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"content": "\u003cp>\u003cem>\u003cstrong>Updated at 2:56 p.m. ET\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Avicii, the Swedish producer who was one of the world’s most successful DJs, was found dead today in Muscat, Oman, his publicist confirmed to NPR Music. He was 28. No cause of death was given.\u003c/p>\n\u003cp>Born Tim Bergling, Avicii rose to worldwide fame quickly beginning in 2011 with the release of “Levels” and earning a Grammy nomination just one year later for his David Guetta collaboration “Sunshine.”\u003c/p>\n\u003cp>https://youtu.be/_ovdm2yX4MA\u003c/p>\n\u003cp>Although he never reached the top of \u003cem>Billboard\u003c/em>‘s main album or singles charts, his work was designed to appeal to the largest audiences possible, fusing broad dance textures with pop melodics, an approach that led his song “Wake Me Up” to become the \u003ca href=\"https://www.npr.org/2014/03/09/286897935/putting-a-name-and-face-to-a-famous-voice\">most-streamed song\u003c/a> on Spotify at the time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Eventually, the young artist rose — along with a massive expansion of the dance music festival scene worldwide, thanks in part to the \u003ca href=\"https://www.npr.org/sections/therecord/2015/10/06/445039871/edm-after-the-drop-what-a-wounded-corporate-giant-means-for-dance-music-culture\">promotions company SFX\u003c/a> — to be one of the busiest EDM artists in the world, bringing in \u003ca href=\"https://www.gq.com/story/avicii-tim-bergling-profile-gq-april-2013\">a reported\u003c/a> six figures per show.\u003c/p>\n\u003cp>Because of that, Avicii came to typify the freewheeling, popped-cork escapism of Las Vegas dance clubs and Ibiza nights — even garnering a \u003cem>Saturday Night Live \u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=XCawU6BE8P8\">parody \u003c/a>along the way. As a writer for \u003cem>GQ\u003c/em> put it in a 2013 profile, at the height of his fame, the DJ was “subsisting on a diet of Red Bull, nicotine, and airport food.”\u003c/p>\n\u003cp>And by 2016, he was already sunsetting his own career, in part because of the toll the lifestyle had taken.\u003c/p>\n\u003cp>“Two weeks ago, I took the time to drive across the U.S. with my friends and team, to just look and see and think about things in a new way,” he \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">wrote in 2016\u003c/a>. “It really helped me realize that I needed to make the change that I’d been struggling with for a while.”\u003c/p>\n\u003cp>Reportedly suffering from acute pancreatitis caused in part by excessive drinking, Avicii decided to recuse himself from the busy, party-filled life of a world-famous dance DJ, canceling his remaining dates.\u003c/p>\n\u003cp>https://twitter.com/aloeblacc/status/987394281303302144\u003c/p>\n\u003cp>“This was obviously the hardest decision of my life so far,” he told \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">The Hollywood Reporter\u003c/a> in 2016. “But so far it has paid off tremendously in terms of well-being for me. I’m happier than I have been in a very very long time. Stress-free more than I have been in a very long time. I can’t say I’m never going to have a show again. I just don’t think I’m going to go back to the touring life.”\u003c/p>\n\u003cp>The producer did, however, return to music in August 2017, one year after his self-imposed exile, releasing the EP \u003cem>Avici (01)\u003c/em> in August. “This is the first year I felt like I’ve been able to kind of live normally for the first time in eight years or something.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Speaking about his 2017 documentary, \u003cem>Avicii: True Stories,\u003c/em> director Levan Tsikurishvili, a personal friend of the DJ’s, \u003ca href=\"http://variety.com/2017/music/news/avicii-documentary-true-stories-director-interview-1202553567/\">told\u003c/a> \u003cem>Variety,\u003c/em> “That life can look exciting and glamorous on Instagram and social media, but you don’t really have any idea what’s going on behind that.”\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=Electronic+Dance+Music+Superstar+Avicii+Dies+At+28&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Updated at 2:56 p.m. ET\u003c/strong>\u003c/em>\u003c/p>\n\u003cp>Avicii, the Swedish producer who was one of the world’s most successful DJs, was found dead today in Muscat, Oman, his publicist confirmed to NPR Music. He was 28. No cause of death was given.\u003c/p>\n\u003cp>Born Tim Bergling, Avicii rose to worldwide fame quickly beginning in 2011 with the release of “Levels” and earning a Grammy nomination just one year later for his David Guetta collaboration “Sunshine.”\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/_ovdm2yX4MA'\n title='//www.youtube.com/embed/_ovdm2yX4MA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Although he never reached the top of \u003cem>Billboard\u003c/em>‘s main album or singles charts, his work was designed to appeal to the largest audiences possible, fusing broad dance textures with pop melodics, an approach that led his song “Wake Me Up” to become the \u003ca href=\"https://www.npr.org/2014/03/09/286897935/putting-a-name-and-face-to-a-famous-voice\">most-streamed song\u003c/a> on Spotify at the time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Eventually, the young artist rose — along with a massive expansion of the dance music festival scene worldwide, thanks in part to the \u003ca href=\"https://www.npr.org/sections/therecord/2015/10/06/445039871/edm-after-the-drop-what-a-wounded-corporate-giant-means-for-dance-music-culture\">promotions company SFX\u003c/a> — to be one of the busiest EDM artists in the world, bringing in \u003ca href=\"https://www.gq.com/story/avicii-tim-bergling-profile-gq-april-2013\">a reported\u003c/a> six figures per show.\u003c/p>\n\u003cp>Because of that, Avicii came to typify the freewheeling, popped-cork escapism of Las Vegas dance clubs and Ibiza nights — even garnering a \u003cem>Saturday Night Live \u003c/em>\u003ca href=\"https://www.youtube.com/watch?v=XCawU6BE8P8\">parody \u003c/a>along the way. As a writer for \u003cem>GQ\u003c/em> put it in a 2013 profile, at the height of his fame, the DJ was “subsisting on a diet of Red Bull, nicotine, and airport food.”\u003c/p>\n\u003cp>And by 2016, he was already sunsetting his own career, in part because of the toll the lifestyle had taken.\u003c/p>\n\u003cp>“Two weeks ago, I took the time to drive across the U.S. with my friends and team, to just look and see and think about things in a new way,” he \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">wrote in 2016\u003c/a>. “It really helped me realize that I needed to make the change that I’d been struggling with for a while.”\u003c/p>\n\u003cp>Reportedly suffering from acute pancreatitis caused in part by excessive drinking, Avicii decided to recuse himself from the busy, party-filled life of a world-famous dance DJ, canceling his remaining dates.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“This was obviously the hardest decision of my life so far,” he told \u003ca href=\"https://www.billboard.com/articles/news/dance/7325455/avicii-retirement-illness-fame-interview-cannes-dance\">The Hollywood Reporter\u003c/a> in 2016. “But so far it has paid off tremendously in terms of well-being for me. I’m happier than I have been in a very very long time. Stress-free more than I have been in a very long time. I can’t say I’m never going to have a show again. I just don’t think I’m going to go back to the touring life.”\u003c/p>\n\u003cp>The producer did, however, return to music in August 2017, one year after his self-imposed exile, releasing the EP \u003cem>Avici (01)\u003c/em> in August. “This is the first year I felt like I’ve been able to kind of live normally for the first time in eight years or something.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Speaking about his 2017 documentary, \u003cem>Avicii: True Stories,\u003c/em> director Levan Tsikurishvili, a personal friend of the DJ’s, \u003ca href=\"http://variety.com/2017/music/news/avicii-documentary-true-stories-director-interview-1202553567/\">told\u003c/a> \u003cem>Variety,\u003c/em> “That life can look exciting and glamorous on Instagram and social media, but you don’t really have any idea what’s going on behind that.”\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=Electronic+Dance+Music+Superstar+Avicii+Dies+At+28&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "From the Vaults, a Showstopper: Hear Prince Perform 'Nothing Compares 2 U'",
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"content": "\u003cp>It’s already been a busy day for \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> news, as prosecutors announced that \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/19/603934002/no-criminal-charges-to-be-brought-in-princes-death\" target=\"_blank\" rel=\"noopener\">no criminal charges would be brought\u003c/a> against Prince associates over the star’s accidental death in 2016. In a bit of curious timing, Prince’s estate has just released a long-lost 1984 studio recording of the singer performing his classic composition “Nothing Compares 2 U.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cpGA0azFdCs\u003c/p>\n\u003cp>As a find, it’s significant: Prince originally wrote the track for a band he’d assembled called the Family, but it didn’t become a hit until 1990, when it became a sensation for \u003ca href=\"https://www.npr.org/artists/15773342/sinead-o-connor\" target=\"_blank\" rel=\"noopener\">Sinéad O’Connor\u003c/a>. Prince would go on to perform his own take on the song in concert; a live version even appeared on his three-disc \u003cem>The Hits/The B-Sides\u003c/em> collection 25 years ago. But the recording released today has never been heard until now.\u003c/p>\n\u003cp>It’s remarkable how seamlessly this “Nothing Compares 2 U” fits alongside Prince’s classic mid-’80s works. It’s no bare-bones demo: Prince recorded it with engineer Susan Rogers, Eric Leeds on saxophone, and backing vocalists Susannah Melvoin and Paul “St. Paul” Peterson. Its video is a treat, too, as it pairs the song with a charming assortment of previously unseen Prince & The Revolution rehearsal footage.\u003c/p>\n\u003cp>The release of “Nothing Compares 2 U” arrives as debate continues over how to handle Prince’s estate and unreleased material. The star left behind no will, and his presumed heirs are in dispute over the handling of his archives. Last year, \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/20/524886598/deliverance-denied-release-of-posthumous-prince-record-stopped-by-judge\" target=\"_blank\" rel=\"noopener\">a judge blocked the release of a Prince EP\u003c/a> called \u003cem>Deliverance, \u003c/em>which George Ian Boxill, a recording engineer who worked with Prince around 2006, had hoped to sell.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>“Nothing Compares 2 U” is out now via \u003c/em>\u003ca href=\"http://store.warnermusic.com/warner-bros-records/artists/prince.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Warner Music\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Updated\u003c/em>\u003c/strong>\u003cem> 1:44 p.m., Apr. 18 with new information on criminal charges over Prince’s death.\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=From+The+Vaults%2C+A+Showstopper%3A+Hear+Prince+Perform+%27Nothing+Compares+2+U%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s already been a busy day for \u003ca href=\"https://www.npr.org/artists/15394157/prince\" target=\"_blank\" rel=\"noopener\">Prince\u003c/a> news, as prosecutors announced that \u003ca href=\"https://www.npr.org/sections/therecord/2018/04/19/603934002/no-criminal-charges-to-be-brought-in-princes-death\" target=\"_blank\" rel=\"noopener\">no criminal charges would be brought\u003c/a> against Prince associates over the star’s accidental death in 2016. In a bit of curious timing, Prince’s estate has just released a long-lost 1984 studio recording of the singer performing his classic composition “Nothing Compares 2 U.”\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/cpGA0azFdCs'\n title='//www.youtube.com/embed/cpGA0azFdCs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As a find, it’s significant: Prince originally wrote the track for a band he’d assembled called the Family, but it didn’t become a hit until 1990, when it became a sensation for \u003ca href=\"https://www.npr.org/artists/15773342/sinead-o-connor\" target=\"_blank\" rel=\"noopener\">Sinéad O’Connor\u003c/a>. Prince would go on to perform his own take on the song in concert; a live version even appeared on his three-disc \u003cem>The Hits/The B-Sides\u003c/em> collection 25 years ago. But the recording released today has never been heard until now.\u003c/p>\n\u003cp>It’s remarkable how seamlessly this “Nothing Compares 2 U” fits alongside Prince’s classic mid-’80s works. It’s no bare-bones demo: Prince recorded it with engineer Susan Rogers, Eric Leeds on saxophone, and backing vocalists Susannah Melvoin and Paul “St. Paul” Peterson. Its video is a treat, too, as it pairs the song with a charming assortment of previously unseen Prince & The Revolution rehearsal footage.\u003c/p>\n\u003cp>The release of “Nothing Compares 2 U” arrives as debate continues over how to handle Prince’s estate and unreleased material. The star left behind no will, and his presumed heirs are in dispute over the handling of his archives. Last year, \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/20/524886598/deliverance-denied-release-of-posthumous-prince-record-stopped-by-judge\" target=\"_blank\" rel=\"noopener\">a judge blocked the release of a Prince EP\u003c/a> called \u003cem>Deliverance, \u003c/em>which George Ian Boxill, a recording engineer who worked with Prince around 2006, had hoped to sell.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>“Nothing Compares 2 U” is out now via \u003c/em>\u003ca href=\"http://store.warnermusic.com/warner-bros-records/artists/prince.html\" target=\"_blank\" rel=\"noopener\">\u003cem>Warner Music\u003c/em>\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "50 Years After Johnny Cash, Los Tigres Del Norte Perform at Folsom Prison",
"headTitle": "50 Years After Johnny Cash, Los Tigres Del Norte Perform at Folsom Prison | KQED",
"content": "\u003cp>Fifty years ago, \u003ca href=\"https://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a> performed at Folsom State Prison in Folsom, Calif. The January 1968 concert and live album it produced, \u003ca href=\"https://www.npr.org/sections/monkeysee/2008/12/i_said_i_shot_a_man_in_reno_he.html\" target=\"_blank\" rel=\"noopener\">\u003cem>At Folsom Prison\u003c/em>\u003c/a>\u003cem>,\u003c/em> helped revitalize Cash’s career, inspiring him to testify for prison reform and cementing his reputation as a voice for the downtrodden. Earlier this week, the Mexican norteño band \u003ca href=\"https://www.npr.org/artists/15872025/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">Los Tigres del Norte\u003c/a> followed in Cash’s footsteps and became the first major live act to play at Folsom since the rock and roll star’s historic concert five decades ago.\u003c/p>\n\u003cp>The spirit of Johnny Cash is everywhere at the prison-yard gig. Los Tigres and crew walk through the same massive security gates that Cash and his musicians did on that cloudy, winter morning. The musicians’ green room is in the prison’s Greystone Chapel — the same chapel \u003ca href=\"https://www.youtube.com/watch?v=fGMVRoXelNs\" target=\"_blank\" rel=\"noopener\">immortalized in song on Cash’s 1968 album\u003c/a>. But somethings have changed with time. When Cash played his prison show in ’68, the inmate population at Folsom was most white. Today, it’s mostly black and Latino.\u003c/p>\n\u003cp>The magic number of 50 hangs in the air for Los Tigres. It’s been 50 years since Cash’s performance and 50 years since the Mexican band played its first gig in the United States, which, ironically, was also at a prison.\u003c/p>\n\u003cp>“When we came to this country, the first performance that we did was in a prison in Soledad, California,” Jorge Hernández, the band’s vocalist and accordionist, says. “It reminds us it’s a blessing that we can be here at Folsom playing and celebrating our coming to this country, performing in a prison, but also performing now at Folsom Prison.”\u003c/p>\n\u003cfigure id=\"attachment_13829933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg\" alt=\"Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Los Tigres del Norte have sold over 30 million albums and the band’s fans span generations of Mexicans. The band’s songs like \u003ca href=\"https://www.youtube.com/watch?v=K9rABzUY86w\" target=\"_blank\" rel=\"noopener\">“La Jaula de Oro,”\u003c/a> a lament about struggling to protect one’s undocumented family in the United States, set immigrants’ stories to music. Two years ago, Los Tigres submitted a request to play at Folsom. A few months ago, the band finally got the blessing of the California Department of Corrections and Rehabilitation to have a performance at the prison.