What else can I give the people to make this summer just a little bit more ‘Donald Glover’?”\u003c/p>\n\u003cp>How about two new \u003ca href=\"https://www.npr.org/artists/250255694/childish-gambino\">Childish Gambino\u003c/a> songs? If you have any doubt of the vibe intended, it’s literally in the titles: “Summertime Magic” and “Feels Like Summer.” Co-written and co-produced by Childish Gambino and Ludwig Goransson, the same folks behind “This Is America,” both tracks have that far-away, steamy gaze — soft bops that simmer in steel drums, synths pads and the most gentle of guitar strums.\u003c/p>\n\u003cp>The bigger question now: Is this \u003ca href=\"https://www.npr.org/sections/allsongs/611745187/ros-wave-your-summer-soundtrack\">roséwave\u003c/a>?\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Summertime Magic (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/diLp6hUqvVk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Feels Like Summer (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ieL7BHjiyd8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Childish+Gambino+Wants+To+Dominate+This+Summer+And+Who+Are+We+To+Deny%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Somewhere at Donald Glover HQ, decked out in Gucci formals and the comfiest of loafers, I can imagine one of the busiest entertainers in America musing, “I got \u003cem>Atlanta\u003c/em>. Lando Calrissian was the best thing about \u003cem>Solo\u003c/em> (don’t @ me). ‘This Is America,’ a noisy \u003ca href=\"https://www.npr.org/2018/05/07/609150167/donald-glovers-this-is-america-holds-ugly-truths-to-be-self-evident\">barrage of symbolism and chaos\u003c/a>, is an unlikely (but truly bangin’) contender for the song of the summer. What else can I give the people to make this summer just a little bit more ‘Donald Glover’?”\u003c/p>\n\u003cp>How about two new \u003ca href=\"https://www.npr.org/artists/250255694/childish-gambino\">Childish Gambino\u003c/a> songs? If you have any doubt of the vibe intended, it’s literally in the titles: “Summertime Magic” and “Feels Like Summer.” Co-written and co-produced by Childish Gambino and Ludwig Goransson, the same folks behind “This Is America,” both tracks have that far-away, steamy gaze — soft bops that simmer in steel drums, synths pads and the most gentle of guitar strums.\u003c/p>\n\u003cp>The bigger question now: Is this \u003ca href=\"https://www.npr.org/sections/allsongs/611745187/ros-wave-your-summer-soundtrack\">roséwave\u003c/a>?\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Summertime Magic (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/diLp6hUqvVk?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Childish Gambino - Feels Like Summer (Audio)\" width=\"500\" height=\"281\" src=\"https://www.youtube.com/embed/ieL7BHjiyd8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Childish+Gambino+Wants+To+Dominate+This+Summer+And+Who+Are+We+To+Deny%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15045892/elvis-costello\" target=\"_blank\" rel=\"noopener\">Elvis Costello\u003c/a> has canceled his remaining European tour dates through July 16 to recover from surgery of an “aggressive cancerous malignancy,” according to a \u003ca href=\"https://www.elviscostello.com/#!/news/297540\">statement\u003c/a> on his website.\u003c/p>\n\u003cp>The 63-year-old’s cancer was defeated six weeks ago after surgery, according to the statement, and Costello was “elated and relieved” the European tour would be able to continue. Last week Costello initially \u003ca href=\"https://www.elviscostello.com/#!/news/297522\" target=\"_blank\" rel=\"noopener\">canceled two dates \u003c/a>for medical reasons after “some surgery.”\u003c/p>\n\u003cp>At that time, the announcement did not specifically name the diagnosis, but in the new statement Costello suggests it was a cancer affecting primarily men: “Gentleman, do talk to your friends — you’ll find you are not alone — seek your doctor’s advice if you are in doubt.”\u003c/p>\n\u003cp>Costello was advised it would take three to four weeks to recover from the surgery. But the singer says, “it was impossible to judge how this advisory would line up with the demands on a traveling musician, playing 90-minute to 2-hour plus performances. I was almost fooled into thinking that normal service had been resumed.”\u003c/p>\n\u003cp>Six dates in the United Kingdom, Croatia, Austria, Norway and Sweden were canceled.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Costello still has a \u003ca href=\"https://www.elviscostello.com/#!/news/297505\" target=\"_blank\" rel=\"noopener\">tour slated for November and December\u003c/a>, which will promote a new Elvis Costello & The Imposters’ album, which is planned for release in October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We will return at the soonest opportunity to play that music, and your favourite songs that still make sense to us all,” Costello says. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elvis+Costello+Cancels+European+Tour+Dates+To+Recover+From+Cancer+Surgery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15045892/elvis-costello\" target=\"_blank\" rel=\"noopener\">Elvis Costello\u003c/a> has canceled his remaining European tour dates through July 16 to recover from surgery of an “aggressive cancerous malignancy,” according to a \u003ca href=\"https://www.elviscostello.com/#!/news/297540\">statement\u003c/a> on his website.\u003c/p>\n\u003cp>The 63-year-old’s cancer was defeated six weeks ago after surgery, according to the statement, and Costello was “elated and relieved” the European tour would be able to continue. Last week Costello initially \u003ca href=\"https://www.elviscostello.com/#!/news/297522\" target=\"_blank\" rel=\"noopener\">canceled two dates \u003c/a>for medical reasons after “some surgery.”\u003c/p>\n\u003cp>At that time, the announcement did not specifically name the diagnosis, but in the new statement Costello suggests it was a cancer affecting primarily men: “Gentleman, do talk to your friends — you’ll find you are not alone — seek your doctor’s advice if you are in doubt.”\u003c/p>\n\u003cp>Costello was advised it would take three to four weeks to recover from the surgery. But the singer says, “it was impossible to judge how this advisory would line up with the demands on a traveling musician, playing 90-minute to 2-hour plus performances. I was almost fooled into thinking that normal service had been resumed.”\u003c/p>\n\u003cp>Six dates in the United Kingdom, Croatia, Austria, Norway and Sweden were canceled.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Costello still has a \u003ca href=\"https://www.elviscostello.com/#!/news/297505\" target=\"_blank\" rel=\"noopener\">tour slated for November and December\u003c/a>, which will promote a new Elvis Costello & The Imposters’ album, which is planned for release in October.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We will return at the soonest opportunity to play that music, and your favourite songs that still make sense to us all,” Costello says. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Elvis+Costello+Cancels+European+Tour+Dates+To+Recover+From+Cancer+Surgery&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Elvis Documentary Comes For 'The King' — And Does Not Miss",
