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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": "\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",
"headTitle": "Elvis Documentary Comes For ‘The King’ — And Does Not Miss | KQED",
"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": "\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>\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>\u003c/p>\u003c/div>",
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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'",
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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/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>\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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"title": "Richard Swift, Producer of Indie Stars and a Solo Artist, Dies at 41",
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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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"title": "New Orleans Pianist Henry Butler Dead at 69",
"headTitle": "New Orleans Pianist Henry Butler Dead at 69 | KQED",
"content": "\u003cp>Henry Butler, a pianist, singer and cornerstone of the New Orleans sound, died of cancer Monday morning in the Bronx, New York. His death was confirmed by his agent, Maurice Montoya. Butler was 69 years old.\u003c/p>\n\u003cp>Born Sept. 21, 1948 in New Orleans, La., Butler was a prime force in the city’s piano tradition — gifted with an exuberant touch and a keen, razor-sharp musicality.\u003c/p>\n\u003cp>https://www.youtube.com/watch?time_continue=30&v=cRMfiAjKcfQ\u003c/p>\n\u003cp>Blind since birth, Butler grew up in the city’s Calliope Projects, and taught himself piano by ear. He went on to study classical music at the Louisiana State School for the Blind, where he memorized scores written in Braille and at Southern University, he majored in voice and minored in piano. He also studied with such exemplars of New Orleans piano as Professor Longhair and James Booker. \u003c/p>\n\u003cp>Musically, Butler was the heir to his birth city’s vital piano tradition, and he passed that tradition along. He taught across the United States and developed a summer \u003ca href=\"https://itvs.org/films/musics-gonna-get-you-through\">camp\u003c/a> for visually impaired teenage musicians. That program was depicted in a documentary film that aired on PBS stations in 2010.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=CI4qfIYKipA\u003c/p>\n\u003cp>Away from the piano, Butler was an enthusiastic photographer — shooting images of scenes described by friends — and pursued that passion for more than three decades, exhibiting his work around the world.\u003c/p>\n\u003cp>Butler’s piano and music collection, along with much of his other possessions, were ruined during Hurricane Katrina. He left his beloved city, and eventually resettled in Brooklyn. But home, in his heart and under his fingers, was always New Orleans.\u003c/p>\n\u003cp>Butler was diagnosed with advanced-stage cancer last year. All through his illness, however, he kept playing: This May and June, he performed in Beijing, Melbourne and New York, with tour dates scheduled in France and Vienna for later this month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“His approach was, ‘I’m going to keep playing until this thing overtakes me,'” his agent, Maurice Montoya, tells NPR. “He was committed to the band, and to the music, and advocating for the art form. That’s who Henry is.” \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=New+Orleans+Pianist+Henry+Butler+Dead+At+69&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "One of the quintessential exponents of the city's rich, deeply layered and distinctive piano sound, Butler had battled advance-stage cancer since early 2017.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Henry Butler, a pianist, singer and cornerstone of the New Orleans sound, died of cancer Monday morning in the Bronx, New York. His death was confirmed by his agent, Maurice Montoya. Butler was 69 years old.\u003c/p>\n\u003cp>Born Sept. 21, 1948 in New Orleans, La., Butler was a prime force in the city’s piano tradition — gifted with an exuberant touch and a keen, razor-sharp musicality.\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/cRMfiAjKcfQ'\n title='//www.youtube.com/embed/cRMfiAjKcfQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Blind since birth, Butler grew up in the city’s Calliope Projects, and taught himself piano by ear. He went on to study classical music at the Louisiana State School for the Blind, where he memorized scores written in Braille and at Southern University, he majored in voice and minored in piano. He also studied with such exemplars of New Orleans piano as Professor Longhair and James Booker. \u003c/p>\n\u003cp>Musically, Butler was the heir to his birth city’s vital piano tradition, and he passed that tradition along. He taught across the United States and developed a summer \u003ca href=\"https://itvs.org/films/musics-gonna-get-you-through\">camp\u003c/a> for visually impaired teenage musicians. That program was depicted in a documentary film that aired on PBS stations in 2010.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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/CI4qfIYKipA'\n title='//www.youtube.com/embed/CI4qfIYKipA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Away from the piano, Butler was an enthusiastic photographer — shooting images of scenes described by friends — and pursued that passion for more than three decades, exhibiting his work around the world.\u003c/p>\n\u003cp>Butler’s piano and music collection, along with much of his other possessions, were ruined during Hurricane Katrina. He left his beloved city, and eventually resettled in Brooklyn. But home, in his heart and under his fingers, was always New Orleans.\u003c/p>\n\u003cp>Butler was diagnosed with advanced-stage cancer last year. All through his illness, however, he kept playing: This May and June, he performed in Beijing, Melbourne and New York, with tour dates scheduled in France and Vienna for later this month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“His approach was, ‘I’m going to keep playing until this thing overtakes me,'” his agent, Maurice Montoya, tells NPR. “He was committed to the band, and to the music, and advocating for the art form. That’s who Henry is.” \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=New+Orleans+Pianist+Henry+Butler+Dead+At+69&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nile Rodgers, co-founder of the band Chic and a widely hailed producer, songwriter and guitarist, is adding one more feather to his ever-present cap: On Monday, the Songwriters Hall of Fame \u003ca href=\"https://www.songhall.org/news/view/nile_rodgers_elected_chairman_of_songwriters_hall_of_fame\">announced\u003c/a> that Rodgers has been named as its new chairman for a three-year term. He follows Philadelphia soul legends Kenneth Gamble and Leon Huff, who previously served as co-chairs.