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When Johnny Cash first came in, it probably wasn’t real popular with the staff or the warden at the time,” Ralph Diaz, the Department’s \u003ca href=\"https://www.cdcr.ca.gov/About_CDCR/Executive_Staff.html\" target=\"_blank\" rel=\"noopener\">Undersecretary of Operations\u003c/a>, says. “But in the end, he wanted to let the population know, ‘There is a voice out there for you. I’m that voice.'”\u003c/p>\n\u003cfigure id=\"attachment_13829934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-800x450.jpg\" alt=\"Los Tigres del Norte perform in front of about 800 inmates at Folsom Prison in front of the iconic Greystone Chapel.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Tigres del Norte perform in front of about 800 inmates at Folsom Prison in front of the iconic Greystone Chapel. \u003ccite>(Lance Dawes/Courtesy of Los Tigres Del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Diaz, on the other hand, is most definitely a Los Tigres fan. “I grew up listening to Los Tigres at grandma’s kitchen table to the time I got my own stereo,” he says.\u003c/p>\n\u003cp>Manuel Mena is a Los Tigres fan, too. Born in Tijuana, Mexico, Mena says Los Tigres inspired him to start his own band. One night after a show, Mena had an altercation with a fan who threatened him. Mena killed the man. That landed him in Folsom for 36 years to life.\u003c/p>\n\u003cp>“We are the forgotten of society,” Mena says in Spanish. “And to have the privilege of experiencing something like this? Well, it means we haven’t been completely forgotten. It means there’s someone who remembers us, someone who gives us the strength to keep going, the strength to keep moving forward.”\u003c/p>\n\u003cp>About 800 denim-clad men stand in the main prison yard under wispy clouds and a bright blue sky for the performance, as well as the watchful eyes of correctional officers on the ground and in five gun towers surrounding the yard. Many of the men sing along. Others shout out requests. A few more dance alone, seemingly lost in a moment of nostalgia.\u003c/p>\n\u003cp>Before it became famous by way of Cash’s performance, “Greystone Chapel” was written by Glen Sherley, a Folsom inmate serving time for armed robbery. In the same tradition, Los Tigres del Norte invite Mena to play accordion on their norteño rendition of “Folsom Prison Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13829935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-800x450.jpg\" alt=\"Eduardo and Hernán Hernández watch inmate Manuel Mena perform as a guest of the band in front of fellow inmates.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eduardo and Hernán Hernández watch inmate Manuel Mena perform as a guest of the band in front of fellow inmates. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Univision is recording the performance for a documentary. It’s being produced by Grammy- and Oscar-winning musician \u003ca href=\"SelectStoryEditorRouting.action?routingAction=LoadFeature&selEditFeature=603304745#GustavoSantaolalla\" target=\"_blank\" rel=\"noopener\">Gustavo Santaolalla\u003c/a>, who echoes Cash’s belief in the power of music to give inmates a voice.\u003c/p>\n\u003cp>“It’s a way actually of not only entertaining themselves, but also to open their souls, and to open their minds to the possibility of a better world,” Santaolalla says.\u003c/p>\n\u003cp>After the show, band member Luis Hernández stands on the steps of the chapel, reflecting on what just happened.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was just so emotional to see these people here singing our songs and transporting themselves back to maybe how their lives could be, or maybe the mistakes they made,” he says. “It’s impressive, when you come here and sing in front of these people, how you can bring them happiness, and how you can bring them their life back.” \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=50+Years+After+Johnny+Cash%2C+Los+Tigres+Del+Norte+Perform+At+Folsom+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fifty years ago, \u003ca href=\"https://www.npr.org/artists/15165794/johnny-cash\" target=\"_blank\" rel=\"noopener\">Johnny Cash\u003c/a> performed at Folsom State Prison in Folsom, Calif. The January 1968 concert and live album it produced, \u003ca href=\"https://www.npr.org/sections/monkeysee/2008/12/i_said_i_shot_a_man_in_reno_he.html\" target=\"_blank\" rel=\"noopener\">\u003cem>At Folsom Prison\u003c/em>\u003c/a>\u003cem>,\u003c/em> helped revitalize Cash’s career, inspiring him to testify for prison reform and cementing his reputation as a voice for the downtrodden. Earlier this week, the Mexican norteño band \u003ca href=\"https://www.npr.org/artists/15872025/los-tigres-del-norte\" target=\"_blank\" rel=\"noopener\">Los Tigres del Norte\u003c/a> followed in Cash’s footsteps and became the first major live act to play at Folsom since the rock and roll star’s historic concert five decades ago.\u003c/p>\n\u003cp>The spirit of Johnny Cash is everywhere at the prison-yard gig. Los Tigres and crew walk through the same massive security gates that Cash and his musicians did on that cloudy, winter morning. The musicians’ green room is in the prison’s Greystone Chapel — the same chapel \u003ca href=\"https://www.youtube.com/watch?v=fGMVRoXelNs\" target=\"_blank\" rel=\"noopener\">immortalized in song on Cash’s 1968 album\u003c/a>. But somethings have changed with time. When Cash played his prison show in ’68, the inmate population at Folsom was most white. Today, it’s mostly black and Latino.\u003c/p>\n\u003cp>The magic number of 50 hangs in the air for Los Tigres. It’s been 50 years since Cash’s performance and 50 years since the Mexican band played its first gig in the United States, which, ironically, was also at a prison.\u003c/p>\n\u003cp>“When we came to this country, the first performance that we did was in a prison in Soledad, California,” Jorge Hernández, the band’s vocalist and accordionist, says. “It reminds us it’s a blessing that we can be here at Folsom playing and celebrating our coming to this country, performing in a prison, but also performing now at Folsom Prison.”\u003c/p>\n\u003cfigure id=\"attachment_13829933\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg\" alt=\"Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829933\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-1_wide-02ac599b37ab10db7d7da273963b73cf4dc2e746.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hernán and Jorge Hernández from Los Tigres del Norte perform at Folsom State Prison. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Los Tigres del Norte have sold over 30 million albums and the band’s fans span generations of Mexicans. The band’s songs like \u003ca href=\"https://www.youtube.com/watch?v=K9rABzUY86w\" target=\"_blank\" rel=\"noopener\">“La Jaula de Oro,”\u003c/a> a lament about struggling to protect one’s undocumented family in the United States, set immigrants’ stories to music. Two years ago, Los Tigres submitted a request to play at Folsom. A few months ago, the band finally got the blessing of the California Department of Corrections and Rehabilitation to have a performance at the prison.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When Johnny Cash first came in, it probably wasn’t real popular with the staff or the warden at the time,” Ralph Diaz, the Department’s \u003ca href=\"https://www.cdcr.ca.gov/About_CDCR/Executive_Staff.html\" target=\"_blank\" rel=\"noopener\">Undersecretary of Operations\u003c/a>, says. “But in the end, he wanted to let the population know, ‘There is a voice out there for you. I’m that voice.'”\u003c/p>\n\u003cfigure id=\"attachment_13829934\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-800x450.jpg\" alt=\"Los Tigres del Norte perform in front of about 800 inmates at Folsom Prison in front of the iconic Greystone Chapel.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829934\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-2_wide-55bdbfeec335090642324c39624d55bf7eb0c0d3.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Los Tigres del Norte perform in front of about 800 inmates at Folsom Prison in front of the iconic Greystone Chapel. \u003ccite>(Lance Dawes/Courtesy of Los Tigres Del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Diaz, on the other hand, is most definitely a Los Tigres fan. “I grew up listening to Los Tigres at grandma’s kitchen table to the time I got my own stereo,” he says.\u003c/p>\n\u003cp>Manuel Mena is a Los Tigres fan, too. Born in Tijuana, Mexico, Mena says Los Tigres inspired him to start his own band. One night after a show, Mena had an altercation with a fan who threatened him. Mena killed the man. That landed him in Folsom for 36 years to life.\u003c/p>\n\u003cp>“We are the forgotten of society,” Mena says in Spanish. “And to have the privilege of experiencing something like this? Well, it means we haven’t been completely forgotten. It means there’s someone who remembers us, someone who gives us the strength to keep going, the strength to keep moving forward.”\u003c/p>\n\u003cp>About 800 denim-clad men stand in the main prison yard under wispy clouds and a bright blue sky for the performance, as well as the watchful eyes of correctional officers on the ground and in five gun towers surrounding the yard. Many of the men sing along. Others shout out requests. A few more dance alone, seemingly lost in a moment of nostalgia.\u003c/p>\n\u003cp>Before it became famous by way of Cash’s performance, “Greystone Chapel” was written by Glen Sherley, a Folsom inmate serving time for armed robbery. In the same tradition, Los Tigres del Norte invite Mena to play accordion on their norteño rendition of “Folsom Prison Blues.”\u003c/p>\n\u003cfigure id=\"attachment_13829935\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-800x450.jpg\" alt=\"Eduardo and Hernán Hernández watch inmate Manuel Mena perform as a guest of the band in front of fellow inmates.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13829935\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1020x573.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1200x674.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-1180x663.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/folsom-3_wide-f977b28f5624eef5387edf90b54df88c8fa7edbd.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Eduardo and Hernán Hernández watch inmate Manuel Mena perform as a guest of the band in front of fellow inmates. \u003ccite>(Lance Dawes/Courtesy of Los Tigres del Norte)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Univision is recording the performance for a documentary. It’s being produced by Grammy- and Oscar-winning musician \u003ca href=\"SelectStoryEditorRouting.action?routingAction=LoadFeature&selEditFeature=603304745#GustavoSantaolalla\" target=\"_blank\" rel=\"noopener\">Gustavo Santaolalla\u003c/a>, who echoes Cash’s belief in the power of music to give inmates a voice.\u003c/p>\n\u003cp>“It’s a way actually of not only entertaining themselves, but also to open their souls, and to open their minds to the possibility of a better world,” Santaolalla says.\u003c/p>\n\u003cp>After the show, band member Luis Hernández stands on the steps of the chapel, reflecting on what just happened.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It was just so emotional to see these people here singing our songs and transporting themselves back to maybe how their lives could be, or maybe the mistakes they made,” he says. “It’s impressive, when you come here and sing in front of these people, how you can bring them happiness, and how you can bring them their life back.” \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=50+Years+After+Johnny+Cash%2C+Los+Tigres+Del+Norte+Perform+At+Folsom+Prison&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "NPR Newscaster Carl Kasell Dies at 84, After a Lifelong Career On-Air",
"headTitle": "NPR Newscaster Carl Kasell Dies at 84, After a Lifelong Career On-Air | KQED",
"content": "\u003cp>Every weekday for more than three decades, his baritone steadied our mornings. Even in moments of chaos and crisis, Carl Kasell brought unflappable authority to the news. But behind that hid a lively sense of humor, revealed to listeners late in his career, when he became the beloved judge and official scorekeeper for \u003ca href=\"https://www.npr.org/programs/wait-wait-dont-tell-me/\">Wait Wait… Don’t Tell Me!\u003c/a>\u003cem> \u003c/em>NPR’s news quiz show.\u003cem> \u003c/em>\u003c/p>\n\u003cp>Kasell died Tuesday from complications from Alzheimer’s disease in Potomac, Md. He was 84.\u003c/p>\n\u003cp>He started preparing for the role of newscaster as a child. “I sometimes would hide behind the radio and pretend I was on the air,” he said in 2009, remembering his boyhood in Goldsboro, N.C.\u003c/p>\n\u003cp>He also used to play with his grandmother’s windup Victrola and her collection of records. “I would sit there sometimes and play those records, and I’d put in commercials between them,” he recalled. “And I would do a newscast just like the guy on the radio did.”\u003c/p>\n\u003cp>Kasell became a real guy on the radio at age 16, DJ-ing a late-night music show on his local station.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the University of North Carolina, Kasell was, unsurprisingly, one of the very first students to work at its brand-new station, WUNC. After graduation he served in the military. But a job was waiting for him back home at his old station in Goldsboro. He moved to Northern Virginia to spin records but a friend persuaded him to take a job at an all-news station.\u003c/p>\n\u003cp>“I kind of left the records behind,” Kasell said. “It came at a time when so much was happening; we had the Vietnam War, the demonstrations downtown in Washington, the [Martin Luther King] and Bobby Kennedy assassinations. And so it was a great learning period even though [there were] bad times in there.”\u003c/p>\n\u003cp>In 1975, Kasell joined NPR as a part-time employee. Four years later, he announced the news for the first broadcast of a new show called \u003cem>Morning Edition\u003c/em>. Over three decades, he became one of the network’s most recognized voices.\u003c/p>\n\u003cfigure id=\"attachment_13829629\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/15_carl_kasell_slide-423f0bd683d34d4fefc04bd9954c5e7141ad14ad-2-800x533.jpg\" alt=\"NPR employees line the hallway of the 'Morning Edition' newsroom to cheer for Kasell. He was feted with speeches, champagne and cake following his final 11 a.m. newscast.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13829629\">\u003cfigcaption class=\"wp-caption-text\">NPR employees line the hallway of the ‘Morning Edition’ newsroom to cheer for Kasell. He was feted with speeches, champagne and cake following his final 11 a.m. newscast.\u003c/figcaption>\u003c/figure>\n\u003cp>Bob Edwards,\u003cem> Morning Edition’\u003c/em>s former host, says he relied on Kasell, especially on days such as Sept. 11, when news broke early. “That morning and a thousand others, awful things happened in the morning,” Edwards says.\u003c/p>\n\u003cp>Sure, Edwards was the morning host, but he says Kasell was — in every way — its anchor. “Seven newscasts, every morning … nobody in the business does that,” Edwards said. “That is incredible.”\u003c/p>\n\u003cp>And then came a surprise second act; after decades of being super-serious, Kasell got a chance to let his hair down as the official judge and scorekeeper for \u003cem>Wait Wait… Don’t Tell Me!\u003c/em>\u003c/p>\n\u003cp>Host Peter Sagal says no one could have guessed that Kasell would be so funny. “The greatest thing about Carl was anything we came up with, he was game,” Sagal says. “When we were in Las Vegas, we had him come onstage in a showgirl’s headdress. No matter what we asked him to do — silly voices, or weird stunts; we had him jump out of a cake once to make his entrance onstage — he did it [with] such joy and such dignity.”\u003c/p>\n\u003cfigure id=\"attachment_13829669\" class=\"wp-caption aligncenter\" style=\"max-width: 775px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1.jpg\" alt=\"Kasell decides to take a publicity photo shoot up a notch while 'Wait Wait... Don't Tell Me!' host Peter Sagal tickles the ivories.\" width=\"775\" height=\"542\" class=\"size-full wp-image-13829669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-520x364.jpg 520w\" sizes=\"(max-width: 775px) 100vw, 775px\">\u003cfigcaption class=\"wp-caption-text\">Kasell decides to take a publicity photo shoot up a notch while ‘Wait Wait… Don’t Tell Me!’ host Peter Sagal tickles the ivories. \u003ccite>(Wait Wait... Don't Tell Me!/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the beginning, \u003cem>Wait Wait \u003c/em>didn’t have a budget for actual prizes, so the “prize” for listeners was to have Kasell record the outgoing message on their answering machines. He ended up recording more than 2,000 messages. (You can hear some favorites below.)