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"content": "\u003cp>“Not \u003cem>another\u003c/em> Elvis movie,” you scream at the heavens in the year 2018. “The man’s been dead for four decades. Every part of him has been strip-mined for white-nostalgia money already. My parents \u003cem>just\u003c/em> dragged me to the touring production of \u003cem>Million Dollar Quartet\u003c/em>. Show some \u003cem>mercy\u003c/em>, people.”\u003c/p>\n\u003cp>First of all: point taken. Secondly: don’t be cruel. You haven’t seen \u003cem>The King\u003c/em> yet. And you’re going to want to. Oh, yes.\u003c/p>\n\u003cp>Eugene Jarecki’s latest documentary is a hunk-a, hunk-a burning zeitgeist, the kind of movie that just might shake you from your sleep at night weeks later. Far from an HBO greatest-hits biography, \u003cem>The King\u003c/em> dares to use Elvis Presley as a metaphor for everything that’s wrong with our country, while still paying tribute to his lasting qualities and the folks he managed to inspire from every walk of life. It makes leaps of logic that defy all common sense, and yet somehow everything clicks together in a grand display of cinematic fireworks, scored to generations of musicians that came before and after the film’s subject. It is, as an interviewee says, “one of those epiphanies where thousands of meanings come crashing down at once.”\u003c/p>\n\u003cp>https://youtu.be/csXtdjsqYLM\u003c/p>\n\u003cp>How to describe what’s going on here? Jarecki has rented Presley’s 1963 Rolls-Royce for a road trip across America, making stops at significant signposts of his life: his birthplace in Tupelo, Mississippi; his early recording success in Memphis; his status upgrade in Nashville; his lost period in Hollywood making terrible teenybopper movies; his final, bloated, saggy years in Las Vegas; and many more in-between.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At each location, the story of how this poor “white man with a Negro sound” rocketed to the outermost stratosphere of rock fame is juxtaposed with commentary on the state of the country he inherited, and then left behind when he keeled over on the toilet at age 42. Bluegrass and gospel singers climb into the plush backseat, as do rappers, actors, politicians and random people Jarecki happens to meet along the way. The Rolls-Royce breaks down at one point. It’s a thrill.\u003c/p>\n\u003cp>In the telling of it, Elvis was eaten by the American Dream. He found success in the 1950s by adapting (or, many argue, stealing) black music for a white audience, gave nothing back to the culture he was cribbing from and then utterly ignored his own well-being in the face of massive success. The film dwells not on the King’s hits but on all the career decisions he made that seemed to defy common sense, that slowly led to his undoing: enlisting in the military and shipping out to Germany at the height of his popularity; signing a record-setting movie contract instead of developing his sound; living out his remaining years in Vegas feeding his pill addiction with another lucrative payroll. Some of that gets chalked up to the notorious “Colonel” Tom Parker, Elvis’s scheming manager who could see, for example, how easy it was to brand a celebrity with patriotism just by signing him up for duty. But the man himself also was lured by the drugs of fame and money, and so he \u003cem>wanted\u003c/em>, or perhaps was destined, to corrupt his talents.\u003c/p>\n\u003cp>And as goes the King, so go his subjects. “If Elvis is your metaphor for America,” rapper Immortal Technique says in the days leading up to the 2016 election, “we’re about to O.D.” The film teases out thread after thread of how we can reframe the singer’s successes and failures from a modern perspective, from segregation to cultural appropriation to bank deregulation. It doesn’t all make sense, and there are a few moments as tacky as Graceland itself, like the decision to frame the current residents of Presley’s boyhood neighborhood in Tupelo in harsh, ugly close-up as Jarecki interviews them in their own kitchen and they yell about their town “going to hell.” But the film is self-aware enough to play out its own arguments against itself. \u003cem>The Wire\u003c/em> creator David Simon, a buddy of Jarecki’s, criticizes the director for leaning his American film so heavily on a foreign-made car. There’s only a select audience that can watch two writers arguing over what makes a good metaphor, but to that audience, this movie is catnip.\u003c/p>\n\u003cp>What carries us through this mad experiment is a sense of commonality through the oral tradition, a reminder that Elvis’s story is one of our shared myths. Historian Steve Fraser can start telling a story about “the American Experiment,” then hand it off to Ethan Hawke to tell us how the singer got his big break at Sun Records, and then Hawke can kick it over to Chuck D to tell you what it all means, and 14-year-old country music prodigy EmiSunshine might be playing us through. You might think the last thing you want to see is Ashton Kutcher wax philosophical on anything, but then the sitcom star hits you with the weary observation that he believes his level of fame has eclipsed his talent, and how he shouldn’t by any rights be this much of a sought-after public figure, and then things start to click. “Based on what I’ve done professionally, I should not be getting this much attention,” he sighs, as fans scream his name from outside the Rolls-Royce like he’s just another Elvis.\u003c/p>\n\u003cp>Jarecki has always placed politics front-and-center in his storytelling, having previously taken on the military-industrial complex with 2005’s \u003cem>Why We Fight\u003c/em> and the War on Drugs with 2012’s \u003cem>The House I Live In\u003c/em>. But here he’s refined his style, sneaking in attack points so that we don’t even realize when he’s attacking. He’s also better at minimizing his own presence in front of the camera while still being transparent about authorial intent so that we always know this is theater (we see his crew affixing equipment to the hood of the car, for instance). And Jarecki and his team of editors leverage all the commotion to their advantage, especially in the ferocious montage that brings the film to a close, scored to a televised cover performance of “Unchained Melody” that Elvis gave weeks before his death.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“Time goes by so slowly,” the King croons from the piano, sweat pouring from his numbed, pudgy face, as the next 40 years fly by the rest of us like a bad dream: The glove don’t fit, the towers fall, the levees break. Watching the scene feels like we’re all synchronizing our watches to a better way to talk about entertainment, nostalgia and fame. Instead of “escaping from the real world,” we can have a productive conversation about it. Against all odds, Elvis lives. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“Not \u003cem>another\u003c/em> Elvis movie,” you scream at the heavens in the year 2018. “The man’s been dead for four decades. Every part of him has been strip-mined for white-nostalgia money already. My parents \u003cem>just\u003c/em> dragged me to the touring production of \u003cem>Million Dollar Quartet\u003c/em>. Show some \u003cem>mercy\u003c/em>, people.”\u003c/p>\n\u003cp>First of all: point taken. Secondly: don’t be cruel. You haven’t seen \u003cem>The King\u003c/em> yet. And you’re going to want to. Oh, yes.