\u003c/p>\n\u003cp>In a statement, Rodgers said, “I will try and serve with all my heart. I hope I can make you half as proud of me as I am to even sit in the room with you who’ve done so much for the furtherance of composition.”\u003c/p>\n\u003cp>The Hall of Fame’s president and CEO, Linda Moran, noted in the same statement that Rodger’s broad experience made him an appealing candidate. “Nile is respected and admired by his fans and his peers alike for his multi/cross-genre music and for being a musical pioneer. More importantly, Nile’s eloquence in talking about songwriting and its process makes him the ideal voice for the songwriting community as chairman of the SHOF.”\u003c/p>\n\u003cp>Rodgers was himself inducted to the Songwriters Hall of Fame in 2016, and to the Rock & Roll Hall of Fame in 2017. Chic will be releasing its first new album in 25 years, \u003cem>It’s About Time\u003c/em>, on September 14.\u003c/p>\n\u003cp>In 2017, the organization \u003ca href=\"https://www.npr.org/sections/therecord/2017/06/16/533200940/barack-obama-honors-jay-z-at-songwriters-hall-of-fame-gala\">inducted Jay-Z\u003c/a>, the first rapper to be recognized by the Hall. “I’m pretty sure I’m still the only President to listen to Jay-Z’s music in the Oval Office,” former President Barack Obama said in a pre-taped address. \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=Nile+Rodgers+Named+Chairman+Of+Songwriters%27+Hall+Of+Fame&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>Nile Rodgers, co-founder of the band Chic and a widely hailed producer, songwriter and guitarist, is adding one more feather to his ever-present cap: On Monday, the Songwriters Hall of Fame \u003ca href=\"https://www.songhall.org/news/view/nile_rodgers_elected_chairman_of_songwriters_hall_of_fame\">announced\u003c/a> that Rodgers has been named as its new chairman for a three-year term. He follows Philadelphia soul legends Kenneth Gamble and Leon Huff, who previously served as co-chairs.\u003c/p>\n\u003cp>In a statement, Rodgers said, “I will try and serve with all my heart. I hope I can make you half as proud of me as I am to even sit in the room with you who’ve done so much for the furtherance of composition.”\u003c/p>\n\u003cp>The Hall of Fame’s president and CEO, Linda Moran, noted in the same statement that Rodger’s broad experience made him an appealing candidate. “Nile is respected and admired by his fans and his peers alike for his multi/cross-genre music and for being a musical pioneer. More importantly, Nile’s eloquence in talking about songwriting and its process makes him the ideal voice for the songwriting community as chairman of the SHOF.”\u003c/p>\n\u003cp>Rodgers was himself inducted to the Songwriters Hall of Fame in 2016, and to the Rock & Roll Hall of Fame in 2017. Chic will be releasing its first new album in 25 years, \u003cem>It’s About Time\u003c/em>, on September 14.\u003c/p>\n\u003cp>In 2017, the organization \u003ca href=\"https://www.npr.org/sections/therecord/2017/06/16/533200940/barack-obama-honors-jay-z-at-songwriters-hall-of-fame-gala\">inducted Jay-Z\u003c/a>, the first rapper to be recognized by the Hall. “I’m pretty sure I’m still the only President to listen to Jay-Z’s music in the Oval Office,” former President Barack Obama said in a pre-taped address. \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=Nile+Rodgers+Named+Chairman+Of+Songwriters%27+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Empathy, tolerance and acceptance: More and more, educators are focusing on the importance of schools’ paying attention to stuff other than academics.\u003c/p>\n\u003cp>And for the past two months, an exhibit at the U.S. Department of Education’s headquarters in Washington, D.C., has gathered the work of student artists expressing themselves — through their work — about these issues.\u003c/p>\n\u003cp>The exhibit is called “Total Tolerance,” and it highlights themes of racism, sexism and diversity.\u003c/p>\n\u003cp>The student art comes from the National YoungArts Foundation, a Miami-based nonprofit that offers mentoring and fellowships \u003ca href=\"http://www.youngarts.org\" target=\"_blank\" rel=\"noopener\">to art students \u003c/a> from around the country. Its proposal was selected late last year by the Department and the dozens of works of art went on display in May.\u003c/p>\n\u003cp>“This exhibition, it really exemplifies why we do this work,” says Carolina Garcia Jayaram, the foundation’s president and CEO. “Together, with the Department of Education, we can signal to the country that arts education is a necessary facet of education for all students.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the exhibit winds down in Washington this week, I spoke with three of the 21 young artists, about their art and about how it felt to have their work shown nationally.\u003c/p>\n\u003cp>Ameya Okamoto, 18, just graduated from high school in Portland, Ore., and will attend Tufts University this fall. Juniel Solis, 16, lives in Miami and will be attending a pre-college at the School of Visual Arts in New York this summer. And Aidan Forster, 17, just graduated from high school in Greenville, S.C., and will be attending Brown University next fall.\u003c/p>\n\u003cp>Our conversations have been edited for length and clarity.\u003c/p>\n\u003cfigure id=\"attachment_13836367\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes.jpg\" alt='\"Black Life: Quanice Hayes,\" by Ameya Okamoto.' width=\"400\" height=\"542\" class=\"size-full wp-image-13836367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes-240x325.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes-375x508.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Black Life: Quanice Hayes,” by Ameya Okamoto. \u003ccite>(Courtesy of YoungArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Describe your work that’s on display.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Aidan Forster:\u003c/strong> My poem\u003cem>, \u003ca href=\"https://www.npr.org/assets/news/2018/06/Forster_Poem.pdf\" target=\"_blank\" rel=\"noopener\">Instructions for Suburban Boy Love\u003c/a>,\u003c/em> was inspired by the particular brand of queer isolation and loneliness endemic to suburban life in the South. It stems from questions of loneliness and isolation: What happens when you’re the only queer kid in your neighborhood? Or in your family? Or in your youth group or your circle of friends? When you start to feel kind of like a threatened or endangered species?\u003c/p>\n\u003cp>I think for me, queerness is very much like an aperture for language — a mode of filtration for experience.\u003c/p>\n\u003cp>\u003cstrong>Ameya Okamoto:\u003c/strong> So I have a couple digitally painted portraits in “Total Tolerance” that are a part of my memorial portrait series, which is ever evolving.