\u003c/p>\n\u003cp>Kasell may have been known for his measured, on-air newscast persona, but behind the scenes, the kind, witty newsman had plenty of surprises. He loved magic tricks, and at one memorable company holiday party, he sawed Nina Totenberg in half.\u003c/p>\n\u003cp>“We laid her out on the table, got out that saw and \u003cem>grrrr \u003c/em>… ran it straight through her midsection,” he recalled. “She said it tickled and she got up and walked away in one piece.”\u003c/p>\n\u003cp>In all that he did, Carl Kasell was magic.\u003c/p>\n\u003cfigure id=\"attachment_13829670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-800x474.jpg\" alt=\"asell unleashes his powers in the lobby of NPR's headquarters in Washington, D.C.\" width=\"800\" height=\"474\" class=\"size-medium wp-image-13829670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-1020x605.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-960x569.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-520x308.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">asell unleashes his powers in the lobby of NPR’s headquarters in Washington, D.C. \u003ccite>(Katie Burk/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This story was adapted for the Web by longtime \u003c/em>Wait Wait\u003cem> Web guru Beth Novey. \u003c/em> \u003c/p>\n\u003ch3>Hear Some Of Kasell’s Outgoing Voicemail Messages\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612602\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612606\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612595\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612604\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\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://www.npr.org/player/embed/528656453/531612609\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" 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=NPR+Newscaster+Carl+Kasell+Dies+At+84%2C+After+A+Lifelong+Career+On-Air&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Every weekday for more than three decades, his baritone steadied our mornings. Even in moments of chaos and crisis, Carl Kasell brought unflappable authority to the news. But behind that hid a lively sense of humor, revealed to listeners late in his career, when he became the beloved judge and official scorekeeper for \u003ca href=\"https://www.npr.org/programs/wait-wait-dont-tell-me/\">Wait Wait… Don’t Tell Me!\u003c/a>\u003cem> \u003c/em>NPR’s news quiz show.\u003cem> \u003c/em>\u003c/p>\n\u003cp>Kasell died Tuesday from complications from Alzheimer’s disease in Potomac, Md. He was 84.\u003c/p>\n\u003cp>He started preparing for the role of newscaster as a child. “I sometimes would hide behind the radio and pretend I was on the air,” he said in 2009, remembering his boyhood in Goldsboro, N.C.\u003c/p>\n\u003cp>He also used to play with his grandmother’s windup Victrola and her collection of records. “I would sit there sometimes and play those records, and I’d put in commercials between them,” he recalled. “And I would do a newscast just like the guy on the radio did.”\u003c/p>\n\u003cp>Kasell became a real guy on the radio at age 16, DJ-ing a late-night music show on his local station.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the University of North Carolina, Kasell was, unsurprisingly, one of the very first students to work at its brand-new station, WUNC. After graduation he served in the military. But a job was waiting for him back home at his old station in Goldsboro. He moved to Northern Virginia to spin records but a friend persuaded him to take a job at an all-news station.\u003c/p>\n\u003cp>“I kind of left the records behind,” Kasell said. “It came at a time when so much was happening; we had the Vietnam War, the demonstrations downtown in Washington, the [Martin Luther King] and Bobby Kennedy assassinations. And so it was a great learning period even though [there were] bad times in there.”\u003c/p>\n\u003cp>In 1975, Kasell joined NPR as a part-time employee. Four years later, he announced the news for the first broadcast of a new show called \u003cem>Morning Edition\u003c/em>. Over three decades, he became one of the network’s most recognized voices.\u003c/p>\n\u003cfigure id=\"attachment_13829629\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/15_carl_kasell_slide-423f0bd683d34d4fefc04bd9954c5e7141ad14ad-2-800x533.jpg\" alt=\"NPR employees line the hallway of the 'Morning Edition' newsroom to cheer for Kasell. He was feted with speeches, champagne and cake following his final 11 a.m. newscast.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13829629\">\u003cfigcaption class=\"wp-caption-text\">NPR employees line the hallway of the ‘Morning Edition’ newsroom to cheer for Kasell. He was feted with speeches, champagne and cake following his final 11 a.m. newscast.\u003c/figcaption>\u003c/figure>\n\u003cp>Bob Edwards,\u003cem> Morning Edition’\u003c/em>s former host, says he relied on Kasell, especially on days such as Sept. 11, when news broke early. “That morning and a thousand others, awful things happened in the morning,” Edwards says.\u003c/p>\n\u003cp>Sure, Edwards was the morning host, but he says Kasell was — in every way — its anchor. “Seven newscasts, every morning … nobody in the business does that,” Edwards said. “That is incredible.”\u003c/p>\n\u003cp>And then came a surprise second act; after decades of being super-serious, Kasell got a chance to let his hair down as the official judge and scorekeeper for \u003cem>Wait Wait… Don’t Tell Me!\u003c/em>\u003c/p>\n\u003cp>Host Peter Sagal says no one could have guessed that Kasell would be so funny. “The greatest thing about Carl was anything we came up with, he was game,” Sagal says. “When we were in Las Vegas, we had him come onstage in a showgirl’s headdress. No matter what we asked him to do — silly voices, or weird stunts; we had him jump out of a cake once to make his entrance onstage — he did it [with] such joy and such dignity.”\u003c/p>\n\u003cfigure id=\"attachment_13829669\" class=\"wp-caption aligncenter\" style=\"max-width: 775px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1.jpg\" alt=\"Kasell decides to take a publicity photo shoot up a notch while 'Wait Wait... Don't Tell Me!' host Peter Sagal tickles the ivories.\" width=\"775\" height=\"542\" class=\"size-full wp-image-13829669\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1.jpg 775w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-768x537.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-240x168.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-375x262.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/b1_7_chmfett2hbjnr6ym7xknizq9pkmvzi-bi1nsqs_custom-9822c189eb6318dc9d375caf44ebb2ae09ff754d-1-520x364.jpg 520w\" sizes=\"(max-width: 775px) 100vw, 775px\">\u003cfigcaption class=\"wp-caption-text\">Kasell decides to take a publicity photo shoot up a notch while ‘Wait Wait… Don’t Tell Me!’ host Peter Sagal tickles the ivories. \u003ccite>(Wait Wait... Don't Tell Me!/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the beginning, \u003cem>Wait Wait \u003c/em>didn’t have a budget for actual prizes, so the “prize” for listeners was to have Kasell record the outgoing message on their answering machines. He ended up recording more than 2,000 messages. (You can hear some favorites below.)\u003c/p>\n\u003cp>Kasell may have been known for his measured, on-air newscast persona, but behind the scenes, the kind, witty newsman had plenty of surprises. He loved magic tricks, and at one memorable company holiday party, he sawed Nina Totenberg in half.\u003c/p>\n\u003cp>“We laid her out on the table, got out that saw and \u003cem>grrrr \u003c/em>… ran it straight through her midsection,” he recalled. “She said it tickled and she got up and walked away in one piece.”\u003c/p>\n\u003cp>In all that he did, Carl Kasell was magic.\u003c/p>\n\u003cfigure id=\"attachment_13829670\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-800x474.jpg\" alt=\"asell unleashes his powers in the lobby of NPR's headquarters in Washington, D.C.\" width=\"800\" height=\"474\" class=\"size-medium wp-image-13829670\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-800x474.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-160x95.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-768x455.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-1020x605.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-960x569.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-240x142.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-375x222.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1-520x308.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/rxssua9c-h8olq80b7__oxsfukpf653lgd7extaeedm_custom-5df9a8e9db68f8c424d53f4582b0e6e8cd467b88-1.jpg 1024w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">asell unleashes his powers in the lobby of NPR’s headquarters in Washington, D.C. \u003ccite>(Katie Burk/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>This story was adapted for the Web by longtime \u003c/em>Wait Wait\u003cem> Web guru Beth Novey. \u003c/em> \u003c/p>\n\u003ch3>Hear Some Of Kasell’s Outgoing Voicemail Messages\u003c/h3>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612602\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612606\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612595\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/528656453/531612604\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" class=\"iframe-class\">\u003c/iframe>\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://www.npr.org/player/embed/528656453/531612609\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\" 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=NPR+Newscaster+Carl+Kasell+Dies+At+84%2C+After+A+Lifelong+Career+On-Air&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Kendrick Lamar, 'Press Democrat' Claim Pulitzers. Here's the Full List of Winners",
"headTitle": "Kendrick Lamar, ‘Press Democrat’ Claim Pulitzers. Here’s the Full List of Winners | KQED",
"content": "\u003cp>\u003cstrong>Updated at 4:44 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Out of more than 2,400 submissions, distinguished projects in just 21 categories earned gold Monday as winners of the 2018 Pulitzer Prizes.\u003c/p>\n\u003cp>“They include books, music and drama that inform us, that challenge our conventional notions of creative expression and that push us to consider and embrace new ideas and perspectives,” Pulitzer administrator Dana Canedy said during the announcement at Columbia University in New York City. \u003c/p>\n\u003cp>“In the journalism categories, yet again this year, winners uphold the highest purpose of a free and independent press,” she added. “Even in the most trying of times, these courageous inspiring and committed journalists and their news organizations are undaunted in their mission in support of the Fourth Estate.”\u003c/p>\n\u003cp>Among the winners are photographers and investigators, commentators and cartoonists, authors and scholars. Watch the announcement at the link above, and find the winners — together with judges’ explanation about why they won — in the list below.\u003c/p>\n\u003chr>\n\u003ch3>Journalism\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Public Service:\u003c/strong> jointly awarded to \u003cem>The New York Times\u003c/em>, for reporting led by Jodi Kantor and Megan Twohey, and \u003cem>The New Yorker\u003c/em>, for reporting by Ronan Farrow. \n\u003cp>“For explosive, impactful journalism that exposed powerful and wealthy sexual predators — including allegations against one of Hollywood’s most influential producers — bringing them to account for long-suppressed claims of coercion, brutality and victim-silencing, thus spurring a worldwide reckoning about sexual abuse of women.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Reporting:\u003c/strong> The staff of the Santa Rosa \u003cem>Press Democrat.\u003c/em>\n\u003cp>“For lucid and tenacious coverage of historic wildfires that ravaged the city of Santa Rosa and Sonoma County, and for expertly utilizing an array of tools, including photography, video and social media platforms to bring clarity to its readers in real time and in subsequent in-depth reporting for investigative reporting.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Investigative Reporting:\u003c/strong> The staff of \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For purposeful and relentless reporting that changed the course of a Senate race in Alabama, revealing a candidate’s alleged past sexual harassment of teenage girls and subsequent efforts to undermine the journalism that exposed it.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Explanatory Reporting:\u003c/strong> Jointly awarded to the staffs of the \u003cem>Arizona Republic\u003c/em> and the USA Today Network.\u003cbr>“For vivid and timely reporting that masterfully combined text, video, podcasts and virtual reality to examine from multiple perspectives the difficulties and unintended consequences of fulfilling President Trump’s pledge to construct a wall along the U.S. border with Mexico.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Local Reporting: \u003c/strong>The staff of the \u003cem>Cincinnati Enquirer.\u003c/em>\u003cbr>\n“For a riveting and insightful narrative and video documenting seven days of greater Cincinnati’s heroin epidemic revealing how the deadly addiction has ravaged families and communities.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>National Reporting:\u003c/strong> Jointly awarded to the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For deeply sourced, relentlessly reported coverage in the public interest that dramatically furthered the nation’s understanding of Russian interference in the 2016 election and its connections to the Trump campaign. The president-elect’s transition team and his eventual administration.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>International Reporting:\u003c/strong> Claire Baldwin, Andrew R.C. Marshall and Manuel Mogato of Reuters.\u003cbr>“For relentless reporting that exposed the brutal killing campaign behind Philippine President Rodrigo Duterte’s war on drugs.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Writing:\u003c/strong> Rachel Kaadzi Ghansah for \u003cem>GQ.\u003cbr>\u003c/em>“For an unforgettable portrait of murderer Dylann Roof, using a unique and powerful mix of reportage, first-person reflection and analysis of historical and cultural forces behind his killing of nine people inside Emanuel AME Church in Charleston, S.C.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Commentary:\u003c/strong> John Archibald of the Alabama Media Group.\u003cbr>“For lyrical and courageous commentary that is rooted in Alabama but has a national resonance, in scrutinizing corrupt politicians, championing the rights of women and calling out hypocrisy for criticism.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Criticism:\u003c/strong> Jerry Saltz of \u003cem>New York Magazine.\u003c/em>\u003cbr>\n“For a robust body of work that conveyed a canny and often daring perspective on visual arts in America, encompassing the personal, the political, the pure and the profane.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Writing:\u003c/strong> Andie Dominick of \u003cem>The Des Moines Register.\u003c/em> \u003cbr>\n“For examining in a clear, indignant voice free of cliché or sentimentality, the damaging consequences for poor Iowa residents of privatizing the state’s administration of Medicaid.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Cartooning:\u003c/strong> Jake Halpern and Michael Sloan for \u003cem>The New York Times.\u003c/em> \u003cbr>\n“For an emotionally powerful series told in graphic narrative form that chronicled the daily struggles of a real-life family of refugees and its fear of deportation.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Photography:\u003c/strong> Ryan Kelly of \u003cem>The Daily Progress\u003c/em> in Charlottesville, Va. \u003cbr>\n“For a chilling image that reflected the photographer’s reflexes and concentration, in capturing the moment of impact of a car during a racially charged protests in Charlottesville, Va.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Photography:\u003c/strong> The photography staff of Reuters. \u003cbr>\n“For shocking photos that expose the world to the violence Rohingya refugees face in fleeing Myanmar.”\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\n\u003ch3>Letters, Drama and Music\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Fiction:\u003c/strong> \u003cem>Less\u003c/em>, Andrew Sean Greer.\u003cbr>\n“For a generous book, musical in its prose and expansive in its structure and range, about growing older and the essential nature of love.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Drama:\u003c/strong> \u003cem>Cost of Living\u003c/em>, by Martyna Majok.