\u003c/p>\n\u003cp>Eugene Jarecki’s latest documentary is a hunk-a, hunk-a burning zeitgeist, the kind of movie that just might shake you from your sleep at night weeks later. Far from an HBO greatest-hits biography, \u003cem>The King\u003c/em> dares to use Elvis Presley as a metaphor for everything that’s wrong with our country, while still paying tribute to his lasting qualities and the folks he managed to inspire from every walk of life. It makes leaps of logic that defy all common sense, and yet somehow everything clicks together in a grand display of cinematic fireworks, scored to generations of musicians that came before and after the film’s subject. It is, as an interviewee says, “one of those epiphanies where thousands of meanings come crashing down at once.”\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/csXtdjsqYLM'\n title='//www.youtube.com/embed/csXtdjsqYLM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>How to describe what’s going on here? Jarecki has rented Presley’s 1963 Rolls-Royce for a road trip across America, making stops at significant signposts of his life: his birthplace in Tupelo, Mississippi; his early recording success in Memphis; his status upgrade in Nashville; his lost period in Hollywood making terrible teenybopper movies; his final, bloated, saggy years in Las Vegas; and many more in-between.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At each location, the story of how this poor “white man with a Negro sound” rocketed to the outermost stratosphere of rock fame is juxtaposed with commentary on the state of the country he inherited, and then left behind when he keeled over on the toilet at age 42. Bluegrass and gospel singers climb into the plush backseat, as do rappers, actors, politicians and random people Jarecki happens to meet along the way. The Rolls-Royce breaks down at one point. It’s a thrill.\u003c/p>\n\u003cp>In the telling of it, Elvis was eaten by the American Dream. He found success in the 1950s by adapting (or, many argue, stealing) black music for a white audience, gave nothing back to the culture he was cribbing from and then utterly ignored his own well-being in the face of massive success. The film dwells not on the King’s hits but on all the career decisions he made that seemed to defy common sense, that slowly led to his undoing: enlisting in the military and shipping out to Germany at the height of his popularity; signing a record-setting movie contract instead of developing his sound; living out his remaining years in Vegas feeding his pill addiction with another lucrative payroll. Some of that gets chalked up to the notorious “Colonel” Tom Parker, Elvis’s scheming manager who could see, for example, how easy it was to brand a celebrity with patriotism just by signing him up for duty. But the man himself also was lured by the drugs of fame and money, and so he \u003cem>wanted\u003c/em>, or perhaps was destined, to corrupt his talents.\u003c/p>\n\u003cp>And as goes the King, so go his subjects. “If Elvis is your metaphor for America,” rapper Immortal Technique says in the days leading up to the 2016 election, “we’re about to O.D.” The film teases out thread after thread of how we can reframe the singer’s successes and failures from a modern perspective, from segregation to cultural appropriation to bank deregulation. It doesn’t all make sense, and there are a few moments as tacky as Graceland itself, like the decision to frame the current residents of Presley’s boyhood neighborhood in Tupelo in harsh, ugly close-up as Jarecki interviews them in their own kitchen and they yell about their town “going to hell.” But the film is self-aware enough to play out its own arguments against itself. \u003cem>The Wire\u003c/em> creator David Simon, a buddy of Jarecki’s, criticizes the director for leaning his American film so heavily on a foreign-made car. There’s only a select audience that can watch two writers arguing over what makes a good metaphor, but to that audience, this movie is catnip.\u003c/p>\n\u003cp>What carries us through this mad experiment is a sense of commonality through the oral tradition, a reminder that Elvis’s story is one of our shared myths. Historian Steve Fraser can start telling a story about “the American Experiment,” then hand it off to Ethan Hawke to tell us how the singer got his big break at Sun Records, and then Hawke can kick it over to Chuck D to tell you what it all means, and 14-year-old country music prodigy EmiSunshine might be playing us through. You might think the last thing you want to see is Ashton Kutcher wax philosophical on anything, but then the sitcom star hits you with the weary observation that he believes his level of fame has eclipsed his talent, and how he shouldn’t by any rights be this much of a sought-after public figure, and then things start to click. “Based on what I’ve done professionally, I should not be getting this much attention,” he sighs, as fans scream his name from outside the Rolls-Royce like he’s just another Elvis.\u003c/p>\n\u003cp>Jarecki has always placed politics front-and-center in his storytelling, having previously taken on the military-industrial complex with 2005’s \u003cem>Why We Fight\u003c/em> and the War on Drugs with 2012’s \u003cem>The House I Live In\u003c/em>. But here he’s refined his style, sneaking in attack points so that we don’t even realize when he’s attacking. He’s also better at minimizing his own presence in front of the camera while still being transparent about authorial intent so that we always know this is theater (we see his crew affixing equipment to the hood of the car, for instance). And Jarecki and his team of editors leverage all the commotion to their advantage, especially in the ferocious montage that brings the film to a close, scored to a televised cover performance of “Unchained Melody” that Elvis gave weeks before his death.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Time goes by so slowly,” the King croons from the piano, sweat pouring from his numbed, pudgy face, as the next 40 years fly by the rest of us like a bad dream: The glove don’t fit, the towers fall, the levees break. Watching the scene feels like we’re all synchronizing our watches to a better way to talk about entertainment, nostalgia and fame. Instead of “escaping from the real world,” we can have a productive conversation about it. Against all odds, Elvis lives. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "london-mayor-says-trump-baby-blimp-can-fly-in-protest-of-president-trumps-visit",