\u003c/p>\n\u003cp>The portraits are about celebration of the lives that have been lost to police violence, but also about overturning negative imagery. One piece is of a \u003ca href=\"https://www.opb.org/news/article/portland-police-shooting-quanice-hayes-don-perkins/\">boy named Quanice\u003c/a> who was 17 years old when he was shot and killed in my hometown of Portland. At the time Quanice was 17, and I was also 17, and so having someone who is only a couple train stops away killed, that was extremely jarring to me. I had to do something, so I created a portrait using photos, and that piece became so important because it started being circulated in the media, and it started to replace an old mug shot from a couple years back.\u003c/p>\n\u003cp>I was able to meet with Quanice’s family and give them a print, and that was an extremely moving moment where I realized I could give them a gift of celebration, and in some way help to heal. And I could also use my art to create a positive message and create a more positive narrative.\u003c/p>\n\u003cp>\u003cstrong>Juniel Solis:\u003c/strong> I have a painting up called \u003cem>Los Pajaritos.\u003c/em> It’s a painting of two young adults with makeup and they have a very androgynous feel. They’re wearing orange flowers on their dresses. They’re men and they’re wearing makeup. They are there and you can tell there’s a fear in their eyes.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>What has art done for you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Forster:\u003c/strong> Well for me, growing up in a very conservative state, in a conservative region, I really struggled with internalized shame around sexuality. I grappled with the idea that my body and desires are wrong or alien or that I wasn’t made for love or love wasn’t made for me. And as I grew older and searched for a strain of representation, or some sort of narrative that matched mine, I found poetry. I just realized that poetry presented itself as an antidote to that shame I felt, and allowed me to dismantle it and externalize it.\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> When people ask me, “Why do you make art?” I say, for me it’s very reactionary in my gut level. This is what I have to do. I make art to help others.\u003c/p>\n\u003cp>I think art in general is how we are going to translate experiences, and share stories, and talk to people across cultures, and across language and across political values or any sort of ideation in general. We can talk to people through color, and stories and visuals, instead of having them sit down and have a really hard conversation.\u003c/p>\n\u003cp>I think a lot of times people discredit minors who talk about real issues and talk about institutional change and talk about social change.\u003c/p>\n\u003cp>So what can I do? I can do grassroots organizing and I can be a part of changing the narrative for people who can vote for people who can make policy change, because at the end of the day it’s all in themselves.\u003c/p>\n\u003cfigure id=\"attachment_13836366\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos.jpg\" alt='\"Los Pajaritos,\" by Juniel Solis.' width=\"400\" height=\"588\" class=\"size-full wp-image-13836366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos-240x353.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos-375x551.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Los Pajaritos,” by Juniel Solis. \u003ccite>(Courtesy of YoungArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What sort of responses have you gotten from your work?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Forster: \u003c/strong>I went to a public, residential arts high school in South Carolina, so I was constantly surrounded by a microcosm of artistic support and development. My friends were always there for each other’s work. My parents have always been really supportive of my sexuality — in writing and off the page. But my extended family — I don’t really talk about my work with them.\u003c/p>\n\u003cp>I’m so humbled to be selected for this. My entire trajectory with YoungArts has just been one humbling sort of blessing after another. There’s been sort of a resounding recognition, I think, with the sort of bravado of the piece.\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> My family and friends are usually very supportive, but there are a lot of people who say I’m too young to know anything. With the critics, I kind of ignore it, because if my art touched them in some way, or they felt like they had to respond in some way, then I think at a certain level my art is doing exactly what I want it to do — which is reach out to the people and talk to the people who don’t want to listen. High school is good practice to realizing that there are adult haters out there who are going to come after 16-year-olds.\u003c/p>\n\u003cp>\u003cstrong>What do you hope comes of your work being on display at the Department of Education?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Forster:\u003c/strong> I think my biggest hope for this is sort of twofold. In the first part is that I envision the show as a sort of promontory for the legitimization and authentication of minority and marginalized narratives written by youth.\u003c/p>\n\u003cp>And so I think this exhibition is proving that some of the most potent and primal narratives at play in artistic planes right now are coming from young people and are coming from these like marginalized voices and voices that have historically been occulted.\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> I think it’s amazing to have an exhibit in the U.S. Department of Education that preaches the exact rhetoric that I want to preach, which is equity, inclusion and total tolerance. I hope people see my work and realize they, too, can make work about the things they care about. It doesn’t have to be political. And I hope it changes the negative stereotype of the [Black Lives Matter] movement.\u003c/p>\n\u003cfigure id=\"attachment_13836365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-800x533.jpg\" alt=\"2018 YoungArts winner in writing, Aidan Forster, does a reading on stage.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13836365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2018 YoungArts winner in writing, Aidan Forster, does a reading on stage. \u003ccite>(Gesi Schilling/National YoungArts Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you think the state of arts education is like today in the U.S.?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> They’re cutting our classes. They’re cutting our art in general across mediums in places for — you know, quote unquote academic classes. And for me, I think that everyone has the capacity to create. It’s just about creating space for people to think about their story and how they want to use their stories to express themselves.\u003c/p>\n\u003cp>\u003cstrong>What are your plans for the summer? Next year?