\u003cbr>\n“An honest, original work that invites audiences to examine diverse perspectives of privilege and human connection through two pairs of mismatched individuals: a former trucker and his recently paralyzed ex-wife, and an arrogant young man with cerebral palsy and his new caregiver.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>History:\u003c/strong> \u003cem>The Gulf: The Making of an American Sea\u003c/em>, by Jack E. Davis. \u003cbr>\n“An important environmental history of the Gulf of Mexico that brings critical attention to the Earth’s 10th largest body of water and one of the planet’s most diverse and productive marine ecosystems.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Biography:\u003c/strong> \u003cem>Prairie Fires: The American Dreams of Laura Ingalls Wilder\u003c/em>, by Caroline Fraser. \u003cbr>\n“A deeply resourced and elegantly written portrait of Laura Ingalls Wilder, author of \u003cem>The Little House on the Prairie\u003c/em> series, that describes how Wilder transfers transformed her family’s story of poverty, failure and struggle into an uplifting tale of self-reliance, familial love and perseverance.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Poetry: \u003c/strong>\u003cem>Half-light\u003c/em>, by Frank Bidart. \u003cbr>\n“A volume of unyielding ambition and remarkable scope that mixes long, dramatic poems with short, elliptical lyrics, building on classical mythology and reinventing forms of desire that defy societal norms.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>General Nonfiction:\u003c/strong> \u003cem>Locking Up Our Own: Crime and Punishment in Black America\u003c/em>, by James Forman Jr. \n\u003cp>“An examination of the historical roots of contemporary criminal justice in the United States, based on vast experience and deep knowledge of the legal system, and its often devastating consequences for citizens and communities of color.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Music:\u003c/strong> \u003cem>DAMN.\u003c/em>, by Kendrick Lamar. \n\u003cp>“A virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African-American life.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\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=Kendrick+Lamar%2C+%27Press+Democrat%27+Claim+Pulitzers.+Here%27s+The+Full+List+Of+Winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "Lamar joins the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post\u003c/em> as this year's prize winners. See the list of winners and watch Monday's announcement ceremony here.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 4:44 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Out of more than 2,400 submissions, distinguished projects in just 21 categories earned gold Monday as winners of the 2018 Pulitzer Prizes.\u003c/p>\n\u003cp>“They include books, music and drama that inform us, that challenge our conventional notions of creative expression and that push us to consider and embrace new ideas and perspectives,” Pulitzer administrator Dana Canedy said during the announcement at Columbia University in New York City. \u003c/p>\n\u003cp>“In the journalism categories, yet again this year, winners uphold the highest purpose of a free and independent press,” she added. “Even in the most trying of times, these courageous inspiring and committed journalists and their news organizations are undaunted in their mission in support of the Fourth Estate.”\u003c/p>\n\u003cp>Among the winners are photographers and investigators, commentators and cartoonists, authors and scholars. Watch the announcement at the link above, and find the winners — together with judges’ explanation about why they won — in the list below.\u003c/p>\n\u003chr>\n\u003ch3>Journalism\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Public Service:\u003c/strong> jointly awarded to \u003cem>The New York Times\u003c/em>, for reporting led by Jodi Kantor and Megan Twohey, and \u003cem>The New Yorker\u003c/em>, for reporting by Ronan Farrow. \n\u003cp>“For explosive, impactful journalism that exposed powerful and wealthy sexual predators — including allegations against one of Hollywood’s most influential producers — bringing them to account for long-suppressed claims of coercion, brutality and victim-silencing, thus spurring a worldwide reckoning about sexual abuse of women.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Reporting:\u003c/strong> The staff of the Santa Rosa \u003cem>Press Democrat.\u003c/em>\n\u003cp>“For lucid and tenacious coverage of historic wildfires that ravaged the city of Santa Rosa and Sonoma County, and for expertly utilizing an array of tools, including photography, video and social media platforms to bring clarity to its readers in real time and in subsequent in-depth reporting for investigative reporting.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Investigative Reporting:\u003c/strong> The staff of \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For purposeful and relentless reporting that changed the course of a Senate race in Alabama, revealing a candidate’s alleged past sexual harassment of teenage girls and subsequent efforts to undermine the journalism that exposed it.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Explanatory Reporting:\u003c/strong> Jointly awarded to the staffs of the \u003cem>Arizona Republic\u003c/em> and the USA Today Network.\u003cbr>“For vivid and timely reporting that masterfully combined text, video, podcasts and virtual reality to examine from multiple perspectives the difficulties and unintended consequences of fulfilling President Trump’s pledge to construct a wall along the U.S. border with Mexico.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Local Reporting: \u003c/strong>The staff of the \u003cem>Cincinnati Enquirer.\u003c/em>\u003cbr>\n“For a riveting and insightful narrative and video documenting seven days of greater Cincinnati’s heroin epidemic revealing how the deadly addiction has ravaged families and communities.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>National Reporting:\u003c/strong> Jointly awarded to the staffs of \u003cem>The New York Times\u003c/em> and \u003cem>The Washington Post.\u003c/em>\u003cbr>\n“For deeply sourced, relentlessly reported coverage in the public interest that dramatically furthered the nation’s understanding of Russian interference in the 2016 election and its connections to the Trump campaign. The president-elect’s transition team and his eventual administration.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>International Reporting:\u003c/strong> Claire Baldwin, Andrew R.C. Marshall and Manuel Mogato of Reuters.\u003cbr>“For relentless reporting that exposed the brutal killing campaign behind Philippine President Rodrigo Duterte’s war on drugs.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Writing:\u003c/strong> Rachel Kaadzi Ghansah for \u003cem>GQ.\u003cbr>\u003c/em>“For an unforgettable portrait of murderer Dylann Roof, using a unique and powerful mix of reportage, first-person reflection and analysis of historical and cultural forces behind his killing of nine people inside Emanuel AME Church in Charleston, S.C.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Commentary:\u003c/strong> John Archibald of the Alabama Media Group.\u003cbr>“For lyrical and courageous commentary that is rooted in Alabama but has a national resonance, in scrutinizing corrupt politicians, championing the rights of women and calling out hypocrisy for criticism.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Criticism:\u003c/strong> Jerry Saltz of \u003cem>New York Magazine.\u003c/em>\u003cbr>\n“For a robust body of work that conveyed a canny and often daring perspective on visual arts in America, encompassing the personal, the political, the pure and the profane.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Writing:\u003c/strong> Andie Dominick of \u003cem>The Des Moines Register.\u003c/em> \u003cbr>\n“For examining in a clear, indignant voice free of cliché or sentimentality, the damaging consequences for poor Iowa residents of privatizing the state’s administration of Medicaid.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Editorial Cartooning:\u003c/strong> Jake Halpern and Michael Sloan for \u003cem>The New York Times.\u003c/em> \u003cbr>\n“For an emotionally powerful series told in graphic narrative form that chronicled the daily struggles of a real-life family of refugees and its fear of deportation.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Breaking News Photography:\u003c/strong> Ryan Kelly of \u003cem>The Daily Progress\u003c/em> in Charlottesville, Va. \u003cbr>\n“For a chilling image that reflected the photographer’s reflexes and concentration, in capturing the moment of impact of a car during a racially charged protests in Charlottesville, Va.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Feature Photography:\u003c/strong> The photography staff of Reuters. \u003cbr>\n“For shocking photos that expose the world to the violence Rohingya refugees face in fleeing Myanmar.”\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\n\u003ch3>Letters, Drama and Music\u003c/h3>\n\u003cul>\n\u003cli>\u003cstrong>Fiction:\u003c/strong> \u003cem>Less\u003c/em>, Andrew Sean Greer.\u003cbr>\n“For a generous book, musical in its prose and expansive in its structure and range, about growing older and the essential nature of love.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Drama:\u003c/strong> \u003cem>Cost of Living\u003c/em>, by Martyna Majok.\u003cbr>\n“An honest, original work that invites audiences to examine diverse perspectives of privilege and human connection through two pairs of mismatched individuals: a former trucker and his recently paralyzed ex-wife, and an arrogant young man with cerebral palsy and his new caregiver.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>History:\u003c/strong> \u003cem>The Gulf: The Making of an American Sea\u003c/em>, by Jack E. Davis. \u003cbr>\n“An important environmental history of the Gulf of Mexico that brings critical attention to the Earth’s 10th largest body of water and one of the planet’s most diverse and productive marine ecosystems.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Biography:\u003c/strong> \u003cem>Prairie Fires: The American Dreams of Laura Ingalls Wilder\u003c/em>, by Caroline Fraser. \u003cbr>\n“A deeply resourced and elegantly written portrait of Laura Ingalls Wilder, author of \u003cem>The Little House on the Prairie\u003c/em> series, that describes how Wilder transfers transformed her family’s story of poverty, failure and struggle into an uplifting tale of self-reliance, familial love and perseverance.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Poetry: \u003c/strong>\u003cem>Half-light\u003c/em>, by Frank Bidart. \u003cbr>\n“A volume of unyielding ambition and remarkable scope that mixes long, dramatic poems with short, elliptical lyrics, building on classical mythology and reinventing forms of desire that defy societal norms.”\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>General Nonfiction:\u003c/strong> \u003cem>Locking Up Our Own: Crime and Punishment in Black America\u003c/em>, by James Forman Jr. \n\u003cp>“An examination of the historical roots of contemporary criminal justice in the United States, based on vast experience and deep knowledge of the legal system, and its often devastating consequences for citizens and communities of color.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003cli>\u003cstrong>Music:\u003c/strong> \u003cem>DAMN.\u003c/em>, by Kendrick Lamar. \n\u003cp>“A virtuosic song collection unified by its vernacular authenticity and rhythmic dynamism that offers affecting vignettes capturing the complexity of modern African-American life.”\u003c/p>\u003c/li>\n\u003cp>\u003c/p>\n\u003c/ul>\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=Kendrick+Lamar%2C+%27Press+Democrat%27+Claim+Pulitzers.+Here%27s+The+Full+List+Of+Winners&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Milos Forman, known for directing the classic films \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em> and \u003cem>Amadeus,\u003c/em> has died at age 86, his manager tells NPR.\u003c/p>\n\u003cp>Forman’s wife Martina told the Czech news agency CTK that Forman died Friday in Connecticut after a short illness.\u003c/p>\n\u003cp>His manager, Dennis Aspland, confirmed his death was at a hospital near his home in Warren, Conn.\u003c/p>\n\u003cp>Forman was born in 1932 in what was then called Czechoslovakia. Both his mother and the man be thought was his father were killed at Auschwitz during World War II, he told \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=19048469\">NPR’s Fresh Air\u003c/a> in 1994.\u003c/p>\n\u003cp>Forman later learned his biological father was a man with whom his mother had an affair, according to \u003ca href=\"https://www.nytimes.com/2018/04/14/obituaries/milos-forman-dead.html\">The New York Times.\u003c/a> The man survived the war and was living in Peru by the time Forman found him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Forman attended the Film Institute at the University of Prague in the 1950s, according to \u003ca href=\"https://www.hollywoodreporter.com/news/milos-forman-dead-cuckoos-nest-amadeus-director-was-86-861207\">The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>He was part of what became known as the “Czechoslovak new wave” of cinema in the 1960s, before Soviets invaded to crush the brief period of liberalization known as the Prague Spring in 1968.\u003c/p>\n\u003cp>Shortly after, Forman moved to the U.S.\u003c/p>\n\u003cp>It was there where he gained accolades for the 1975 film \u003cem>One Flew Over the Cuckoo’s Nest,\u003c/em> starring Jack Nicholson as a criminal in a mental institution. It won five Academy Awards, including best picture and best director for Forman.\u003c/p>\n\u003cp>Forman went on to win more awards as a director with the 1984 film \u003cem>Amadeus,\u003c/em> which told some of the story of famed composer Wolfgang Amadeus Mozart.\u003c/p>\n\u003cp>He was nominated again for the best director Oscar for the 1996 movie \u003cem>The People vs. Larry Flint,\u003c/em> though did not win.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of his last films was \u003cem>Goya’s Ghosts\u003c/em> in 2006, which was “an intricate examination of persecution in Spain in the era of religious persecution and Napoleonic conquest,” as the \u003cem>Times\u003c/em> described it. \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=Milos+Forman%2C+%27One+Flew+Over+The+Cuckoo%27s+Nest%27+Director%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Milos Forman, known for directing the classic films \u003cem>One Flew Over the Cuckoo’s Nest\u003c/em> and \u003cem>Amadeus,\u003c/em> has died at age 86, his manager tells NPR.\u003c/p>\n\u003cp>Forman’s wife Martina told the Czech news agency CTK that Forman died Friday in Connecticut after a short illness.\u003c/p>\n\u003cp>His manager, Dennis Aspland, confirmed his death was at a hospital near his home in Warren, Conn.\u003c/p>\n\u003cp>Forman was born in 1932 in what was then called Czechoslovakia. Both his mother and the man be thought was his father were killed at Auschwitz during World War II, he told \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=19048469\">NPR’s Fresh Air\u003c/a> in 1994.\u003c/p>\n\u003cp>Forman later learned his biological father was a man with whom his mother had an affair, according to \u003ca href=\"https://www.nytimes.com/2018/04/14/obituaries/milos-forman-dead.html\">The New York Times.\u003c/a> The man survived the war and was living in Peru by the time Forman found him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Forman attended the Film Institute at the University of Prague in the 1950s, according to \u003ca href=\"https://www.hollywoodreporter.com/news/milos-forman-dead-cuckoos-nest-amadeus-director-was-86-861207\">The Hollywood Reporter.\u003c/a>\u003c/p>\n\u003cp>He was part of what became known as the “Czechoslovak new wave” of cinema in the 1960s, before Soviets invaded to crush the brief period of liberalization known as the Prague Spring in 1968.\u003c/p>\n\u003cp>Shortly after, Forman moved to the U.S.\u003c/p>\n\u003cp>It was there where he gained accolades for the 1975 film \u003cem>One Flew Over the Cuckoo’s Nest,\u003c/em> starring Jack Nicholson as a criminal in a mental institution. It won five Academy Awards, including best picture and best director for Forman.\u003c/p>\n\u003cp>Forman went on to win more awards as a director with the 1984 film \u003cem>Amadeus,\u003c/em> which told some of the story of famed composer Wolfgang Amadeus Mozart.\u003c/p>\n\u003cp>He was nominated again for the best director Oscar for the 1996 movie \u003cem>The People vs. Larry Flint,\u003c/em> though did not win.