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"content": "\u003cp>The “Trump Baby” blimp is nearly 20 feet tall, wearing nothing but a diaper and a grimace. A tuft of yellow hair tops his orange head. He is armed with a cellphone, ready to tweet.\u003c/p>\n\u003cp>And now he is nearly ready to fly over Parliament in London.\u003c/p>\n\u003cp>https://twitter.com/TrumpBabyUK/status/1014831369522999296\u003c/p>\n\u003cp>Mayor Sadiq Khan’s Greater London Authority has given activists permission to launch the bouncing behemoth from Parliament Square Garden on July 13, when President Trump is set to arrive in London for a three-day visit to the U.K.\u003c/p>\n\u003cp>“The Mayor supports the right to peaceful protest and understands that this can take many different forms. … However the organisers will also need to receive the necessary approvals from the Metropolitan Police and national air traffic service in order for it to fly,” a spokesperson for Khan tells NPR.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The blimp, which will be tethered to the ground, will be allowed to fly for two hours at a maximum height of about 100 feet, says organizer Leo Murray, who conceived of the idea of a Trump Baby blimp.\u003c/p>\n\u003cp>Another protest organizer, Max Wakefield, says the London authority initially objected to the idea.\u003c/p>\n\u003cp>“They just said, it’s not going to work, and that’s the end of it,” Wakefield says. But for the activists behind the blimp, that wasn’t the end of it at all.\u003c/p>\n\u003cp>They launched an online petition to “Let Trump Baby Fly,” garnering thousands of signatures and a fair amount of media attention.\u003c/p>\n\u003cp>Wakefield says, “Quite quickly after we managed to get some media interest, it didn’t take very long for this to blow up — excuse the pun.”\u003c/p>\n\u003cp>Organizers say they are still getting all the requisite approvals to fly the blimp. But in some ways, Wakefield says, they’ve already accomplished the goal of getting out their message.\u003c/p>\n\u003cp>“Behind all of the humor and the creativity is a really serious message for us,” Wakefield says. “This isn’t just about Trump, this is about the rise of far-right politics that dehumanizes people in order to get into power.” He mentioned the detention of immigrant children in the U.S. and Trump’s decision to pull out of the Paris climate agreement as among the reasons for the protest.\u003c/p>\n\u003cp>As for the method, Wakefield says: “The only way that you can make any impact with Donald Trump is to mock him, because you can’t engage him in any kind of argument — it never gets anywhere.”\u003c/p>\n\u003cp>“This is an attempt to introduce some good British humor into the political discourse surrounding Trump’s visit,” he says.\u003c/p>\n\u003cp>As NPR’s Laurel Wamsley \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/30/567541702/trumps-retweets-of-extremist-group-cause-firestorm-in-uk\">reported last year\u003c/a>, “In January, Prime Minister Theresa May invited Trump for a state visit — an invitation that drew \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/01/30/512440720/dont-invite-trump-for-state-visit-say-more-than-1-million-in-u-k\">immediate criticism\u003c/a>. \u003ca href=\"https://petition.parliament.uk/archived/petitions/171928\">A petition\u003c/a> to prevent Trump from making an official state visit “because it would cause embarrassment to Her Majesty the Queen” drew nearly 2 million signatures and received parlimentary debate in February.\u003c/p>\n\u003cp>Khan has also been critical of a Trump visit, \u003ca href=\"https://twitter.com/SadiqKhan/status/936172776637026304\">tweeting\u003c/a> last fall that “it’s increasingly clear that any official visit from President Trump to Britain would not be welcomed.”\u003c/p>\n\u003cp>The July 13 airborne protest will coincide with a more traditional one on the ground: \u003ca href=\"https://www.facebook.com/events/144340712883728/\">a “Stop Trump” march\u003c/a> through central London.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=London+Mayor+Says+%27Trump+Baby%27+Blimp+Can+Fly+In+Protest+of+President+Trump%27s+Visit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The blimp, which will be tethered to the ground, will be allowed to fly for two hours at a maximum height of about 100 feet, says organizer Leo Murray, who conceived of the idea of a Trump Baby blimp.\u003c/p>\n\u003cp>Another protest organizer, Max Wakefield, says the London authority initially objected to the idea.\u003c/p>\n\u003cp>“They just said, it’s not going to work, and that’s the end of it,” Wakefield says. But for the activists behind the blimp, that wasn’t the end of it at all.\u003c/p>\n\u003cp>They launched an online petition to “Let Trump Baby Fly,” garnering thousands of signatures and a fair amount of media attention.\u003c/p>\n\u003cp>Wakefield says, “Quite quickly after we managed to get some media interest, it didn’t take very long for this to blow up — excuse the pun.”\u003c/p>\n\u003cp>Organizers say they are still getting all the requisite approvals to fly the blimp. But in some ways, Wakefield says, they’ve already accomplished the goal of getting out their message.\u003c/p>\n\u003cp>“Behind all of the humor and the creativity is a really serious message for us,” Wakefield says. “This isn’t just about Trump, this is about the rise of far-right politics that dehumanizes people in order to get into power.” He mentioned the detention of immigrant children in the U.S. and Trump’s decision to pull out of the Paris climate agreement as among the reasons for the protest.\u003c/p>\n\u003cp>As for the method, Wakefield says: “The only way that you can make any impact with Donald Trump is to mock him, because you can’t engage him in any kind of argument — it never gets anywhere.”\u003c/p>\n\u003cp>“This is an attempt to introduce some good British humor into the political discourse surrounding Trump’s visit,” he says.\u003c/p>\n\u003cp>As NPR’s Laurel Wamsley \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/30/567541702/trumps-retweets-of-extremist-group-cause-firestorm-in-uk\">reported last year\u003c/a>, “In January, Prime Minister Theresa May invited Trump for a state visit — an invitation that drew \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/01/30/512440720/dont-invite-trump-for-state-visit-say-more-than-1-million-in-u-k\">immediate criticism\u003c/a>. \u003ca href=\"https://petition.parliament.uk/archived/petitions/171928\">A petition\u003c/a> to prevent Trump from making an official state visit “because it would cause embarrassment to Her Majesty the Queen” drew nearly 2 million signatures and received parlimentary debate in February.\u003c/p>\n\u003cp>Khan has also been critical of a Trump visit, \u003ca href=\"https://twitter.com/SadiqKhan/status/936172776637026304\">tweeting\u003c/a> last fall that “it’s increasingly clear that any official visit from President Trump to Britain would not be welcomed.”\u003c/p>\n\u003cp>The July 13 airborne protest will coincide with a more traditional one on the ground: \u003ca href=\"https://www.facebook.com/events/144340712883728/\">a “Stop Trump” march\u003c/a> through central London.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=London+Mayor+Says+%27Trump+Baby%27+Blimp+Can+Fly+In+Protest+of+President+Trump%27s+Visit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Moog, the legendary synthesizer designer and manufacturer based in North Carolina, is the latest American company to sound an alarm over increased operation costs.\u003c/p>\n\u003cp>The next round of tariffs \u003ca href=\"https://www.npr.org/2018/06/15/620259820/trump-levies-50-billion-in-tariffs-as-china-says-it-will-retaliate\" target=\"_blank\" rel=\"noopener\">on Chinese \u003c/a>\u003ca href=\"https://www.npr.org/2018/06/15/620259820/trump-levies-50-billion-in-tariffs-as-china-says-it-will-retaliate\" target=\"_blank\" rel=\"noopener\">products\u003c/a> are scheduled to kick in on Friday on about $34 billion worth of goods imported from China. In return, China said it will impose tariffs on $34 billion worth of U.S. products.