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Forster: \u003c/strong>This summer I’m working to make money for college. I’m hosting at a wild game restaurant, [which serves], like, kangaroo! And I’m a poetry mentor for a summer mentorship program.\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> I will be attending Tufts University — a combined degree program to pursue a BA and B.F.A., so [I’ll] be doing interdisciplinary art, race and justice, and neuropsychology. Hopefully, that’s my path right now.\u003c/p>\n\u003cp>\u003cstrong>Solis:\u003c/strong> I’m not sure! I’m in the process of figuring that out. I’m attending a pre-college at the School of Visual Arts in New York this summer. I’m just hoping for a change in environment so I can come to terms with my work and find confidence in it.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.youngarts.org/blog/post/youngarts-us-department-education-total-tolerance-exhibition/\" target=\"_blank\" rel=\"noopener\">Click here\u003c/a> to view all the work in the exhibit. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13836364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-800x599.jpg\" alt=\"Juniel Solis poses in front of his work.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13836364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juniel Solis poses in front of his work. \u003ccite>(Jason Koerner/National YoungArts Foundations)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong> \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=At+The+Education+Department%2C+Student+Artworks+Explore+Tolerance+And+Racism+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "In an exhibit at the department's headquarters in Washington, young artists speak out through their work about race, sexuality and about being young and having a voice.",
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"title": "At the Education Department, Student Artworks Explore Tolerance and Racism | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Empathy, tolerance and acceptance: More and more, educators are focusing on the importance of schools’ paying attention to stuff other than academics.\u003c/p>\n\u003cp>And for the past two months, an exhibit at the U.S. Department of Education’s headquarters in Washington, D.C., has gathered the work of student artists expressing themselves — through their work — about these issues.\u003c/p>\n\u003cp>The exhibit is called “Total Tolerance,” and it highlights themes of racism, sexism and diversity.\u003c/p>\n\u003cp>The student art comes from the National YoungArts Foundation, a Miami-based nonprofit that offers mentoring and fellowships \u003ca href=\"http://www.youngarts.org\" target=\"_blank\" rel=\"noopener\">to art students \u003c/a> from around the country. Its proposal was selected late last year by the Department and the dozens of works of art went on display in May.\u003c/p>\n\u003cp>“This exhibition, it really exemplifies why we do this work,” says Carolina Garcia Jayaram, the foundation’s president and CEO. “Together, with the Department of Education, we can signal to the country that arts education is a necessary facet of education for all students.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the exhibit winds down in Washington this week, I spoke with three of the 21 young artists, about their art and about how it felt to have their work shown nationally.\u003c/p>\n\u003cp>Ameya Okamoto, 18, just graduated from high school in Portland, Ore., and will attend Tufts University this fall. Juniel Solis, 16, lives in Miami and will be attending a pre-college at the School of Visual Arts in New York this summer. And Aidan Forster, 17, just graduated from high school in Greenville, S.C., and will be attending Brown University next fall.\u003c/p>\n\u003cp>Our conversations have been edited for length and clarity.\u003c/p>\n\u003cfigure id=\"attachment_13836367\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes.jpg\" alt='\"Black Life: Quanice Hayes,\" by Ameya Okamoto.' width=\"400\" height=\"542\" class=\"size-full wp-image-13836367\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes-240x325.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/ameya-okamoto_black-life-quanice-hayes-375x508.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Black Life: Quanice Hayes,” by Ameya Okamoto. \u003ccite>(Courtesy of YoungArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Describe your work that’s on display.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Aidan Forster:\u003c/strong> My poem\u003cem>, \u003ca href=\"https://www.npr.org/assets/news/2018/06/Forster_Poem.pdf\" target=\"_blank\" rel=\"noopener\">Instructions for Suburban Boy Love\u003c/a>,\u003c/em> was inspired by the particular brand of queer isolation and loneliness endemic to suburban life in the South. It stems from questions of loneliness and isolation: What happens when you’re the only queer kid in your neighborhood? Or in your family? Or in your youth group or your circle of friends? When you start to feel kind of like a threatened or endangered species?\u003c/p>\n\u003cp>I think for me, queerness is very much like an aperture for language — a mode of filtration for experience.\u003c/p>\n\u003cp>\u003cstrong>Ameya Okamoto:\u003c/strong> So I have a couple digitally painted portraits in “Total Tolerance” that are a part of my memorial portrait series, which is ever evolving.\u003c/p>\n\u003cp>The portraits are about celebration of the lives that have been lost to police violence, but also about overturning negative imagery. One piece is of a \u003ca href=\"https://www.opb.org/news/article/portland-police-shooting-quanice-hayes-don-perkins/\">boy named Quanice\u003c/a> who was 17 years old when he was shot and killed in my hometown of Portland. At the time Quanice was 17, and I was also 17, and so having someone who is only a couple train stops away killed, that was extremely jarring to me. I had to do something, so I created a portrait using photos, and that piece became so important because it started being circulated in the media, and it started to replace an old mug shot from a couple years back.\u003c/p>\n\u003cp>I was able to meet with Quanice’s family and give them a print, and that was an extremely moving moment where I realized I could give them a gift of celebration, and in some way help to heal. And I could also use my art to create a positive message and create a more positive narrative.\u003c/p>\n\u003cp>\u003cstrong>Juniel Solis:\u003c/strong> I have a painting up called \u003cem>Los Pajaritos.\u003c/em> It’s a painting of two young adults with makeup and they have a very androgynous feel. They’re wearing orange flowers on their dresses. They’re men and they’re wearing makeup. They are there and you can tell there’s a fear in their eyes.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>What has art done for you?