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>One of his last films was \u003cem>Goya’s Ghosts\u003c/em> in 2006, which was “an intricate examination of persecution in Spain in the era of religious persecution and Napoleonic conquest,” as the \u003cem>Times\u003c/em> described it. \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=Milos+Forman%2C+%27One+Flew+Over+The+Cuckoo%27s+Nest%27+Director%2C+Dies+At+86&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The \u003ca href=\"http://www.newsweek.com/white-woman-named-curator-african-art-brooklyn-museum-865522\" target=\"_blank\" rel=\"noopener\">current furor over the Brooklyn Museum’s appointment of a white woman\u003c/a> to oversee the museum’s African Art collection is not surprising or infuriating to Steven Nelson. Nelson is an African American art historian at UCLA who specializes in African art, and he says, “There are very few of us in the field.”\u003c/p>\n\u003cp>Despite the public assumption that most African art curators in the US are of African descent, Nelson points out, “in the United States, the field is largely made up of white people—and most of those people are female.” So the appointment of Kristen Windmuller-Luna was, for Nelson, business as usual.\u003c/p>\n\u003cp>But some Brooklynites are pushing back. A coalition of community activist organizations, Decolonize This Place, sent a \u003ca href=\"https://decolonizebrooklynmuseum.wordpress.com/\" target=\"_blank\" rel=\"noopener\">strongly worded open letter\u003c/a> to the museum. The group urged management to rethink Windmuller-Luna’s hiring, saying, “No matter how one parses it, the appointment is simply not a good look in this day and age, especially on the part of a museum that prides itself on its relationships with the diverse communities of Brooklyn.”\u003c/p>\n\u003cp>The museum, which is acknowledged to have a more diverse staff than most, responded via \u003ca href=\"https://www.bkreader.com/2018/04/brooklyn-museum-stand-appointment-dr-kristen-windmuller-luna-consulting-curator-african-arts/\" target=\"_blank\" rel=\"noopener\">director Anne Pasternak:\u003c/a> “I am writing to state unequivocally that the Brooklyn Museum stands by our appointment of Dr. Kristen Windmuller-Luna.” Pasternak noted the museum’s collection of African Arts “is among the most important and extensive in the nation” and the new curator was chosen for her deep knowledge and love of the field.\u003c/p>\n\u003cp>\u003cstrong>Gatekeepers of a different culture\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>No one is debating Windmuller-Luna’s qualifications (her degrees from Yale and Princeton, and previous museum appointments). They are registering frustration that white people are continually made to be gatekeepers of art from the African Diaspora.\u003c/p>\n\u003cp>“You know,” UCLA’s Steven Nelson continues, “they made two hires, and no one seems upset about the fact that they hired a white guy for photography, which in fact is a much more diverse field than African Art.” What people should \u003cem>really \u003c/em>be up in arms about, Nelson says, is the fact that “there were eight reasonably high-profile hires in the art world over the last couple of weeks, and that seven of those eight are white people.” (One is Asian-American.) “No one batted an eye about that,” he says.\u003c/p>\n\u003cp>For instance, Colin MacKenzie was hired to oversee the Art Institute of Chicago’s extensive Asian art collection. And on Tuesday, New York’s Metropolitan Museum of Art, arguably the most prestigious US museum, announced the appointment of a new director, Max Hollein, who is white, male and European.\u003c/p>\n\u003cp>Former Met director Philippe de Montebello (also white, male, European) dismissed a group request to deliberately search for a female director in one word: “Ridiculous.” Two days after Hollein’s appointment was announced, Liza Oliver, a former Fellow of the museum, and current art history professor at Wellesley College, published a tart opinion piece in the New York Times: “Appointing Yet Another White, Male Director Is a Missed Opportunity for the Met.”\u003c/p>\n\u003cp>\u003cstrong>Non-diversity a systemic problem for most museums\u003c/strong>\u003c/p>\n\u003cp>In 2015, the Andrew W. Mellon Foundation supported \u003ca href=\"https://news.artnet.com/art-world/mellon-foundation-museum-diversity-study-322299\">a survey to gauge ethnic and gender diversity among the country’s museums.\u003c/a> The results were dismaying: according to the survey, 84% of the country’s museum staff (curators, educators, conservators and upper-level administrators) was non-Hispanic white; blacks were 4%, Asian Americans 6%. Native Hawaiians and Native Americans? Zero.\u003c/p>\n\u003cp>Women fared better—at almost 60% of professional museum staff. Significant numbers of non-white staff tended to be in jobs like security, human resources, facilities and finance.\u003c/p>\n\u003cp>Some critics say the lack of people of color in the museum world is a systemic problem that has long needed to be addressed. “As a discipline, art history has been very poor in attracting a diverse group of people interested not only in African art, but in all fields,” UCLA’s Nelson says. He adds that encouraging the interest in art careers has to start in high school and college.\u003c/p>\n\u003cp>\u003cstrong>Removing barriers to entry\u003c/strong>\u003c/p>\n\u003cp>Part of the problem is certainly economic. Internships in galleries and museums often give young people a coveted foot in the door of their intended careers. Those jobs may be prestigious, but they don’t pay much. (Some don’t pay anything.) Like internships in publishing, the movie and television industries, and in talent agencies, the steady stream of interns tends to come from young people who have some financial support other beyond their salaries. Those who have to work to help pay college expenses may have to pass up an internship in the arts, no matter how avidly interested they are in the field.\u003c/p>\n\u003cp>Nelson himself remembers turning down an internship he wanted because he couldn’t afford to take it.\u003c/p>\n\u003cp>So priming the pump to get more people of color into the arts career pipeline is an important part of the solution, one in which museums may have to lend a hand if they want to see a diverse staff. In 2013, \u003ca href=\"https://mellon.org/programs/arts-and-cultural-heritage/art-history-conservation-museums/demographic-survey/\" target=\"_blank\" rel=\"noopener\">Mellon gave a $2.07 million grant\u003c/a> to five large museums, including the Los Angeles County Museum of Art, Atlanta’s High Museum of Art and the Museum of Fine Arts, Houston. The grant funded curatorial fellowships for undergrads and was designed, in the foundation’s words, “to open up the museum as a potential workplace to students from historically underrepresented minorities and other undergraduates who are committed to diversifying our cultural organizations.”\u003c/p>\n\u003cp>If museums are going to last through the 21\u003csup>st\u003c/sup> Century and beyond, it’s critical that they reflect the diversity of the world outside their doors. Museum leaders are aware of this, and have begun looking for ways for their institutions to survive and thrive. One effort was a \u003ca href=\"https://mellon.org/resources/news/articles/case-studies-museum-diversity/\" target=\"_blank\" rel=\"noopener\">Mellon-funded series of case studies\u003c/a>, done in collaboration with the American Association of Museum Directors, which chose eight museums that have managed to encourage diversity, equity and inclusion. Five case studies have been released; three will be released at a later date. The point is to \u003ca href=\"https://www.npr.org/2018/01/07/576219631/how-an-art-museum-is-reaching-a-more-diverse-audience\" target=\"_blank\" rel=\"noopener\">show what these museums have done to diversify\u003c/a>, in the hope that others will be encouraged to follow suit.\u003c/p>\n\u003cp>\u003cstrong>Whose museum?\u003c/strong>\u003c/p>\n\u003cp>The Brooklyn Museum is one of the eight surveyed. \u003ca href=\"http://www.sr.ithaka.org/publications/i-recommend-dancing-brooklyn-museum/\">It’s facing the same challenges as the other museums\u003c/a>, and a more immediate one: as the neighborhoods around it become ever more gentrified, the Brooklyn Museum will have to decide not only how to accommodate the newer, more affluent arrivals, but how to continue to serve the more economically marginalized communities that were there before.\u003c/p>\n\u003cp>Part of the ire over Kristen Windmuller-Luna’s appointment seems to be related to anxiety on the part of many in black and brown Brooklyn: that their presence is much less relevant than it once was. That’s painful for many black Brooklynites; Brooklyn was often considered the Black Mecca, the cultural center of greater New York’s African diaspora. (It’s where, for instance, millions carouse up Eastern Parkway every Labor Day at the West Indian Day Parade.)\u003c/p>\n\u003cp>“I remember the 1990s and 2000s when (the museum) catered to a more working-class community,” \u003ca href=\"https://hyperallergic.com/436293/coalition-of-anti-gentrification-groups-pressures-brooklyn-museum-to-decolonize/\">Imani Henry told the blog Hyperallergic\u003c/a>. Henry works with Equality for Flatbush, one of several groups involved in trying to slow the pace of gentrification. “The programming felt much more in touch with what was going on in the community.”\u003c/p>\n\u003cp>Henry said that while children’s events a decade ago were majority black, that’s no longer the case. He feels the museum has become gentrified to reflect the affluence in the surrounding neighborhoods.\u003c/p>\n\u003cp>Imani Henry is not objecting to Kristen Windmuller-Luna because of her ethnicity, he told Hyperallergic. “We’re not saying we don’t want a white woman, but we want someone with a commitment to communities.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>By that, Henry means \u003cem>all \u003c/em>the communities the museum was designed to serve: the newly arrived owners of fine brownstones and luxe condos. And certainly the families living in less-elegant neighborhoods, who also want to continue to feel the museum belongs to them, too. \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=Not+Enough+Color+In+American+Art+Museums&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.newsweek.com/white-woman-named-curator-african-art-brooklyn-museum-865522\" target=\"_blank\" rel=\"noopener\">current furor over the Brooklyn Museum’s appointment of a white woman\u003c/a> to oversee the museum’s African Art collection is not surprising or infuriating to Steven Nelson. Nelson is an African American art historian at UCLA who specializes in African art, and he says, “There are very few of us in the field.”\u003c/p>\n\u003cp>Despite the public assumption that most African art curators in the US are of African descent, Nelson points out, “in the United States, the field is largely made up of white people—and most of those people are female.” So the appointment of Kristen Windmuller-Luna was, for Nelson, business as usual.\u003c/p>\n\u003cp>But some Brooklynites are pushing back. A coalition of community activist organizations, Decolonize This Place, sent a \u003ca href=\"https://decolonizebrooklynmuseum.wordpress.com/\" target=\"_blank\" rel=\"noopener\">strongly worded open letter\u003c/a> to the museum. The group urged management to rethink Windmuller-Luna’s hiring, saying, “No matter how one parses it, the appointment is simply not a good look in this day and age, especially on the part of a museum that prides itself on its relationships with the diverse communities of Brooklyn.”\u003c/p>\n\u003cp>The museum, which is acknowledged to have a more diverse staff than most, responded via \u003ca href=\"https://www.bkreader.com/2018/04/brooklyn-museum-stand-appointment-dr-kristen-windmuller-luna-consulting-curator-african-arts/\" target=\"_blank\" rel=\"noopener\">director Anne Pasternak:\u003c/a> “I am writing to state unequivocally that the Brooklyn Museum stands by our appointment of Dr. Kristen Windmuller-Luna.” Pasternak noted the museum’s collection of African Arts “is among the most important and extensive in the nation” and the new curator was chosen for her deep knowledge and love of the field.\u003c/p>\n\u003cp>\u003cstrong>Gatekeepers of a different culture\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>No one is debating Windmuller-Luna’s qualifications (her degrees from Yale and Princeton, and previous museum appointments). They are registering frustration that white people are continually made to be gatekeepers of art from the African Diaspora.\u003c/p>\n\u003cp>“You know,” UCLA’s Steven Nelson continues, “they made two hires, and no one seems upset about the fact that they hired a white guy for photography, which in fact is a much more diverse field than African Art.” What people should \u003cem>really \u003c/em>be up in arms about, Nelson says, is the fact that “there were eight reasonably high-profile hires in the art world over the last couple of weeks, and that seven of those eight are white people.” (One is Asian-American.) “No one batted an eye about that,” he says.\u003c/p>\n\u003cp>For instance, Colin MacKenzie was hired to oversee the Art Institute of Chicago’s extensive Asian art collection. And on Tuesday, New York’s Metropolitan Museum of Art, arguably the most prestigious US museum, announced the appointment of a new director, Max Hollein, who is white, male and European.\u003c/p>\n\u003cp>Former Met director Philippe de Montebello (also white, male, European) dismissed a group request to deliberately search for a female director in one word: “Ridiculous.” Two days after Hollein’s appointment was announced, Liza Oliver, a former Fellow of the museum, and current art history professor at Wellesley College, published a tart opinion piece in the New York Times: “Appointing Yet Another White, Male Director Is a Missed Opportunity for the Met.”\u003c/p>\n\u003cp>\u003cstrong>Non-diversity a systemic problem for most museums\u003c/strong>\u003c/p>\n\u003cp>In 2015, the Andrew W. Mellon Foundation supported \u003ca href=\"https://news.artnet.com/art-world/mellon-foundation-museum-diversity-study-322299\">a survey to gauge ethnic and gender diversity among the country’s museums.\u003c/a> The results were dismaying: according to the survey, 84% of the country’s museum staff (curators, educators, conservators and upper-level administrators) was non-Hispanic white; blacks were 4%, Asian Americans 6%. Native Hawaiians and Native Americans? Zero.\u003c/p>\n\u003cp>Women fared better—at almost 60% of professional museum staff. Significant numbers of non-white staff tended to be in jobs like security, human resources, facilities and finance.\u003c/p>\n\u003cp>Some critics say the lack of people of color in the museum world is a systemic problem that has long needed to be addressed. “As a discipline, art history has been very poor in attracting a diverse group of people interested not only in African art, but in all fields,” UCLA’s Nelson says. He adds that encouraging the interest in art careers has to start in high school and college.\u003c/p>\n\u003cp>\u003cstrong>Removing barriers to entry\u003c/strong>\u003c/p>\n\u003cp>Part of the problem is certainly economic. Internships in galleries and museums often give young people a coveted foot in the door of their intended careers. Those jobs may be prestigious, but they don’t pay much. (Some don’t pay anything.) Like internships in publishing, the movie and television industries, and in talent agencies, the steady stream of interns tends to come from young people who have some financial support other beyond their salaries. Those who have to work to help pay college expenses may have to pass up an internship in the arts, no matter how avidly interested they are in the field.\u003c/p>\n\u003cp>Nelson himself remembers turning down an internship he wanted because he couldn’t afford to take it.\u003c/p>\n\u003cp>So priming the pump to get more people of color into the arts career pipeline is an important part of the solution, one in which museums may have to lend a hand if they want to see a diverse staff. In 2013, \u003ca href=\"https://mellon.org/programs/arts-and-cultural-heritage/art-history-conservation-museums/demographic-survey/\" target=\"_blank\" rel=\"noopener\">Mellon gave a $2.07 million grant\u003c/a> to five large museums, including the Los Angeles County Museum of Art, Atlanta’s High Museum of Art and the Museum of Fine Arts, Houston. The grant funded curatorial fellowships for undergrads and was designed, in the foundation’s words, “to open up the museum as a potential workplace to students from historically underrepresented minorities and other undergraduates who are committed to diversifying our cultural organizations.”