\u003c/p>\n\u003cp>As a result, Moog has urged customers to contact North Carolina’s Republican lawmakers Reps. Mark Meadows and Patrick McHenry, and Sens. Richard Burr and Thom Tillis, in \u003ca href=\"https://us2.campaign-archive.com/?e=&u=66ca69d70dceab5be9897856d&id=a2684e1453\" target=\"_blank\" rel=\"noopener\">an email\u003c/a> to its customers. The company warned that the tariffs “will immediately and drastically increase the cost of building our instruments, and have the very real potential of forcing us to lay off workers and could (in a worst case scenario) require us to move some, if not all, of our manufacturing overseas.”\u003c/p>\n\u003cp>The company came up with a template letter to North Carolina’s officials that it is asking customers to sign and send. In the template letter, Moog explains that it tries to make its circuit boards with U.S. suppliers when possible, sometimes paying up to 30 percent more than what it would cost to buy the same circuit boards overseas. Yet, even when Moog buys from domestic suppliers, most of the raw components still come from China. That’s why Moog is warning it can’t avoid “this substantial cost increase.”\u003c/p>\n\u003cp>None of the four lawmakers responded to a request for comment on Moog’s letter. Moog says it’s not commenting further.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moog Music was founded in 1967 as R.A. Moog, Inc. by its namesake, Robert Moog, an inventor and engineer who became indelibly linked to the electronic music his steady output of hardware during the last half of the 20th century helped facilitate. Moog was always a tinkerer first, however: “Musicians always come up with stuff I couldn’t imagine, using my instruments,” he \u003ca href=\"https://www.moogmusic.com/legacy/bob-moog-timeline\" target=\"_blank\" rel=\"noopener\">once said\u003c/a>.\u003c/p>\n\u003cp>In 2002 — decades after founding, selling and departing his company, which subsequently went bankrupt and ceased operations \u003ca href=\"https://gearpatrol.com/2015/07/07/history-of-moog-music-synthesizers/\" target=\"_blank\" rel=\"noopener\">in 1993\u003c/a> — Robert Moog \u003ca href=\"https://www.moogmusic.com/legacy/bob-moog-timeline\">regained\u003c/a> the right to use his name, which he immediately did, renaming his Asheville, N.C.-based company, Big Briar. Moog died three years later.\u003c/p>\n\u003cp>Three years ago, its CEO, Mike Adams, announced that he was selling part of the company \u003ca href=\"https://www.nytimes.com/2015/06/11/arts/music/moog-music-gives-employees-more-control.html?_r=3\" target=\"_blank\" rel=\"noopener\">to its employees\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moog isn’t the only American company to be affected by recent changes in international trade. On June 25, the iconic American motorcycle manufacturer Harley-Davidson \u003ca href=\"https://www.npr.org/2018/06/25/623140949/casualty-of-trade-tensions-harley-davidson-shifting-more-production-overseas\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> it was considering shifting some of its own production overseas in response to tariffs on American goods that the European Union is implementing, which are coming in response to the tariffs President Trump placed on European goods. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Moog+Says+Chinese+Tariffs+May+Force+A+Move+Overseas&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Moog, the legendary synthesizer designer and manufacturer based in North Carolina, is the latest American company to sound an alarm over increased operation costs.\u003c/p>\n\u003cp>The next round of tariffs \u003ca href=\"https://www.npr.org/2018/06/15/620259820/trump-levies-50-billion-in-tariffs-as-china-says-it-will-retaliate\" target=\"_blank\" rel=\"noopener\">on Chinese \u003c/a>\u003ca href=\"https://www.npr.org/2018/06/15/620259820/trump-levies-50-billion-in-tariffs-as-china-says-it-will-retaliate\" target=\"_blank\" rel=\"noopener\">products\u003c/a> are scheduled to kick in on Friday on about $34 billion worth of goods imported from China. In return, China said it will impose tariffs on $34 billion worth of U.S. products.\u003c/p>\n\u003cp>As a result, Moog has urged customers to contact North Carolina’s Republican lawmakers Reps. Mark Meadows and Patrick McHenry, and Sens. Richard Burr and Thom Tillis, in \u003ca href=\"https://us2.campaign-archive.com/?e=&u=66ca69d70dceab5be9897856d&id=a2684e1453\" target=\"_blank\" rel=\"noopener\">an email\u003c/a> to its customers. The company warned that the tariffs “will immediately and drastically increase the cost of building our instruments, and have the very real potential of forcing us to lay off workers and could (in a worst case scenario) require us to move some, if not all, of our manufacturing overseas.”\u003c/p>\n\u003cp>The company came up with a template letter to North Carolina’s officials that it is asking customers to sign and send. In the template letter, Moog explains that it tries to make its circuit boards with U.S. suppliers when possible, sometimes paying up to 30 percent more than what it would cost to buy the same circuit boards overseas. Yet, even when Moog buys from domestic suppliers, most of the raw components still come from China. That’s why Moog is warning it can’t avoid “this substantial cost increase.”\u003c/p>\n\u003cp>None of the four lawmakers responded to a request for comment on Moog’s letter. Moog says it’s not commenting further.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moog Music was founded in 1967 as R.A. Moog, Inc. by its namesake, Robert Moog, an inventor and engineer who became indelibly linked to the electronic music his steady output of hardware during the last half of the 20th century helped facilitate. Moog was always a tinkerer first, however: “Musicians always come up with stuff I couldn’t imagine, using my instruments,” he \u003ca href=\"https://www.moogmusic.com/legacy/bob-moog-timeline\" target=\"_blank\" rel=\"noopener\">once said\u003c/a>.\u003c/p>\n\u003cp>In 2002 — decades after founding, selling and departing his company, which subsequently went bankrupt and ceased operations \u003ca href=\"https://gearpatrol.com/2015/07/07/history-of-moog-music-synthesizers/\" target=\"_blank\" rel=\"noopener\">in 1993\u003c/a> — Robert Moog \u003ca href=\"https://www.moogmusic.com/legacy/bob-moog-timeline\">regained\u003c/a> the right to use his name, which he immediately did, renaming his Asheville, N.C.-based company, Big Briar. Moog died three years later.\u003c/p>\n\u003cp>Three years ago, its CEO, Mike Adams, announced that he was selling part of the company \u003ca href=\"https://www.nytimes.com/2015/06/11/arts/music/moog-music-gives-employees-more-control.html?_r=3\" target=\"_blank\" rel=\"noopener\">to its employees\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Moog isn’t the only American company to be affected by recent changes in international trade. On June 25, the iconic American motorcycle manufacturer Harley-Davidson \u003ca href=\"https://www.npr.org/2018/06/25/623140949/casualty-of-trade-tensions-harley-davidson-shifting-more-production-overseas\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> it was considering shifting some of its own production overseas in response to tariffs on American goods that the European Union is implementing, which are coming in response to the tariffs President Trump placed on European goods. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Moog+Says+Chinese+Tariffs+May+Force+A+Move+Overseas&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Stage Revival, and 50 Years of Survival, For 'The Boys In The Band'",