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Forster:\u003c/strong> Well for me, growing up in a very conservative state, in a conservative region, I really struggled with internalized shame around sexuality. I grappled with the idea that my body and desires are wrong or alien or that I wasn’t made for love or love wasn’t made for me. And as I grew older and searched for a strain of representation, or some sort of narrative that matched mine, I found poetry. I just realized that poetry presented itself as an antidote to that shame I felt, and allowed me to dismantle it and externalize it.\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> When people ask me, “Why do you make art?” I say, for me it’s very reactionary in my gut level. This is what I have to do. I make art to help others.\u003c/p>\n\u003cp>I think art in general is how we are going to translate experiences, and share stories, and talk to people across cultures, and across language and across political values or any sort of ideation in general. We can talk to people through color, and stories and visuals, instead of having them sit down and have a really hard conversation.\u003c/p>\n\u003cp>I think a lot of times people discredit minors who talk about real issues and talk about institutional change and talk about social change.\u003c/p>\n\u003cp>So what can I do? I can do grassroots organizing and I can be a part of changing the narrative for people who can vote for people who can make policy change, because at the end of the day it’s all in themselves.\u003c/p>\n\u003cfigure id=\"attachment_13836366\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos.jpg\" alt='\"Los Pajaritos,\" by Juniel Solis.' width=\"400\" height=\"588\" class=\"size-full wp-image-13836366\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos-160x235.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos-240x353.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/juniel-solis_los-pajaritos-375x551.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">“Los Pajaritos,” by Juniel Solis. \u003ccite>(Courtesy of YoungArts)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What sort of responses have you gotten from your work?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Forster: \u003c/strong>I went to a public, residential arts high school in South Carolina, so I was constantly surrounded by a microcosm of artistic support and development. My friends were always there for each other’s work. My parents have always been really supportive of my sexuality — in writing and off the page. But my extended family — I don’t really talk about my work with them.\u003c/p>\n\u003cp>I’m so humbled to be selected for this. My entire trajectory with YoungArts has just been one humbling sort of blessing after another. There’s been sort of a resounding recognition, I think, with the sort of bravado of the piece.\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> My family and friends are usually very supportive, but there are a lot of people who say I’m too young to know anything. With the critics, I kind of ignore it, because if my art touched them in some way, or they felt like they had to respond in some way, then I think at a certain level my art is doing exactly what I want it to do — which is reach out to the people and talk to the people who don’t want to listen. High school is good practice to realizing that there are adult haters out there who are going to come after 16-year-olds.\u003c/p>\n\u003cp>\u003cstrong>What do you hope comes of your work being on display at the Department of Education?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Forster:\u003c/strong> I think my biggest hope for this is sort of twofold. In the first part is that I envision the show as a sort of promontory for the legitimization and authentication of minority and marginalized narratives written by youth.\u003c/p>\n\u003cp>And so I think this exhibition is proving that some of the most potent and primal narratives at play in artistic planes right now are coming from young people and are coming from these like marginalized voices and voices that have historically been occulted.\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> I think it’s amazing to have an exhibit in the U.S. Department of Education that preaches the exact rhetoric that I want to preach, which is equity, inclusion and total tolerance. I hope people see my work and realize they, too, can make work about the things they care about. It doesn’t have to be political. And I hope it changes the negative stereotype of the [Black Lives Matter] movement.\u003c/p>\n\u003cfigure id=\"attachment_13836365\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-800x533.jpg\" alt=\"2018 YoungArts winner in writing, Aidan Forster, does a reading on stage.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13836365\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-writing-aidan-forster_photo-by-gesi-schilling-520x346.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">2018 YoungArts winner in writing, Aidan Forster, does a reading on stage. \u003ccite>(Gesi Schilling/National YoungArts Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>What do you think the state of arts education is like today in the U.S.?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> They’re cutting our classes. They’re cutting our art in general across mediums in places for — you know, quote unquote academic classes. And for me, I think that everyone has the capacity to create. It’s just about creating space for people to think about their story and how they want to use their stories to express themselves.\u003c/p>\n\u003cp>\u003cstrong>What are your plans for the summer? Next year?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Forster: \u003c/strong>This summer I’m working to make money for college. I’m hosting at a wild game restaurant, [which serves], like, kangaroo! And I’m a poetry mentor for a summer mentorship program.\u003c/p>\n\u003cp>\u003cstrong>Okamoto:\u003c/strong> I will be attending Tufts University — a combined degree program to pursue a BA and B.F.A., so [I’ll] be doing interdisciplinary art, race and justice, and neuropsychology. Hopefully, that’s my path right now.\u003c/p>\n\u003cp>\u003cstrong>Solis:\u003c/strong> I’m not sure! I’m in the process of figuring that out. I’m attending a pre-college at the School of Visual Arts in New York this summer. I’m just hoping for a change in environment so I can come to terms with my work and find confidence in it.\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.youngarts.org/blog/post/youngarts-us-department-education-total-tolerance-exhibition/\" target=\"_blank\" rel=\"noopener\">Click here\u003c/a> to view all the work in the exhibit. \u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13836364\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-800x599.jpg\" alt=\"Juniel Solis poses in front of his work.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13836364\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/07/2018-youngarts-winner-in-visual-arts-juniel-solis-at-youngarts-miami_photo-by-jason-koerner-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Juniel Solis poses in front of his work. \u003ccite>(Jason Koerner/National YoungArts Foundations)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong> \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=At+The+Education+Department%2C+Student+Artworks+Explore+Tolerance+And+Racism+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In the Shadow of a Terrorist Attack, Rapper is Targeted by France's Right Wing",