\u003c/p>\n\u003cp>If museums are going to last through the 21\u003csup>st\u003c/sup> Century and beyond, it’s critical that they reflect the diversity of the world outside their doors. Museum leaders are aware of this, and have begun looking for ways for their institutions to survive and thrive. One effort was a \u003ca href=\"https://mellon.org/resources/news/articles/case-studies-museum-diversity/\" target=\"_blank\" rel=\"noopener\">Mellon-funded series of case studies\u003c/a>, done in collaboration with the American Association of Museum Directors, which chose eight museums that have managed to encourage diversity, equity and inclusion. Five case studies have been released; three will be released at a later date. The point is to \u003ca href=\"https://www.npr.org/2018/01/07/576219631/how-an-art-museum-is-reaching-a-more-diverse-audience\" target=\"_blank\" rel=\"noopener\">show what these museums have done to diversify\u003c/a>, in the hope that others will be encouraged to follow suit.\u003c/p>\n\u003cp>\u003cstrong>Whose museum?\u003c/strong>\u003c/p>\n\u003cp>The Brooklyn Museum is one of the eight surveyed. \u003ca href=\"http://www.sr.ithaka.org/publications/i-recommend-dancing-brooklyn-museum/\">It’s facing the same challenges as the other museums\u003c/a>, and a more immediate one: as the neighborhoods around it become ever more gentrified, the Brooklyn Museum will have to decide not only how to accommodate the newer, more affluent arrivals, but how to continue to serve the more economically marginalized communities that were there before.\u003c/p>\n\u003cp>Part of the ire over Kristen Windmuller-Luna’s appointment seems to be related to anxiety on the part of many in black and brown Brooklyn: that their presence is much less relevant than it once was. That’s painful for many black Brooklynites; Brooklyn was often considered the Black Mecca, the cultural center of greater New York’s African diaspora. (It’s where, for instance, millions carouse up Eastern Parkway every Labor Day at the West Indian Day Parade.)\u003c/p>\n\u003cp>“I remember the 1990s and 2000s when (the museum) catered to a more working-class community,” \u003ca href=\"https://hyperallergic.com/436293/coalition-of-anti-gentrification-groups-pressures-brooklyn-museum-to-decolonize/\">Imani Henry told the blog Hyperallergic\u003c/a>. Henry works with Equality for Flatbush, one of several groups involved in trying to slow the pace of gentrification. “The programming felt much more in touch with what was going on in the community.”\u003c/p>\n\u003cp>Henry said that while children’s events a decade ago were majority black, that’s no longer the case. He feels the museum has become gentrified to reflect the affluence in the surrounding neighborhoods.\u003c/p>\n\u003cp>Imani Henry is not objecting to Kristen Windmuller-Luna because of her ethnicity, he told Hyperallergic. “We’re not saying we don’t want a white woman, but we want someone with a commitment to communities.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>By that, Henry means \u003cem>all \u003c/em>the communities the museum was designed to serve: the newly arrived owners of fine brownstones and luxe condos. And certainly the families living in less-elegant neighborhoods, who also want to continue to feel the museum belongs to them, too. \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=Not+Enough+Color+In+American+Art+Museums&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Early in the Swedish-made sports movie \u003cem>Borg vs. McEnroe\u003c/em>, Bjorn Borg (Sverrir Gudnason) ducks into a Monaco bar to escape a pack of screaming girls after practicing for an especially tricky upcoming Wimbledon championship. The tennis star is without his wallet, so he helps out schlepping boxes in return for a free espresso and tries to convince the bartender that he’s an electrician by trade. The barkeep doesn’t buy it, and really, who would when confronted with those chiseled facial bones, maximally toned leg muscles, and blond curls improbably squashed under a baseball cap? \u003c/p>\n\u003cp>Lest you imagine, though, that all you’re about to see is the humble man of the people beneath the superstar, director Janus Metz and screenwriter Ronnie Sandahl have a different tale to tell about the legendary rivalry between Borg, a four-time Wimbledon winner, and John McEnroe, the brash American upstart with a killer backhand and truly awful manners.\u003c/p>\n\u003cp>Which is not to say that the smoothly crafted, satisfyingly earnest \u003cem>Borg vs. McEnroe\u003c/em> ventures far from the standard sports biopic template. There they are: the backstories full of heartache and deficit parenting; the intertitles insisting that sports are the ultimate metaphor for life; the separate narrative paths all inexorably leading to a Great Event — in this case the fabled 1980 Wimbledon game in which two stellar players bludgeoned one another into a seemingly endless run of match points before one came out on top. Nicely gussied-up with special effects and tennis-playing stand-ins intercut with actual footage, the finale is a riveting spectacle. The rest is biography, heavy on the flashbacks, of two radically different temperaments with more history in common than meets the eye. \u003c/p>\n\u003cp>Shia LaBeouf surely didn’t have to dig too deep within himself to come up with a terrific rendition of McEnroe, a curly-headed, ferocious competitor who is rude and aggressive on and off the court, prone to cheating even a close friend, a showy fighter with a killer left backhand. A player with more drive than finesse, McEnroe is equally unpopular with umpires and the crowd, and he pretends not to care that the crowd invariably roars for his graceful, focused opponent. \u003c/p>\n\u003cp>The twist is that Gudnason’s Borg comes off as his own species of psychological wreck. Shy, anxious and compulsive, he travels with umpteen tennis racquets whose precise tension he tests out by walking on them before every match. And though he is an elegant stylist on the court — a gentleman in a gentleman’s sport despite, or more likely \u003cem>because \u003c/em>of, his working-class background — Borg fails to attend to the mounting frustration of his patient, longtime girlfriend (Tuva Novotny). Both men, we learn, had troubled childhoods that scarred them with a load of rage and frustration and left them eternally incomplete, forever striving for elusive perfection. In the film one of them is rescued and steadied by a coach (Stellan Skarsgard) who has seen enough failure himself to understand that anger and pain must be channeled, not repressed, and that as in life, every game must be won point by point.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Their undernourished childhoods have made unhappy winners of both men. One of them has to lose this round; in this big-hearted movie, life is more than the sum of its victories and defeats. The finale has us rooting for it to be true that, in the nail-biting final stretch of the game, Borg murmured a few words to his opponent that defrosted some hard, undernourished place in both their hearts — and allowed them to grow into men, \u003cem>menschen,\u003c/em> and lifelong friends. \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=%27Borg+vs.+McEnroe%27%3A+Game%2C+Set+And+An+Unlikely+Match&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Early in the Swedish-made sports movie \u003cem>Borg vs. McEnroe\u003c/em>, Bjorn Borg (Sverrir Gudnason) ducks into a Monaco bar to escape a pack of screaming girls after practicing for an especially tricky upcoming Wimbledon championship. The tennis star is without his wallet, so he helps out schlepping boxes in return for a free espresso and tries to convince the bartender that he’s an electrician by trade. The barkeep doesn’t buy it, and really, who would when confronted with those chiseled facial bones, maximally toned leg muscles, and blond curls improbably squashed under a baseball cap? \u003c/p>\n\u003cp>Lest you imagine, though, that all you’re about to see is the humble man of the people beneath the superstar, director Janus Metz and screenwriter Ronnie Sandahl have a different tale to tell about the legendary rivalry between Borg, a four-time Wimbledon winner, and John McEnroe, the brash American upstart with a killer backhand and truly awful manners.\u003c/p>\n\u003cp>Which is not to say that the smoothly crafted, satisfyingly earnest \u003cem>Borg vs. McEnroe\u003c/em> ventures far from the standard sports biopic template. There they are: the backstories full of heartache and deficit parenting; the intertitles insisting that sports are the ultimate metaphor for life; the separate narrative paths all inexorably leading to a Great Event — in this case the fabled 1980 Wimbledon game in which two stellar players bludgeoned one another into a seemingly endless run of match points before one came out on top. Nicely gussied-up with special effects and tennis-playing stand-ins intercut with actual footage, the finale is a riveting spectacle. The rest is biography, heavy on the flashbacks, of two radically different temperaments with more history in common than meets the eye. \u003c/p>\n\u003cp>Shia LaBeouf surely didn’t have to dig too deep within himself to come up with a terrific rendition of McEnroe, a curly-headed, ferocious competitor who is rude and aggressive on and off the court, prone to cheating even a close friend, a showy fighter with a killer left backhand. A player with more drive than finesse, McEnroe is equally unpopular with umpires and the crowd, and he pretends not to care that the crowd invariably roars for his graceful, focused opponent. \u003c/p>\n\u003cp>The twist is that Gudnason’s Borg comes off as his own species of psychological wreck. Shy, anxious and compulsive, he travels with umpteen tennis racquets whose precise tension he tests out by walking on them before every match. And though he is an elegant stylist on the court — a gentleman in a gentleman’s sport despite, or more likely \u003cem>because \u003c/em>of, his working-class background — Borg fails to attend to the mounting frustration of his patient, longtime girlfriend (Tuva Novotny). Both men, we learn, had troubled childhoods that scarred them with a load of rage and frustration and left them eternally incomplete, forever striving for elusive perfection. In the film one of them is rescued and steadied by a coach (Stellan Skarsgard) who has seen enough failure himself to understand that anger and pain must be channeled, not repressed, and that as in life, every game must be won point by point.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Their undernourished childhoods have made unhappy winners of both men. One of them has to lose this round; in this big-hearted movie, life is more than the sum of its victories and defeats. The finale has us rooting for it to be true that, in the nail-biting final stretch of the game, Borg murmured a few words to his opponent that defrosted some hard, undernourished place in both their hearts — and allowed them to grow into men, \u003cem>menschen,\u003c/em> and lifelong friends. \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=%27Borg+vs.+McEnroe%27%3A+Game%2C+Set+And+An+Unlikely+Match&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sister Rosetta Tharpe Gets Her Day in the Rock & Roll Hall of Fame",
"headTitle": "Sister Rosetta Tharpe Gets Her Day in the Rock & Roll Hall of Fame | KQED",
"content": "\u003cp>\u003ca href=\"https://www.npr.org/artists/15783449/sister-rosetta-tharpe\">Sister Rosetta Tharpe\u003c/a>‘s electric gospel sound was crucial in paving the way for rock and roll, and the late singer and guitarist is finally getting her day at the Rock & Roll Hall of Fame in Cleveland. She joins this a class of inductees that includes big-name rock bands like Bon Jovi, Dire Straits and The Cars.\u003c/p>\n\u003cp>Rosetta Tharpe was a huge star in her time. Born in a small town in Arkansas in 1915, she was raised in the Pentecostal church. Tharpe honed her musical talent at tent revivals and churches, but found fame after moving to New York City in the 1930s. Her electric sanctified sound was an overnight sensation in the city’s nightclubs, and secular audiences fell in love with her ecstatic guitar playing.\u003c/p>\n\u003cp>Her fame faded by the 1960s as a new generation of musicians began to expand upon her style. She found new audiences in Europe, but otherwise settled into a quiet life in Philadelphia. Tharpe died in 1973 at the age of 58. Although her name fell into the shadows of history for decades, her influence did not.\u003c/p>\n\u003cp>“She influenced \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>, she influenced \u003ca href=\"https://www.npr.org/tags/131002081/johnny-cash\">Johnny Cash\u003c/a>, she influenced \u003ca href=\"https://www.npr.org/tags/460345202/little-richard\">Little Richard\u003c/a>,” says Tharpe’s biographer Gayle Wald. “She influenced innumerable other people who we recognize as foundational figures in rock and roll.”\u003c/p>\n\u003cp>Sister Rosetta Tharpe is set to be posthumously inducted into the Rock & Roll Hall of fame on May 5. Gayle Wald says the musician would be tickled by the honor.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When people would ask her about her music,” Wald says, “she would say, ‘Oh, these kids and rock and roll — this is just sped up rhythm and blues. I’ve been doing that forever.’ ”\u003c/p>\n\u003cp>Listen to World Cafe’s tribute to Sister Rosetta Tharpe, produced by Alex Lewis for \u003ca href=\"http://xpngospelroots.org/\">WXPN’s Gospel Roots of Rock and Soul project. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gospel Roots of Rock and Soul has been supported by \u003c/em>\u003ca href=\"https://www.pcah.us/\">\u003cem>The Pew Center for Arts & Heritage\u003c/em>\u003c/a>\u003cem>.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 XPN. To see more, visit \u003ca href=\"http://www.xpn.org/\">XPN\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sister+Rosetta+Tharpe+Gets+Her+Day+In+The+Rock+%26+Roll+Hall+Of+Fame&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/15783449/sister-rosetta-tharpe\">Sister Rosetta Tharpe\u003c/a>‘s electric gospel sound was crucial in paving the way for rock and roll, and the late singer and guitarist is finally getting her day at the Rock & Roll Hall of Fame in Cleveland. She joins this a class of inductees that includes big-name rock bands like Bon Jovi, Dire Straits and The Cars.\u003c/p>\n\u003cp>Rosetta Tharpe was a huge star in her time. Born in a small town in Arkansas in 1915, she was raised in the Pentecostal church. Tharpe honed her musical talent at tent revivals and churches, but found fame after moving to New York City in the 1930s. Her electric sanctified sound was an overnight sensation in the city’s nightclubs, and secular audiences fell in love with her ecstatic guitar playing.\u003c/p>\n\u003cp>Her fame faded by the 1960s as a new generation of musicians began to expand upon her style. She found new audiences in Europe, but otherwise settled into a quiet life in Philadelphia. Tharpe died in 1973 at the age of 58. Although her name fell into the shadows of history for decades, her influence did not.\u003c/p>\n\u003cp>“She influenced \u003ca href=\"https://www.npr.org/artists/15624007/elvis-presley\">Elvis Presley\u003c/a>, she influenced \u003ca href=\"https://www.npr.org/tags/131002081/johnny-cash\">Johnny Cash\u003c/a>, she influenced \u003ca href=\"https://www.npr.org/tags/460345202/little-richard\">Little Richard\u003c/a>,” says Tharpe’s biographer Gayle Wald. “She influenced innumerable other people who we recognize as foundational figures in rock and roll.”\u003c/p>\n\u003cp>Sister Rosetta Tharpe is set to be posthumously inducted into the Rock & Roll Hall of fame on May 5. Gayle Wald says the musician would be tickled by the honor.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When people would ask her about her music,” Wald says, “she would say, ‘Oh, these kids and rock and roll — this is just sped up rhythm and blues. I’ve been doing that forever.’ ”\u003c/p>\n\u003cp>Listen to World Cafe’s tribute to Sister Rosetta Tharpe, produced by Alex Lewis for \u003ca href=\"http://xpngospelroots.org/\">WXPN’s Gospel Roots of Rock and Soul project. \u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Gospel Roots of Rock and Soul has been supported by \u003c/em>\u003ca href=\"https://www.pcah.us/\">\u003cem>The Pew Center for Arts & Heritage\u003c/em>\u003c/a>\u003cem>.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 XPN. To see more, visit \u003ca href=\"http://www.xpn.org/\">XPN\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sister+Rosetta+Tharpe+Gets+Her+Day+In+The+Rock+%26+Roll+Hall+Of+Fame&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Songs We Love: Howlin Rain, 'Alligator Bride'",
"headTitle": "Songs We Love: Howlin Rain, ‘Alligator Bride’ | KQED",