"headTitle": "A Stage Revival, and 50 Years of Survival, For ‘The Boys In The Band’ | KQED",
"content": "\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/625355423/625981019\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This story includes language that some may find offensive.\u003c/em>\u003c/p>\n\u003cp>It was 1968. But playwright Mart Crowley felt he had to write what he knew.\u003c/p>\n\u003cp>“Nobody wanted the play,” Crowley says. “Not even agents wanted to look at this play. They just thought it was pornographic and it was outrageous.”\u003c/p>\n\u003cp>What he wrote in \u003cem>The Boys in the Band\u003c/em> was a thinly veiled slice of autobiographical fiction. A group of gay friends gather for a raucous birthday party; by the end of the evening, secrets are spilled, tears are shed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The playwright says he wanted to capture “the atmosphere of what it was like to be gay and everything you did or felt was against the law, and that you could get arrested for almost anything and it could be blamed on that.”\u003c/p>\n\u003cp>Crowley points to one important line that he wrote: “Not all faggots bump themselves off at the end of the story.” It’s voiced by the character he based on himself.\u003c/p>\n\u003cp>“He was talking about plays in which most of the time, when there was a gay character, they wind up committing suicide or getting beaten to death or sent to prison,” Crowley says. “There was always a terrible fate for anybody who was gay. And so, I was determined not to have that happen, here in this.”\u003c/p>\n\u003cp>In the 50 years since\u003cem> The Boys in the Band\u003c/em> opened, the play has been both lionized as a path-breaking depiction of gay life in the 1960s, and criticized for antiquated attitudes that run counter to the current LGBTQ movement. It’s \u003ca href=\"http://boysintheband.com/\">being revived currently on Broadway\u003c/a>, with a cast that includes TV and film stars Jim Parsons, Matt Bomer and Zachary Quinto. But it’s also important to remember that in those 50 years, many of the original cast and crew died of AIDS.\u003c/p>\n\u003cp>When some courageous producers first took on \u003cem>The Boys in the Band\u003c/em>, the play became a phenomenon. It ran over 1,000 performances off-Broadway, and saw productions across the country and around the world. And it was adapted into a film.\u003c/p>\n\u003cp>Laurence Luckinbill played the character Hank in the original play and the film. Luckinbill, who was a college friend of Crowley’s and is straight, says getting actors to appear in \u003cem>The Boys in the Band\u003c/em> was difficult.\u003c/p>\n\u003cp>“I went and told my agent — who was gay, whose husband was gay, who were closeted — and I said, ‘I’m going to do the play,'” Luckinbill says. “And she said, ‘Well, there goes your career.'”\u003c/p>\n\u003cp>Despite the play’s success, he did lose jobs, including a contract for cigarette commercials.\u003c/p>\n\u003cp>“The only answer they would give me, it was from the head guy, and he said, ‘No fags smoke our fags,'” Luckinbill says.\u003c/p>\n\u003cp>There was even backlash from within the gay community. Luckinbill says an early activist organization denounced the play the day after it opened.\u003c/p>\n\u003cp>“The Mattachine Society criticized us, whining [it] made gay people look bad,” he says.\u003c/p>\n\u003cp>A year after the opening came the Stonewall riots, when members of New York’s gay community protested a police raid on a bar in Greenwich Village. That marked the beginning of the modern gay rights movement. And in the following years, the AIDS crisis took the lives of five of the actors, the stage manager, two producers and the director.\u003c/p>\n\u003cp>\u003cem>“\u003c/em>And so they basically fell in battle as far as I’m concerned,” Luckinbill says.\u003c/p>\n\u003cp>Tuc Watkins plays the same role in the revival that Laurence Luckinbill played in the original.\u003c/p>\n\u003cp>“My initial reaction was: Why are we going to go up into the attic and look at that thing again?” Watkins says. “Because I have come from a place of: I want to be out and proud and move forward and make progress. And it wasn’t until we read it and we started talking about it that I was reminded that we need to know where we came from in order to move forward and appreciate the freedoms that we have.”\u003c/p>\n\u003cp>The revival is directed by Joe Mantello, who assembled a cast of nine openly gay actors. Mantello says even he was a little concerned that the play wouldn’t speak to gay life in 2018.\u003c/p>\n\u003cp>“This play can’t possibly speak for everyone,” Mantello says. “But it did speak for Mart [Crowley] and it is Mart’s truth. And I think it holds up beautifully.”\u003c/p>\n\u003cp>For his part, Mart Crowley is happy that \u003cem>The Boys in the Band\u003c/em> finally made it to Broadway. And actor Brian Hutchison says it still connects with audiences on a very personal level. One evening after the play, he met two men in their 80s.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And one of the guys just burst into tears and they were streaming down his face and he couldn’t really speak,” Hutchison says. “And his friend said, ‘You moved him more than you know. He’s had a rough road.’ … It’s deeply moving to know that there are still people coming to the play who were living that life, you know, and they’re still living that life or have those regrets.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Stage+Revival%2C+And+50+Years+Of+Survival%2C+For+%27The+Boys+In+The+Band%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/625355423/625981019\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Editor’s note: \u003c/strong>\u003c/em>\u003cem>This story includes language that some may find offensive.\u003c/em>\u003c/p>\n\u003cp>It was 1968. But playwright Mart Crowley felt he had to write what he knew.\u003c/p>\n\u003cp>“Nobody wanted the play,” Crowley says. “Not even agents wanted to look at this play. They just thought it was pornographic and it was outrageous.”\u003c/p>\n\u003cp>What he wrote in \u003cem>The Boys in the Band\u003c/em> was a thinly veiled slice of autobiographical fiction. A group of gay friends gather for a raucous birthday party; by the end of the evening, secrets are spilled, tears are shed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The playwright says he wanted to capture “the atmosphere of what it was like to be gay and everything you did or felt was against the law, and that you could get arrested for almost anything and it could be blamed on that.”\u003c/p>\n\u003cp>Crowley points to one important line that he wrote: “Not all faggots bump themselves off at the end of the story.” It’s voiced by the character he based on himself.\u003c/p>\n\u003cp>“He was talking about plays in which most of the time, when there was a gay character, they wind up committing suicide or getting beaten to death or sent to prison,” Crowley says. “There was always a terrible fate for anybody who was gay. And so, I was determined not to have that happen, here in this.”