"headTitle": "In the Shadow of a Terrorist Attack, Rapper is Targeted by France’s Right Wing | KQED",
"content": "\u003cp>A Paris concert that’s still months away is generating controversy. Muslim rapper Médine is scheduled to play at the \u003ca href=\"https://www.npr.org/2016/11/13/501904188/one-year-after-paris-attacks-bataclan-concert-hall-reopens\">Bataclan\u003c/a>, the concert hall where 89 people were killed by Islamist extremists in a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/11/14/455988722/paris-attacks-what-we-know-right-now\" target=\"_blank\" rel=\"noopener\">terrorist attack\u003c/a> two and a half years ago. \u003c/p>\n\u003cp>The concert is stoking outrage among France’s right wing. Laurent Wauquiez, the head of the mainstream right party Les Republicans, tweeted that holding this concert would be sacrilege for the victims of the 2015 attack and a dishonor for France. Far right leader Marine Le Pen gathered thousands of signatures on a petition to ban the concert. \u003c/p>\n\u003cp>“Is it normal that a militant, fundamentalist, Islamist goes to the Bataclan to express his hatred and defend ideas that I believe are inciting crimes?” she asked a reporter during an appearance on France’s \u003ca href=\"https://www.bfmtv.com/mediaplayer/video/marine-le-pen-sur-medine-un-trouble-epouvantable-a-l-ordre-public-de-voir-un-islamiste-chanter-au-bataclan-1082683.html\" target=\"_blank\" rel=\"noopener\">BFM TV\u003c/a>. \u003c/p>\n\u003cp>But Médine says he’s always fought against radicalization in his music. And in a statement released by his record company he asked, “When did we start letting the far right manage the country’s concert halls?”\u003c/p>\n\u003cp>The 35-year-old rapper grew up in the working-class port town of Le Havre, France, the son of Algerian immigrants. Médine has described himself as an “Islamo-hooligan.” His lyrics talk mostly about the French Muslim experience — living in the ghetto, facing discrimination. His tone toward French society is often hostile.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Médine’s critics are focusing on a song he wrote in 2015 called “Don’t Laïk.” It is a double play on words: on the French word \u003cem>laïcité\u003c/em>, which means secularism, and on the English “don’t like.” A lot of French Muslims feel the country’s official policy of secularism is used as an excuse to target their faith. \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=wfo-RIsACPw\u003c/p>\n\u003cp>“Your beard, my brother, it’s don’t laïk / Your veil, my sister in this country, it’s don’t laïk,” Médine raps in the song. \u003c/p>\n\u003cp>The song, which talks of “crucifying the secularists like at Golgotha,” happened to come out just a week before \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">terrorists killed 12 people\u003c/a> at the satirical weekly magazine \u003ca href=\"https://www.npr.org/tags/141928624/charlie-hebdo\" target=\"_blank\" rel=\"noopener\">\u003cem>Charlie Hebdo\u003c/em>\u003c/a> in 2015.\u003c/p>\n\u003cp>Detractors are also criticizing one of Médine’s albums, entitled \u003ca href=\"https://www.dailymotion.com/video/x1ia5a2\" target=\"_blank\" rel=\"noopener\">\u003cem>Jihad\u003c/em>\u003c/a>. In a recent \u003ca href=\"https://twitter.com/ajplusfrancais/status/1006219512486744065/video/1\" target=\"_blank\" rel=\"noopener\">TV interview\u003c/a>, Médine said people are twisting his lyrics and taking them out of context.\u003c/p>\n\u003cp>“First of all, the album had a subtitle, which was, ‘The biggest battle is against oneself’ — because jihad signifies the internal struggle above all,” Médine said. “And secondly, this album came out in 2005 in a completely different context. It would be impossible to title an album \u003cem>Jihad\u003c/em> today.”\u003c/p>\n\u003cp>Médine has also worked to diffuse the French culture war over Islam. He co-wrote a book with a historian about racism in France. And his record label sells a line of T-shirts with the slogan, “\u003ca href=\"http://din-records.com/boutique/t-shirt-lsa-im-muslim-dont-panik/\">I’m Muslim, Don’t Panik\u003c/a>.”\u003c/p>\n\u003cp>Karim Amellal is working on a presidential commission to fight anti-Semitism and Islamophobia in France. He says this controversy has gotten so big because every Muslim identifies with the accusations against Médine. \u003c/p>\n\u003cp>“Muslims have the feeling they are not recognized for their accomplishments and they are always [associated] with terrorists and jihadists,” Amellal says.\u003c/p>\n\u003cp>Some of the survivors of the Bataclan terrorist attack have defended Médine. One tweeted that right-wing politicians should not exploit the victims of the attack for their bogus controversy.\u003c/p>\n\u003cp>“Marine Le Pen is even talking about ‘our deaths,’ ” attack survivor Emmanuel Domenach \u003ca href=\"https://twitter.com/edomenach/status/1005821663013998593?s=11\" target=\"_blank\" rel=\"noopener\">wrote on Twitter\u003c/a>. “It’s shameful.”\u003c/p>\n\u003cp>One victims’ association, \u003ca href=\"http://www.lifeforparis.org/\" target=\"_blank\" rel=\"noopener\">Life for Paris\u003c/a>, defended the Bataclan, saying it was against censorship, and the venue should be free to book who it wants. “We will not let anyone use the memory of the victims for political ends, as is the case here,” the association said in an official statement.\u003c/p>\n\u003cp>The theater itself has refused to get involved in the fray. But when reached on the phone, a Bataclan employee said that Médine has nothing to do with the terrorists.\u003c/p>\n\u003cp>Amellal says other rappers have much more offensive lyrics than Médine and that Médine never caused much controversy because he’s actually an intellectual rapper with very complicated lyrics. Amellal believes this debate has galvanized public opinion because it involves two groups that are victims. \u003c/p>\n\u003cp>“It’s like a showdown between two legitimate symbols,” he says. “The Bataclan, which is a very symbolic place because of the terrorist attack, and Médine and Islam.”