"content": "\u003cp>One of the keepers of modern-day psychedelic music doles out distinct styles to no fewer than five projects: There’s the cavernous rawk of \u003ca href=\"https://www.npr.org/artists/15332416/comets-on-fire\" target=\"_blank\" rel=\"noopener\">Comets on Fire\u003c/a> (forever on hiatus), the Summer of Love re-imagined as \u003ca href=\"https://www.npr.org/artists/467690865/heron-oblivion\" target=\"_blank\" rel=\"noopener\">Heron Oblivion\u003c/a>, the punk-scuzz of \u003ca href=\"https://www.npr.org/2017/03/08/519032666/songs-we-love-feral-ohms-teenage-god-born-to-die\" target=\"_blank\" rel=\"noopener\">Feral Ohms\u003c/a> and the Beat poet solo guitar-noise of \u003ca href=\"https://silvercurrent.bandcamp.com/album/the-odyssey-cult-limited-edition-bundles\" target=\"_blank\" rel=\"noopener\">The Odyssey Cult\u003c/a>. But Howlin Rain has always been the flyaway of Ethan Miller’s wild hair.\u003c/p>\n\u003cp>[contextly_sidebar id=”1IraALhp2U1IiVj5qyak3mCzTaKDQgz5″]\u003c/p>\n\u003cp>Howlin Rain was originally formed as the melodic antidote to Comets, a place for Miller to write \u003cem>sangin’ \u003c/em>songs. Its discography has run the gamut from burned-out psych to bucking country-rock to folk ballads to the big-budget-blues-rock of the Rick Rubin era, which let Miller \u003ca href=\"https://www.kqed.org/arts/13109824\">quit his day job\u003c/a> for a few years. Point is, for an artist who regularly flies off on weird tangents, his outlet for straight-ahead rock music has often been his most unpredictable.\u003c/p>\n\u003cp>“Alligator Bride” is Howlin Rain in full-on \u003ca href=\"https://www.npr.org/artists/15050998/neil-young\" target=\"_blank\" rel=\"noopener\">Crazy Horse\u003c/a> mode, as big guitar chords are lashed with feedback. The band’s new album, \u003cem>The Alligator Bride\u003c/em>, features bassist Jeff McElroy, guitarist Dan Cervantes and drummer Justin Smith; their chemistry seems loose and ragged, like an American flag weathered from too many storms. That’s a natural state of mind for Miller, but Howlin Rain’s music has never felt so anthemic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/416263572&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Miller tells NPR that Howlin Rain’s new song meditates on what it means to be American:\u003c/p>\n\u003cblockquote>\n\u003cp>The song “Alligator Bride” began life as a hushed solo affair, a 3 a.m. song, all quiet palm strums and vulnerable, fragile melodies. When I took it to the guys in rehearsal, thinking maybe they could sprinkle some light emotional dust on it here and there, Dan, our guitarist, suggested we try the full-on fuzzy roll-and-tumble version that you hear now. When I got back to the border motel that night and listened to the rehearsal recording, I loved it. In its new skin it sounded like late-’70s/early-’80s live Crazy Horse to me — and who doesn’t love that?!\u003c/p>\n\u003cp>The lyrics originally came to me while scratching out rough poetry about “America” — the past, the present, the future of the country and what it meant to be American in 2016 (the year the lyrics were written). I was trying to grapple with what it meant to still carry the dreams and the memories and myths of the collective American conscious and unconscious and to stand on the cusp of the very real ending of any semblance of “old America” while being swept into an extremely fast future experience — one that is proving too slippery for us to keep up with our very perceptions of it.\u003c/p>\n\u003cp>Despite some of the steps forward the country had made in the previous decade, I saw America as grappling with a very real spiritual and identity crisis in early 2016. The country was boiling over from the center with a complex blend of hope and hopelessness, idealism and consumer nihilism, joy and anger, suffering and salvation. I wanted to endow the song with the echoes of that complex soul-leakage in simple terms; the wonders of our myths, our weirdness, our fearsome and too often wrong-headed individuality, our quickness to slip into the electrified momentum of the zeitgeist and, of course, at the center of it all, The American Dream; 330 million different little flames, unique to each human in the collective, carried together in a blinding, beautiful fireball that often burns and casts off as many in its orbit as it illuminates.\u003c/p>\n\u003cp>By chance, we recorded the song “Alligator Bride” on the evening of the presidential election, Nov. 8, 2016. As we emerged from the tracking room at the Mansion basement in Chinatown and saw the news and the results coming in, the song and its lyrics instantly took on an entirely new set of layers of meaning and, of course, the intangible, the absolute weirdness, the bombast and the roving definition of what it means to be an American in 2016 shifted once again beneath our feet and the future continued on, faster than most of us have properly figured out how to be in it.\u003c/p>\n\u003c/blockquote>\n\u003cp>Miller is completely earnest in everything he creates, but when he sings with his band in unison, “The wayward mountains, the velvet wolves, the alligator bride / We all slept under a tin roof four feet off of the ground / Wasn’t it loud when the rain came down,” he’s more exposed than ever before. Clearly a nerve has burst, and he’s letting us in to study the wound up close.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>The Alligator Bride \u003cem>comes out June 8 via \u003c/em>\u003ca href=\"https://silvercurrent.bandcamp.com/album/the-alligator-bride\">\u003cem>Silver Current\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=Songs+We+Love%3A+Howlin+Rain%2C+%27Alligator+Bride%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the keepers of modern-day psychedelic music doles out distinct styles to no fewer than five projects: There’s the cavernous rawk of \u003ca href=\"https://www.npr.org/artists/15332416/comets-on-fire\" target=\"_blank\" rel=\"noopener\">Comets on Fire\u003c/a> (forever on hiatus), the Summer of Love re-imagined as \u003ca href=\"https://www.npr.org/artists/467690865/heron-oblivion\" target=\"_blank\" rel=\"noopener\">Heron Oblivion\u003c/a>, the punk-scuzz of \u003ca href=\"https://www.npr.org/2017/03/08/519032666/songs-we-love-feral-ohms-teenage-god-born-to-die\" target=\"_blank\" rel=\"noopener\">Feral Ohms\u003c/a> and the Beat poet solo guitar-noise of \u003ca href=\"https://silvercurrent.bandcamp.com/album/the-odyssey-cult-limited-edition-bundles\" target=\"_blank\" rel=\"noopener\">The Odyssey Cult\u003c/a>. But Howlin Rain has always been the flyaway of Ethan Miller’s wild hair.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Howlin Rain was originally formed as the melodic antidote to Comets, a place for Miller to write \u003cem>sangin’ \u003c/em>songs. Its discography has run the gamut from burned-out psych to bucking country-rock to folk ballads to the big-budget-blues-rock of the Rick Rubin era, which let Miller \u003ca href=\"https://www.kqed.org/arts/13109824\">quit his day job\u003c/a> for a few years. Point is, for an artist who regularly flies off on weird tangents, his outlet for straight-ahead rock music has often been his most unpredictable.\u003c/p>\n\u003cp>“Alligator Bride” is Howlin Rain in full-on \u003ca href=\"https://www.npr.org/artists/15050998/neil-young\" target=\"_blank\" rel=\"noopener\">Crazy Horse\u003c/a> mode, as big guitar chords are lashed with feedback. The band’s new album, \u003cem>The Alligator Bride\u003c/em>, features bassist Jeff McElroy, guitarist Dan Cervantes and drummer Justin Smith; their chemistry seems loose and ragged, like an American flag weathered from too many storms. That’s a natural state of mind for Miller, but Howlin Rain’s music has never felt so anthemic.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" width=\"100%\" height=\"166\" scrolling=\"no\" frameborder=\"no\" allow=\"autoplay\" src=\"https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/416263572&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Miller tells NPR that Howlin Rain’s new song meditates on what it means to be American:\u003c/p>\n\u003cblockquote>\n\u003cp>The song “Alligator Bride” began life as a hushed solo affair, a 3 a.m. song, all quiet palm strums and vulnerable, fragile melodies. When I took it to the guys in rehearsal, thinking maybe they could sprinkle some light emotional dust on it here and there, Dan, our guitarist, suggested we try the full-on fuzzy roll-and-tumble version that you hear now. When I got back to the border motel that night and listened to the rehearsal recording, I loved it. In its new skin it sounded like late-’70s/early-’80s live Crazy Horse to me — and who doesn’t love that?!\u003c/p>\n\u003cp>The lyrics originally came to me while scratching out rough poetry about “America” — the past, the present, the future of the country and what it meant to be American in 2016 (the year the lyrics were written). I was trying to grapple with what it meant to still carry the dreams and the memories and myths of the collective American conscious and unconscious and to stand on the cusp of the very real ending of any semblance of “old America” while being swept into an extremely fast future experience — one that is proving too slippery for us to keep up with our very perceptions of it.\u003c/p>\n\u003cp>Despite some of the steps forward the country had made in the previous decade, I saw America as grappling with a very real spiritual and identity crisis in early 2016. The country was boiling over from the center with a complex blend of hope and hopelessness, idealism and consumer nihilism, joy and anger, suffering and salvation. I wanted to endow the song with the echoes of that complex soul-leakage in simple terms; the wonders of our myths, our weirdness, our fearsome and too often wrong-headed individuality, our quickness to slip into the electrified momentum of the zeitgeist and, of course, at the center of it all, The American Dream; 330 million different little flames, unique to each human in the collective, carried together in a blinding, beautiful fireball that often burns and casts off as many in its orbit as it illuminates.\u003c/p>\n\u003cp>By chance, we recorded the song “Alligator Bride” on the evening of the presidential election, Nov. 8, 2016. As we emerged from the tracking room at the Mansion basement in Chinatown and saw the news and the results coming in, the song and its lyrics instantly took on an entirely new set of layers of meaning and, of course, the intangible, the absolute weirdness, the bombast and the roving definition of what it means to be an American in 2016 shifted once again beneath our feet and the future continued on, faster than most of us have properly figured out how to be in it.\u003c/p>\n\u003c/blockquote>\n\u003cp>Miller is completely earnest in everything he creates, but when he sings with his band in unison, “The wayward mountains, the velvet wolves, the alligator bride / We all slept under a tin roof four feet off of the ground / Wasn’t it loud when the rain came down,” he’s more exposed than ever before. Clearly a nerve has burst, and he’s letting us in to study the wound up close.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>The Alligator Bride \u003cem>comes out June 8 via \u003c/em>\u003ca href=\"https://silvercurrent.bandcamp.com/album/the-alligator-bride\">\u003cem>Silver Current\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=Songs+We+Love%3A+Howlin+Rain%2C+%27Alligator+Bride%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Mary Halvorson Re-Engineered Jazz Guitar. Now, She's Hacking Her Own Code",
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"content": "\u003cp>There’s a telling admission about a minute and a half into \u003cem>Code Girl\u003c/em>, the riveting new double album by \u003ca href=\"https://www.npr.org/event/music/172713493/mary-halvorson-quintet-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Mary Halvorson\u003c/a>. It arrives after she sets a mood on guitar, using pedal effects to loop her lines into a web — a tactic you’ll recognize if you know her heralded work as an improviser. \u003c/p>\n\u003cp>“It is not predictable, my mind,” goes the line in question, from a song called “My Mind in Time.” And the message in that refrain, sung with penetrating calm by Amirtha Kidambi, feels almost self-fulfilling. Halvorson’s music has always had the capacity to surprise, but \u003cem>Code Girl \u003c/em>amounts to the most startling move in her solo career. It’s clearly the work of an unpredictable mind, and a personality drawn at once to unruly possibility and fastidious detail.\u003c/p>\n\u003cp>The album, \u003ca href=\"http://maryhalvorson.bandcamp.com/album/code-girl\">just out on Firehouse 12 Records\u003c/a>, features Halvorson and Kidambi alongside \u003ca href=\"https://www.npr.org/artists/114315329/ambrose-akinmusire\" target=\"_blank\" rel=\"noopener\">Ambrose Akinmusire\u003c/a> on trumpet, Michael Formanek on bass and Tomas Fujiwara on drums. These are all musicians rooted in the jazz tradition, though hardly constrained by it. Mobilizing here around a batch of songs bearing Halvorson’s original lyrics, something for which she isn’t widely known, they create a music staunchly unplaceable in style — art-rock? avant-prog? — and mysterious in several other respects.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7IW9jZWXN9s\u003c/p>\n\u003cp>“It’s a departure in the sense that it was a totally new concept,” Halvorson said of \u003cem>Code Girl \u003c/em>recently. “I had no idea what was going to happen, because I wrote the lyrics first. Then when I thought, ‘OK, I’m going to turn these into songs,’ it was a big question mark.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Halvorson was speaking in a practice room at the New School for Jazz & Contemporary Music, where she teaches a course called Improvisation Ensemble. She’d just returned to New York City after playing a pair of concerts in Pittsburgh, Pa. and Columbus, Oh. — the first public dates by the \u003cem>Code Girl \u003c/em>crew since recording the album a little over a year ago. “The more we play,” she said, “the more I realize it’s more related to my other bands than I’d previously thought.”\u003c/p>\n\u003cp>Those other bands have been important fixtures on the experimental landscape over the last decade. Along with the acclaimed Mary Halvorson Trio, they have included ensembles of five, seven and eight pieces; her previous release, \u003cem>Away With You\u003c/em>, featured an octet. She has also made a category-exploding solo guitar album, \u003cem>Meltframe\u003c/em>, and worked with a broad array of collaborators, from the multi-reedist \u003ca href=\"https://www.npr.org/artists/15292667/anthony-braxton\" target=\"_blank\" rel=\"noopener\">Anthony Braxton\u003c/a> to the mezzo-soprano Alicia Hall Moran.\u003c/p>\n\u003cfigure id=\"attachment_13828624\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-800x1067.jpg\" alt=\"Mary Halvorson.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13828624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary Halvorson. \u003ccite>(Ross Mantle for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was a stray remark from Braxton, Halvorson’s august mentor, that led her to the term “code girl.” A few years ago she was on a European tour with his band when he uttered the phrase in conversation. Without knowing the context, she jotted it down in a notebook. Later, it struck her as a perfect fit for her ambitious foray into songwriting — “because at that point I’d written a lot of the lyrics,” she recalled, “and they seemed a little bit coded and strange.” \u003c/p>\n\u003cp>Though she generally works within a jazz matrix, Halvorson has also been deeply influenced by songwriters like \u003ca href=\"https://www.npr.org/artists/15796107/robert-wyatt\" target=\"_blank\" rel=\"noopener\">Robert Wyatt\u003c/a> and \u003ca href=\"https://www.npr.org/artists/16521017/elliott-smith\" target=\"_blank\" rel=\"noopener\">Elliott Smith\u003c/a>. She’s even put herself out there as a singer-songwriter of sorts, in an underground band called People and a more \u003ca href=\"https://youtu.be/uxBtw862wDU\" target=\"_blank\" rel=\"noopener\">chamber-folkish duo\u003c/a> with violist Jessica Pavone. But the songs on \u003cem>Code Girl \u003c/em>represent another order of ambition, coming as they do with the full force of her concentration as a composer and arranger.\u003c/p>\n\u003cp>They’re also lyrically intense, not in a confessional sense but in their use of syntactical imbalance and sly connotation, along the lines of language poetry. “My Mind in Time” sketches an oblique portrait of sanity slipping away. A song called “Deepest Similar” rearranges some found text — a remorseful note from an old ex. “Pretty Mountain” is an expression of road-weariness and nostalgia, drawing on correspondence from a pair of friends. “The Unexpected Natural Phenomenon” is an outlier in that it actually recalls a firsthand experience, when Halvorson was swimming in a large pond and was engulfed by a sudden deluge. \u003c/p>\n\u003cp>The caginess in these songs is a function of design. “Some of them aren’t about people, some are about things,” Halvorson explained. “Some of them are really just plays on words. Some of them are about very specific things, which I only know, and then they get abstracted.”