\u003c/p>\n\u003cp>In the 50 years since\u003cem> The Boys in the Band\u003c/em> opened, the play has been both lionized as a path-breaking depiction of gay life in the 1960s, and criticized for antiquated attitudes that run counter to the current LGBTQ movement. It’s \u003ca href=\"http://boysintheband.com/\">being revived currently on Broadway\u003c/a>, with a cast that includes TV and film stars Jim Parsons, Matt Bomer and Zachary Quinto. But it’s also important to remember that in those 50 years, many of the original cast and crew died of AIDS.\u003c/p>\n\u003cp>When some courageous producers first took on \u003cem>The Boys in the Band\u003c/em>, the play became a phenomenon. It ran over 1,000 performances off-Broadway, and saw productions across the country and around the world. And it was adapted into a film.\u003c/p>\n\u003cp>Laurence Luckinbill played the character Hank in the original play and the film. Luckinbill, who was a college friend of Crowley’s and is straight, says getting actors to appear in \u003cem>The Boys in the Band\u003c/em> was difficult.\u003c/p>\n\u003cp>“I went and told my agent — who was gay, whose husband was gay, who were closeted — and I said, ‘I’m going to do the play,'” Luckinbill says. “And she said, ‘Well, there goes your career.'”\u003c/p>\n\u003cp>Despite the play’s success, he did lose jobs, including a contract for cigarette commercials.\u003c/p>\n\u003cp>“The only answer they would give me, it was from the head guy, and he said, ‘No fags smoke our fags,'” Luckinbill says.\u003c/p>\n\u003cp>There was even backlash from within the gay community. Luckinbill says an early activist organization denounced the play the day after it opened.\u003c/p>\n\u003cp>“The Mattachine Society criticized us, whining [it] made gay people look bad,” he says.\u003c/p>\n\u003cp>A year after the opening came the Stonewall riots, when members of New York’s gay community protested a police raid on a bar in Greenwich Village. That marked the beginning of the modern gay rights movement. And in the following years, the AIDS crisis took the lives of five of the actors, the stage manager, two producers and the director.\u003c/p>\n\u003cp>\u003cem>“\u003c/em>And so they basically fell in battle as far as I’m concerned,” Luckinbill says.\u003c/p>\n\u003cp>Tuc Watkins plays the same role in the revival that Laurence Luckinbill played in the original.\u003c/p>\n\u003cp>“My initial reaction was: Why are we going to go up into the attic and look at that thing again?” Watkins says. “Because I have come from a place of: I want to be out and proud and move forward and make progress. And it wasn’t until we read it and we started talking about it that I was reminded that we need to know where we came from in order to move forward and appreciate the freedoms that we have.”\u003c/p>\n\u003cp>The revival is directed by Joe Mantello, who assembled a cast of nine openly gay actors. Mantello says even he was a little concerned that the play wouldn’t speak to gay life in 2018.\u003c/p>\n\u003cp>“This play can’t possibly speak for everyone,” Mantello says. “But it did speak for Mart [Crowley] and it is Mart’s truth. And I think it holds up beautifully.”\u003c/p>\n\u003cp>For his part, Mart Crowley is happy that \u003cem>The Boys in the Band\u003c/em> finally made it to Broadway. And actor Brian Hutchison says it still connects with audiences on a very personal level. One evening after the play, he met two men in their 80s.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“And one of the guys just burst into tears and they were streaming down his face and he couldn’t really speak,” Hutchison says. “And his friend said, ‘You moved him more than you know. He’s had a rough road.’ … It’s deeply moving to know that there are still people coming to the play who were living that life, you know, and they’re still living that life or have those regrets.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Stage+Revival%2C+And+50+Years+Of+Survival%2C+For+%27The+Boys+In+The+Band%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/16116923/richard-swift\" target=\"_blank\" rel=\"noopener\">Richard Swift\u003c/a>, a highly regarded producer and solo artist, died early Tuesday morning in Washington state. His death was confirmed by a manager, Adam Katz, but no cause of death was given. He was 41 years old.\u003c/p>\n\u003cp>A crowdfunding campaign was created last month on Swift’s behalf to help pay for treatment of a “life-threatening condition,” the details of which were not shared.\u003c/p>\n\u003cp>“We are thankful he burned as bright as he did,” a statement from Swift’s label, Secretly Canadian, reads, “and was as productive as he was, during his time with us. Swift belongs in the canon of urgent, raw American art — alongside his heroes like Walt Whitman, Bo Diddley, Captain Beefheart and Kerouac. Through his music, illustrations, photography and poetry, he created a complex, caustic and, more often than not, devastatingly funny personal language and mythology.”\u003c/p>\n\u003cp>Swift began self-releasing music in the early 2000s, first on his own, then\u003ca href=\"https://www.discogs.com/artist/434952-Richard-Swift\" target=\"_blank\" rel=\"noopener\"> through\u003c/a> smaller independent labels like Velvet Blue Music and Spunk Records. His work attracted the attention of Secretly Canadian Records, which released a compilation of his previous material, \u003cem>The Richard Swift Collection, Vol. 1\u003c/em>, in 2005. He went on to release three more solo albums for the label, \u003cem>Dressed Up for the Letdown (\u003c/em>2006), the double-EP \u003cem>Richard Swift As Onasis \u003c/em>(2008) and \u003cem>The Atlantic Ocean \u003c/em>(2009).\u003c/p>\n\u003cp>Besides working as both a collaborative and touring sideman for\u003ca href=\"https://www.npr.org/artists/14837976/the-shins\" target=\"_blank\" rel=\"noopener\"> The Shins\u003c/a>,\u003ca href=\"https://www.npr.org/artists/15193815/the-black-keys\" target=\"_blank\" rel=\"noopener\"> The Black Keys\u003c/a> and most recently, \u003ca href=\"https://www.npr.org/artists/412705517/the-arcs\" target=\"_blank\" rel=\"noopener\">The Arcs\u003c/a>, Swift was also an in-demand producer for a wide range of artists, most of whom recorded at his Cottage Grove, Ore., studio, National Freedom. They’ve included Kevin Morby, Foxygen, Damien Jurado and the well-received 2015 debut of \u003ca href=\"https://www.npr.org/sections/allsongs/2018/03/09/591883223/guest-dj-nathaniel-rateliff-the-night-sweats-hop-across-an-eclectic-playlist\" target=\"_blank\" rel=\"noopener\">Nathaniel Rateliff & The Night Sweats\u003c/a>, among\u003ca href=\"https://www.allmusic.com/artist/richard-swift-mn0000126287/credits\" target=\"_blank\" rel=\"noopener\"> many others\u003c/a>. Swift’s projects always tended towards warm, but garage-indebted, textures influenced by classic recordings from Sly & The Family Stone and The Beatles. The Black Keys’ Dan Auberach confirmed Swift’s death on\u003ca href=\"https://www.instagram.com/p/BkxX-H3BkNl/?hl=en&taken-by=easyeyesound\" target=\"_blank\" rel=\"noopener\"> Instagram\u003c/a>, writing, “Today the world lost one of the most talented musicians I know. He’s now with his mom and sister. I will miss you my friend.