\u003c/p>\n\u003cp>This spring, Médine released a new song, a sentimental ballad about the Bataclan. He raps, “All I ever wanted was to play the Bataclan.” \u003c/p>\n\u003cp>The lyrics don’t mention the attack. Writing in left-wing weekly magazine \u003cem>Marianne\u003c/em>, novelist Arthur Dreyfus, who describes himself as being from the same generation as Médine, says \u003ca href=\"https://www.marianne.net/debattons/tribunes/cher-medine-comment-le-bataclan-t-il-pu-deja-devenir-un-lieu-neutre-tes-yeux\" target=\"_blank\" rel=\"noopener\">the omission stuns him\u003c/a>. \u003c/p>\n\u003cp>“That you dream of crucifying secularists, that’s your right and privilege living in this country. … I’m not in favor of censorship and I’m surely not a fascist,” Dreyfus writes. “But how can you, less than three years after one of the worst massacres ever perpetrated in Paris, write a song about the Bataclan, where it took place, without even mentioning it?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Médine’s concert at the Bataclan is not until October. This debate is far from over. \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=In+The+Shadow+Of+A+Terrorist+Attack%2C+Rapper+Is+Targeted+By+France%27s+Right+Wing+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Paris concert that’s still months away is generating controversy. Muslim rapper Médine is scheduled to play at the \u003ca href=\"https://www.npr.org/2016/11/13/501904188/one-year-after-paris-attacks-bataclan-concert-hall-reopens\">Bataclan\u003c/a>, the concert hall where 89 people were killed by Islamist extremists in a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/11/14/455988722/paris-attacks-what-we-know-right-now\" target=\"_blank\" rel=\"noopener\">terrorist attack\u003c/a> two and a half years ago. \u003c/p>\n\u003cp>The concert is stoking outrage among France’s right wing. Laurent Wauquiez, the head of the mainstream right party Les Republicans, tweeted that holding this concert would be sacrilege for the victims of the 2015 attack and a dishonor for France. Far right leader Marine Le Pen gathered thousands of signatures on a petition to ban the concert. \u003c/p>\n\u003cp>“Is it normal that a militant, fundamentalist, Islamist goes to the Bataclan to express his hatred and defend ideas that I believe are inciting crimes?” she asked a reporter during an appearance on France’s \u003ca href=\"https://www.bfmtv.com/mediaplayer/video/marine-le-pen-sur-medine-un-trouble-epouvantable-a-l-ordre-public-de-voir-un-islamiste-chanter-au-bataclan-1082683.html\" target=\"_blank\" rel=\"noopener\">BFM TV\u003c/a>. \u003c/p>\n\u003cp>But Médine says he’s always fought against radicalization in his music. And in a statement released by his record company he asked, “When did we start letting the far right manage the country’s concert halls?”\u003c/p>\n\u003cp>The 35-year-old rapper grew up in the working-class port town of Le Havre, France, the son of Algerian immigrants. Médine has described himself as an “Islamo-hooligan.” His lyrics talk mostly about the French Muslim experience — living in the ghetto, facing discrimination. His tone toward French society is often hostile.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Médine’s critics are focusing on a song he wrote in 2015 called “Don’t Laïk.” It is a double play on words: on the French word \u003cem>laïcité\u003c/em>, which means secularism, and on the English “don’t like.” A lot of French Muslims feel the country’s official policy of secularism is used as an excuse to target their faith. \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/wfo-RIsACPw'\n title='//www.youtube.com/embed/wfo-RIsACPw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Your beard, my brother, it’s don’t laïk / Your veil, my sister in this country, it’s don’t laïk,” Médine raps in the song. \u003c/p>\n\u003cp>The song, which talks of “crucifying the secularists like at Golgotha,” happened to come out just a week before \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/01/07/375561888/10-dead-after-shootout-at-satirical-magazines-office-in-paris\" target=\"_blank\" rel=\"noopener\">terrorists killed 12 people\u003c/a> at the satirical weekly magazine \u003ca href=\"https://www.npr.org/tags/141928624/charlie-hebdo\" target=\"_blank\" rel=\"noopener\">\u003cem>Charlie Hebdo\u003c/em>\u003c/a> in 2015.\u003c/p>\n\u003cp>Detractors are also criticizing one of Médine’s albums, entitled \u003ca href=\"https://www.dailymotion.com/video/x1ia5a2\" target=\"_blank\" rel=\"noopener\">\u003cem>Jihad\u003c/em>\u003c/a>. In a recent \u003ca href=\"https://twitter.com/ajplusfrancais/status/1006219512486744065/video/1\" target=\"_blank\" rel=\"noopener\">TV interview\u003c/a>, Médine said people are twisting his lyrics and taking them out of context.\u003c/p>\n\u003cp>“First of all, the album had a subtitle, which was, ‘The biggest battle is against oneself’ — because jihad signifies the internal struggle above all,” Médine said. “And secondly, this album came out in 2005 in a completely different context. It would be impossible to title an album \u003cem>Jihad\u003c/em> today.”\u003c/p>\n\u003cp>Médine has also worked to diffuse the French culture war over Islam. He co-wrote a book with a historian about racism in France. And his record label sells a line of T-shirts with the slogan, “\u003ca href=\"http://din-records.com/boutique/t-shirt-lsa-im-muslim-dont-panik/\">I’m Muslim, Don’t Panik\u003c/a>.”\u003c/p>\n\u003cp>Karim Amellal is working on a presidential commission to fight anti-Semitism and Islamophobia in France. He says this controversy has gotten so big because every Muslim identifies with the accusations against Médine. \u003c/p>\n\u003cp>“Muslims have the feeling they are not recognized for their accomplishments and they are always [associated] with terrorists and jihadists,” Amellal says.\u003c/p>\n\u003cp>Some of the survivors of the Bataclan terrorist attack have defended Médine. One tweeted that right-wing politicians should not exploit the victims of the attack for their bogus controversy.\u003c/p>\n\u003cp>“Marine Le Pen is even talking about ‘our deaths,’ ” attack survivor Emmanuel Domenach \u003ca href=\"https://twitter.com/edomenach/status/1005821663013998593?s=11\" target=\"_blank\" rel=\"noopener\">wrote on Twitter\u003c/a>. “It’s shameful.”\u003c/p>\n\u003cp>One victims’ association, \u003ca href=\"http://www.lifeforparis.org/\" target=\"_blank\" rel=\"noopener\">Life for Paris\u003c/a>, defended the Bataclan, saying it was against censorship, and the venue should be free to book who it wants. “We will not let anyone use the memory of the victims for political ends, as is the case here,” the association said in an official statement.\u003c/p>\n\u003cp>The theater itself has refused to get involved in the fray. But when reached on the phone, a Bataclan employee said that Médine has nothing to do with the terrorists.\u003c/p>\n\u003cp>Amellal says other rappers have much more offensive lyrics than Médine and that Médine never caused much controversy because he’s actually an intellectual rapper with very complicated lyrics. Amellal believes this debate has galvanized public opinion because it involves two groups that are victims. \u003c/p>\n\u003cp>“It’s like a showdown between two legitimate symbols,” he says. “The Bataclan, which is a very symbolic place because of the terrorist attack, and Médine and Islam.”