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Raised in rural Minnesota before relocating to Oregon as a teenager, Swift eventually landed in Southern California in 2001, hoping to further his artistic ambitions. “I wanted to make my dreams come true down in L.A., and they did,” he \u003ca href=\"https://tapeop.com/interviews/120/richard-swift/\" target=\"_blank\" rel=\"noopener\">told \u003cem>Tape Op\u003c/em>\u003c/a>\u003cem> \u003c/em>in 2017.\u003c/p>\n\u003cp>Swift leaves behind a wife, Shea, and three children.\u003c/p>\n\u003chr>\n\u003ch3>Select Richard Swift Productions\u003c/h3>\n\u003cul>\n\u003cli>Damien Jurado, \u003cem>Saint Bartlett\u003c/em> (2010)\u003c/li>\n\u003cli>The Mynabirds, \u003cem>What We Lose in the Fire We Gain in the Flood\u003c/em> (2010)\u003cem>\u003cbr>\u003c/em>\u003c/li>\n\u003cli>Laetitia Sadier, \u003cem>The Trip\u003c/em> (2010)\u003c/li>\n\u003cli>Foxygen, \u003cem>We Are the 21st Century Ambassadors of Peace & Magic\u003c/em> (2013)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>Nathaniel Rateliff & The Night Sweats\u003c/em> (2015)\u003c/li>\n\u003cli>Damien Jurado, \u003cem>Visions Of Us On The Land\u003c/em> (2016)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>A Little Something More From\u003c/em> (2016)\u003c/li>\n\u003cli>Valerie June, \u003cem>The Order Of Time\u003c/em> (2017)\u003c/li>\n\u003cli>The Shins, \u003cem>Heartworms\u003c/em> (2017)\u003c/li>\n\u003cli>Kevin Morby, \u003cem>City Music\u003c/em> (2017)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>Tearing At The Seams\u003c/em> (2018)\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Updated \u003c/strong>2:56 p.m. ET, Jul. 3 with a statement from Secretly Canadian.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Auser%3Anpr_music%3Aplaylist%3A3keKmXaZmCuPJ6hXIbyWak\" width=\"600\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Richard+Swift%2C+Producer+Of+Indie+Stars+And+Solo+Artist%2C+Dies+At+41&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/16116923/richard-swift\" target=\"_blank\" rel=\"noopener\">Richard Swift\u003c/a>, a highly regarded producer and solo artist, died early Tuesday morning in Washington state. His death was confirmed by a manager, Adam Katz, but no cause of death was given. He was 41 years old.\u003c/p>\n\u003cp>A crowdfunding campaign was created last month on Swift’s behalf to help pay for treatment of a “life-threatening condition,” the details of which were not shared.\u003c/p>\n\u003cp>“We are thankful he burned as bright as he did,” a statement from Swift’s label, Secretly Canadian, reads, “and was as productive as he was, during his time with us. Swift belongs in the canon of urgent, raw American art — alongside his heroes like Walt Whitman, Bo Diddley, Captain Beefheart and Kerouac. Through his music, illustrations, photography and poetry, he created a complex, caustic and, more often than not, devastatingly funny personal language and mythology.”\u003c/p>\n\u003cp>Swift began self-releasing music in the early 2000s, first on his own, then\u003ca href=\"https://www.discogs.com/artist/434952-Richard-Swift\" target=\"_blank\" rel=\"noopener\"> through\u003c/a> smaller independent labels like Velvet Blue Music and Spunk Records. His work attracted the attention of Secretly Canadian Records, which released a compilation of his previous material, \u003cem>The Richard Swift Collection, Vol. 1\u003c/em>, in 2005. He went on to release three more solo albums for the label, \u003cem>Dressed Up for the Letdown (\u003c/em>2006), the double-EP \u003cem>Richard Swift As Onasis \u003c/em>(2008) and \u003cem>The Atlantic Ocean \u003c/em>(2009).\u003c/p>\n\u003cp>Besides working as both a collaborative and touring sideman for\u003ca href=\"https://www.npr.org/artists/14837976/the-shins\" target=\"_blank\" rel=\"noopener\"> The Shins\u003c/a>,\u003ca href=\"https://www.npr.org/artists/15193815/the-black-keys\" target=\"_blank\" rel=\"noopener\"> The Black Keys\u003c/a> and most recently, \u003ca href=\"https://www.npr.org/artists/412705517/the-arcs\" target=\"_blank\" rel=\"noopener\">The Arcs\u003c/a>, Swift was also an in-demand producer for a wide range of artists, most of whom recorded at his Cottage Grove, Ore., studio, National Freedom. They’ve included Kevin Morby, Foxygen, Damien Jurado and the well-received 2015 debut of \u003ca href=\"https://www.npr.org/sections/allsongs/2018/03/09/591883223/guest-dj-nathaniel-rateliff-the-night-sweats-hop-across-an-eclectic-playlist\" target=\"_blank\" rel=\"noopener\">Nathaniel Rateliff & The Night Sweats\u003c/a>, among\u003ca href=\"https://www.allmusic.com/artist/richard-swift-mn0000126287/credits\" target=\"_blank\" rel=\"noopener\"> many others\u003c/a>. Swift’s projects always tended towards warm, but garage-indebted, textures influenced by classic recordings from Sly & The Family Stone and The Beatles. The Black Keys’ Dan Auberach confirmed Swift’s death on\u003ca href=\"https://www.instagram.com/p/BkxX-H3BkNl/?hl=en&taken-by=easyeyesound\" target=\"_blank\" rel=\"noopener\"> Instagram\u003c/a>, writing, “Today the world lost one of the most talented musicians I know. He’s now with his mom and sister. I will miss you my friend.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Raised in rural Minnesota before relocating to Oregon as a teenager, Swift eventually landed in Southern California in 2001, hoping to further his artistic ambitions. “I wanted to make my dreams come true down in L.A., and they did,” he \u003ca href=\"https://tapeop.com/interviews/120/richard-swift/\" target=\"_blank\" rel=\"noopener\">told \u003cem>Tape Op\u003c/em>\u003c/a>\u003cem> \u003c/em>in 2017.\u003c/p>\n\u003cp>Swift leaves behind a wife, Shea, and three children.\u003c/p>\n\u003chr>\n\u003ch3>Select Richard Swift Productions\u003c/h3>\n\u003cul>\n\u003cli>Damien Jurado, \u003cem>Saint Bartlett\u003c/em> (2010)\u003c/li>\n\u003cli>The Mynabirds, \u003cem>What We Lose in the Fire We Gain in the Flood\u003c/em> (2010)\u003cem>\u003cbr>\u003c/em>\u003c/li>\n\u003cli>Laetitia Sadier, \u003cem>The Trip\u003c/em> (2010)\u003c/li>\n\u003cli>Foxygen, \u003cem>We Are the 21st Century Ambassadors of Peace & Magic\u003c/em> (2013)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>Nathaniel Rateliff & The Night Sweats\u003c/em> (2015)\u003c/li>\n\u003cli>Damien Jurado, \u003cem>Visions Of Us On The Land\u003c/em> (2016)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>A Little Something More From\u003c/em> (2016)\u003c/li>\n\u003cli>Valerie June, \u003cem>The Order Of Time\u003c/em> (2017)\u003c/li>\n\u003cli>The Shins, \u003cem>Heartworms\u003c/em> (2017)\u003c/li>\n\u003cli>Kevin Morby, \u003cem>City Music\u003c/em> (2017)\u003c/li>\n\u003cli>Nathaniel Rateliff & The Night Sweats, \u003cem>Tearing At The Seams\u003c/em> (2018)\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cp>\u003cem>\u003cstrong>Updated \u003c/strong>2:56 p.m. ET, Jul. 3 with a statement from Secretly Canadian.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed?uri=spotify%3Auser%3Anpr_music%3Aplaylist%3A3keKmXaZmCuPJ6hXIbyWak\" width=\"600\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Richard+Swift%2C+Producer+Of+Indie+Stars+And+Solo+Artist%2C+Dies+At+41&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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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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