\u003c/p>\n\u003cp>This spring, Médine released a new song, a sentimental ballad about the Bataclan. He raps, “All I ever wanted was to play the Bataclan.” \u003c/p>\n\u003cp>The lyrics don’t mention the attack. Writing in left-wing weekly magazine \u003cem>Marianne\u003c/em>, novelist Arthur Dreyfus, who describes himself as being from the same generation as Médine, says \u003ca href=\"https://www.marianne.net/debattons/tribunes/cher-medine-comment-le-bataclan-t-il-pu-deja-devenir-un-lieu-neutre-tes-yeux\" target=\"_blank\" rel=\"noopener\">the omission stuns him\u003c/a>. \u003c/p>\n\u003cp>“That you dream of crucifying secularists, that’s your right and privilege living in this country. … I’m not in favor of censorship and I’m surely not a fascist,” Dreyfus writes. “But how can you, less than three years after one of the worst massacres ever perpetrated in Paris, write a song about the Bataclan, where it took place, without even mentioning it?”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Médine’s concert at the Bataclan is not until October. This debate is far from over. \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=In+The+Shadow+Of+A+Terrorist+Attack%2C+Rapper+Is+Targeted+By+France%27s+Right+Wing+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Joe Strummer's Solo Work and Archives to Get Life-Spanning Release",
"headTitle": "Joe Strummer’s Solo Work and Archives to Get Life-Spanning Release | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15394712/joe-strummer\" target=\"_blank\" rel=\"noopener\">Joe Strummer\u003c/a>‘s barn has been raided.\u003c/p>\n\u003cp>The \u003cem>enfant raisonnable \u003c/em>of U.K. punk’s first wave — who with \u003ca href=\"https://www.npr.org/artists/15394716/the-clash\" target=\"_blank\" rel=\"noopener\">The Clash\u003c/a> (like many lumped into it) broke from a retroactively applied punk orthodoxy to explore sounds from any and everywhere — is getting an everything-and-the-kitchen-sink treatment for the many reels of unreleased tape he had archived in his barn.\u003c/p>\n\u003cp>In 2013, \u003cem>The Clash Sound System\u003c/em> box set compiled everything of that band’s varied and sundry discography, with the standard live sets, first-, out- and mis-takes, in a package designed like a boom box, stuffed with random physical ephemera (a giant cigarette).\u003c/p>\n\u003cp>\u003cem>Joe Strummer 001\u003c/em> looks to be a more modest affair than that package in every way except the actual music it contains, covering the complete cross-section of Strummer’s solo musical development, inextricable as it is from his work with The Clash; the dead-standard early bar band material, his late-’80s hip-hop-influenced four-on-the-floor slams, bonfire-and-whiskey folk globe-trotters and the weed-smokey collage-pop of The Mescaleros, stretching back to 1975.\u003c/p>\n\u003cp>An incomplete list of the various projects included here should make it clear: The 101ers, The Astro-Physicians, Radar, Electric Dog House, The Soothsayers, Pearl Harbour, Joe Strummer and The Mescaleros, collaborations with \u003ca href=\"https://www.npr.org/artists/15382889/jimmy-cliff\" target=\"_blank\" rel=\"noopener\">Jimmy Cliff\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a> and post-Clash work with Mick Jones and Paul Simonon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Below, find a sample single from it, titled “London Is Burning” — a song that was reworked into the (better) Mescaleros’ song “Burning Streets (London Is Burning).”\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%3Aalbum%3A5ukiednezEKBpSK7Pt11AN\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Joe Strummer 001\u003cem> will be \u003c/em>\u003ca href=\"https://joestrummer.lnk.to/001\">\u003cem>released Sept. 28 on Ignition Records\u003c/em>\u003c/a>\u003cem>.\u003c/em> \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=Joe+Strummer%27s+Solo+Work+And+Archives+To+Get+Life-Spanning+Release&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Strummer's status as an punk elder statesman will forever remain unchallenged — a new box set of unreleased material compiled from his personal archives takes a closer look at his many other sounds.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.npr.org/artists/15394712/joe-strummer\" target=\"_blank\" rel=\"noopener\">Joe Strummer\u003c/a>‘s barn has been raided.\u003c/p>\n\u003cp>The \u003cem>enfant raisonnable \u003c/em>of U.K. punk’s first wave — who with \u003ca href=\"https://www.npr.org/artists/15394716/the-clash\" target=\"_blank\" rel=\"noopener\">The Clash\u003c/a> (like many lumped into it) broke from a retroactively applied punk orthodoxy to explore sounds from any and everywhere — is getting an everything-and-the-kitchen-sink treatment for the many reels of unreleased tape he had archived in his barn.\u003c/p>\n\u003cp>In 2013, \u003cem>The Clash Sound System\u003c/em> box set compiled everything of that band’s varied and sundry discography, with the standard live sets, first-, out- and mis-takes, in a package designed like a boom box, stuffed with random physical ephemera (a giant cigarette).\u003c/p>\n\u003cp>\u003cem>Joe Strummer 001\u003c/em> looks to be a more modest affair than that package in every way except the actual music it contains, covering the complete cross-section of Strummer’s solo musical development, inextricable as it is from his work with The Clash; the dead-standard early bar band material, his late-’80s hip-hop-influenced four-on-the-floor slams, bonfire-and-whiskey folk globe-trotters and the weed-smokey collage-pop of The Mescaleros, stretching back to 1975.\u003c/p>\n\u003cp>An incomplete list of the various projects included here should make it clear: The 101ers, The Astro-Physicians, Radar, Electric Dog House, The Soothsayers, Pearl Harbour, Joe Strummer and The Mescaleros, collaborations with \u003ca href=\"https://www.npr.org/artists/15382889/jimmy-cliff\" target=\"_blank\" rel=\"noopener\">Jimmy Cliff\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a> and post-Clash work with Mick Jones and Paul Simonon.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Below, find a sample single from it, titled “London Is Burning” — a song that was reworked into the (better) Mescaleros’ song “Burning Streets (London Is Burning).”\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%3Aalbum%3A5ukiednezEKBpSK7Pt11AN\" width=\"300\" height=\"380\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Joe Strummer 001\u003cem> will be \u003c/em>\u003ca href=\"https://joestrummer.lnk.to/001\">\u003cem>released Sept. 28 on Ignition Records\u003c/em>\u003c/a>\u003cem>.\u003c/em> \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=Joe+Strummer%27s+Solo+Work+And+Archives+To+Get+Life-Spanning+Release&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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},
"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
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