\u003c/p>\n\u003cp>That they often don’t \u003cem>feel \u003c/em>abstracted is partly to the credit of Kidambi, a vocalist whose frame of reference includes Hindu devotional music, classical modernism and visionary free jazz. Her delivery of these songs is direct and charged with feeling, even when the lyrics are pointedly abstruse. “I loved that there wasn’t an imposed sort of emotional content or narrative,” says Kidambi. “I’m really into ecstaticism; I like something on the edge that can be unhinged.”\u003c/p>\n\u003cfigure id=\"attachment_13828625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-800x599.jpg\" alt=\"Halvorson rehearses with the 'Code Girl' band: bassist Michael Formanek, singer Amirtha Kidambi, drummer Tomas Fujiwara and trumpeter Ambrose Akinmusire.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13828625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halvorson rehearses with the ‘Code Girl’ band: bassist Michael Formanek, singer Amirtha Kidambi, drummer Tomas Fujiwara and trumpeter Ambrose Akinmusire. \u003ccite>(Ross Mantle for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every member of the ensemble on \u003cem>Code Girl \u003c/em>exercises a similar license, while remaining true to the material. Akinmusire, a Blue Note Records artist typically heard in a post-bop framework, applies a range of expressive texture and shading. Formanek and Fujiwara, who also work alongside Halvorson in the collective trio Thumbscrew, bring tactility and tension to the rhythmic pull of the songs. \u003c/p>\n\u003cp>“There’s a level of familiarity with Thumbscrew which allows me to feel totally free to go off the deep end,” Halvorson said approvingly. Along with its part in \u003cem>Code Girl, \u003c/em>Thumbscrew will release a thematically linked pair of albums this spring: \u003cem>Ours\u003c/em>, a set of new originals, and \u003cem>Theirs\u003c/em>, a collection of reimagined standards by the likes of \u003ca href=\"https://www.npr.org/artists/14996543/benny-golson\" target=\"_blank\" rel=\"noopener\">Benny Golson\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15294444/wayne-shorter\" target=\"_blank\" rel=\"noopener\">Wayne Shorter\u003c/a>. (Thumbscrew will make its debut at the Village Vanguard in July.)\u003c/p>\n\u003cp>Just after our conversation, Halvorson took \u003cem>Code Girl \u003c/em>on tour in Europe, followed by dates in Boston and New Haven, with Adam O’Farrill capably filling in for Akinmusire. The band plays its New York album-release show at the Jazz Standard on Tuesday and Wednesday, and will appear (with Akinmusire back in the ranks) at this summer’s \u003ca href=\"http://www.newportjazz.org/\" target=\"_blank\" rel=\"noopener\">Newport Jazz Festival\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13828623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-800x599.jpg\" alt=\"Mary Halvorson at The Andy Warhol Museum in Pittsburgh in March, just before a performance of songs from her latest album, <em>Code Girl</em>.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13828623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary Halvorson at The Andy Warhol Museum in Pittsburgh in March, just before a performance of songs from her latest album, \u003cem>Code Girl\u003c/em>. \u003ccite>(Ross Mantle for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kidambi, speaking the day after the band’s New Haven show, said the music had already revealed more of itself in performance. “It shows what the possibilities can be for something that’s still in the realm of songs,” she said. “Some songs are eight pages, some are three, but you wouldn’t know the difference because there’s so much stretching out.”\u003c/p>\n\u003cp>Halvorson hit on a similar observation about the pliability of the material, suggesting that this had come as a surprise even to herself. “I knew there would be improvisation, but the direction has been way more open,” she said. “As we play shows, I’m seeing it go more and more in an improvisational direction within the framework of the songs.” \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In other words, she implied, there’s still a code to be cracked in this music. “And I’m really enjoying that.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mary+Halvorson+Re-Engineered+Jazz+Guitar.+Now%2C+She%27s+Hacking+Her+Own+Code&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a telling admission about a minute and a half into \u003cem>Code Girl\u003c/em>, the riveting new double album by \u003ca href=\"https://www.npr.org/event/music/172713493/mary-halvorson-quintet-tiny-desk-concert\" target=\"_blank\" rel=\"noopener\">Mary Halvorson\u003c/a>. It arrives after she sets a mood on guitar, using pedal effects to loop her lines into a web — a tactic you’ll recognize if you know her heralded work as an improviser. \u003c/p>\n\u003cp>“It is not predictable, my mind,” goes the line in question, from a song called “My Mind in Time.” And the message in that refrain, sung with penetrating calm by Amirtha Kidambi, feels almost self-fulfilling. Halvorson’s music has always had the capacity to surprise, but \u003cem>Code Girl \u003c/em>amounts to the most startling move in her solo career. It’s clearly the work of an unpredictable mind, and a personality drawn at once to unruly possibility and fastidious detail.\u003c/p>\n\u003cp>The album, \u003ca href=\"http://maryhalvorson.bandcamp.com/album/code-girl\">just out on Firehouse 12 Records\u003c/a>, features Halvorson and Kidambi alongside \u003ca href=\"https://www.npr.org/artists/114315329/ambrose-akinmusire\" target=\"_blank\" rel=\"noopener\">Ambrose Akinmusire\u003c/a> on trumpet, Michael Formanek on bass and Tomas Fujiwara on drums. These are all musicians rooted in the jazz tradition, though hardly constrained by it. Mobilizing here around a batch of songs bearing Halvorson’s original lyrics, something for which she isn’t widely known, they create a music staunchly unplaceable in style — art-rock? avant-prog? — and mysterious in several other respects.\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/7IW9jZWXN9s'\n title='//www.youtube.com/embed/7IW9jZWXN9s'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“It’s a departure in the sense that it was a totally new concept,” Halvorson said of \u003cem>Code Girl \u003c/em>recently. “I had no idea what was going to happen, because I wrote the lyrics first. Then when I thought, ‘OK, I’m going to turn these into songs,’ it was a big question mark.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Halvorson was speaking in a practice room at the New School for Jazz & Contemporary Music, where she teaches a course called Improvisation Ensemble. She’d just returned to New York City after playing a pair of concerts in Pittsburgh, Pa. and Columbus, Oh. — the first public dates by the \u003cem>Code Girl \u003c/em>crew since recording the album a little over a year ago. “The more we play,” she said, “the more I realize it’s more related to my other bands than I’d previously thought.”\u003c/p>\n\u003cp>Those other bands have been important fixtures on the experimental landscape over the last decade. Along with the acclaimed Mary Halvorson Trio, they have included ensembles of five, seven and eight pieces; her previous release, \u003cem>Away With You\u003c/em>, featured an octet. She has also made a category-exploding solo guitar album, \u003cem>Meltframe\u003c/em>, and worked with a broad array of collaborators, from the multi-reedist \u003ca href=\"https://www.npr.org/artists/15292667/anthony-braxton\" target=\"_blank\" rel=\"noopener\">Anthony Braxton\u003c/a> to the mezzo-soprano Alicia Hall Moran.\u003c/p>\n\u003cfigure id=\"attachment_13828624\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-800x1067.jpg\" alt=\"Mary Halvorson.\" width=\"800\" height=\"1067\" class=\"size-medium wp-image-13828624\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-800x1067.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6-520x693.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_0932_hires_custom-75969c3208c06e6347ee110d4d92f57c9b23edc6.jpg 1536w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary Halvorson. \u003ccite>(Ross Mantle for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It was a stray remark from Braxton, Halvorson’s august mentor, that led her to the term “code girl.” A few years ago she was on a European tour with his band when he uttered the phrase in conversation. Without knowing the context, she jotted it down in a notebook. Later, it struck her as a perfect fit for her ambitious foray into songwriting — “because at that point I’d written a lot of the lyrics,” she recalled, “and they seemed a little bit coded and strange.” \u003c/p>\n\u003cp>Though she generally works within a jazz matrix, Halvorson has also been deeply influenced by songwriters like \u003ca href=\"https://www.npr.org/artists/15796107/robert-wyatt\" target=\"_blank\" rel=\"noopener\">Robert Wyatt\u003c/a> and \u003ca href=\"https://www.npr.org/artists/16521017/elliott-smith\" target=\"_blank\" rel=\"noopener\">Elliott Smith\u003c/a>. She’s even put herself out there as a singer-songwriter of sorts, in an underground band called People and a more \u003ca href=\"https://youtu.be/uxBtw862wDU\" target=\"_blank\" rel=\"noopener\">chamber-folkish duo\u003c/a> with violist Jessica Pavone. But the songs on \u003cem>Code Girl \u003c/em>represent another order of ambition, coming as they do with the full force of her concentration as a composer and arranger.\u003c/p>\n\u003cp>They’re also lyrically intense, not in a confessional sense but in their use of syntactical imbalance and sly connotation, along the lines of language poetry. “My Mind in Time” sketches an oblique portrait of sanity slipping away. A song called “Deepest Similar” rearranges some found text — a remorseful note from an old ex. “Pretty Mountain” is an expression of road-weariness and nostalgia, drawing on correspondence from a pair of friends. “The Unexpected Natural Phenomenon” is an outlier in that it actually recalls a firsthand experience, when Halvorson was swimming in a large pond and was engulfed by a sudden deluge. \u003c/p>\n\u003cp>The caginess in these songs is a function of design. “Some of them aren’t about people, some are about things,” Halvorson explained. “Some of them are really just plays on words. Some of them are about very specific things, which I only know, and then they get abstracted.”\u003c/p>\n\u003cp>That they often don’t \u003cem>feel \u003c/em>abstracted is partly to the credit of Kidambi, a vocalist whose frame of reference includes Hindu devotional music, classical modernism and visionary free jazz. Her delivery of these songs is direct and charged with feeling, even when the lyrics are pointedly abstruse. “I loved that there wasn’t an imposed sort of emotional content or narrative,” says Kidambi. “I’m really into ecstaticism; I like something on the edge that can be unhinged.”\u003c/p>\n\u003cfigure id=\"attachment_13828625\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-800x599.jpg\" alt=\"Halvorson rehearses with the 'Code Girl' band: bassist Michael Formanek, singer Amirtha Kidambi, drummer Tomas Fujiwara and trumpeter Ambrose Akinmusire.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13828625\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1161_hires_custom-9906c6f038997dba4eb3c6bf673d892e7551f7d3.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Halvorson rehearses with the ‘Code Girl’ band: bassist Michael Formanek, singer Amirtha Kidambi, drummer Tomas Fujiwara and trumpeter Ambrose Akinmusire. \u003ccite>(Ross Mantle for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Every member of the ensemble on \u003cem>Code Girl \u003c/em>exercises a similar license, while remaining true to the material. Akinmusire, a Blue Note Records artist typically heard in a post-bop framework, applies a range of expressive texture and shading. Formanek and Fujiwara, who also work alongside Halvorson in the collective trio Thumbscrew, bring tactility and tension to the rhythmic pull of the songs. \u003c/p>\n\u003cp>“There’s a level of familiarity with Thumbscrew which allows me to feel totally free to go off the deep end,” Halvorson said approvingly. Along with its part in \u003cem>Code Girl, \u003c/em>Thumbscrew will release a thematically linked pair of albums this spring: \u003cem>Ours\u003c/em>, a set of new originals, and \u003cem>Theirs\u003c/em>, a collection of reimagined standards by the likes of \u003ca href=\"https://www.npr.org/artists/14996543/benny-golson\" target=\"_blank\" rel=\"noopener\">Benny Golson\u003c/a> and \u003ca href=\"https://www.npr.org/artists/15294444/wayne-shorter\" target=\"_blank\" rel=\"noopener\">Wayne Shorter\u003c/a>. (Thumbscrew will make its debut at the Village Vanguard in July.)\u003c/p>\n\u003cp>Just after our conversation, Halvorson took \u003cem>Code Girl \u003c/em>on tour in Europe, followed by dates in Boston and New Haven, with Adam O’Farrill capably filling in for Akinmusire. The band plays its New York album-release show at the Jazz Standard on Tuesday and Wednesday, and will appear (with Akinmusire back in the ranks) at this summer’s \u003ca href=\"http://www.newportjazz.org/\" target=\"_blank\" rel=\"noopener\">Newport Jazz Festival\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13828623\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-800x599.jpg\" alt=\"Mary Halvorson at The Andy Warhol Museum in Pittsburgh in March, just before a performance of songs from her latest album, <em>Code Girl</em>.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13828623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-1920x1439.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/04/mg_1061_hires_custom-f7926a937ac9d2ca2bdf0e40209f37856f2d4c00.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mary Halvorson at The Andy Warhol Museum in Pittsburgh in March, just before a performance of songs from her latest album, \u003cem>Code Girl\u003c/em>. \u003ccite>(Ross Mantle for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Kidambi, speaking the day after the band’s New Haven show, said the music had already revealed more of itself in performance. “It shows what the possibilities can be for something that’s still in the realm of songs,” she said. “Some songs are eight pages, some are three, but you wouldn’t know the difference because there’s so much stretching out.”\u003c/p>\n\u003cp>Halvorson hit on a similar observation about the pliability of the material, suggesting that this had come as a surprise even to herself. “I knew there would be improvisation, but the direction has been way more open,” she said. “As we play shows, I’m seeing it go more and more in an improvisational direction within the framework of the songs.” \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, she implied, there’s still a code to be cracked in this music. “And I’m really enjoying that.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Mary+Halvorson+Re-Engineered+Jazz+Guitar.+Now%2C+She%27s+Hacking+Her+Own+Code&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "spotify-goes-public-valued-at-nearly-30-billion-but-its-future-isnt-guaranteed",
"title": "Spotify Goes Public Valued At Nearly $30 Billion – But Its Future Isn't Guaranteed",
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"headTitle": "Spotify Goes Public Valued At Nearly $30 Billion – But Its Future Isn’t Guaranteed | KQED",
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"content": "\u003cp>The world’s most popular music streaming service, Spotify, went public Tuesday. Shares were expected to start trading around $130 each, but ranges for the opening price went as high as $169, and at the time of this writing its stocks were trading at $155, making the company worth about $27.4 billion. (You could safely expect these figures to fluctuate widely over the coming hours, days, weeks and months.)\u003c/p>\n\u003cp>Spotify brings in almost $5 billion a year, but it pays out 79 percent of that to record labels, producers, songwriters and artists. David Pakman, a venture capitalist who has run several digital music companies including eMusic and Apple’s Music Group, says there’s just not enough left over to make a profit.\u003c/p>\n\u003cp>“It’s a business that’s never made money — and I think it’s unlikely to ever make money, which is a shame because it’s an incredible service,” Pakman tells NPR. He says the problem is that much of recorded music is controlled by just a handful of companies. “They are at the mercy of the record labels, who are really in control of Spotify’s long-term economic success.”\u003c/p>\n\u003cp>Last summer, Spotify renegotiated with the record labels in an effort to reduce what it pays in royalties. The labels agreed, provided they could keep certain albums behind paywalls and as long as Spotify met certain benchmarks.\u003c/p>\n\u003cp>The main point of contention with the recording industry, though, is how few Spotify users actually pay for the service. Nearly two-thirds of listeners use the free version, which is supported by ad revenue, but advertising only contributes 10 percent of Spotify’s revenue.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Richard Burgess, head of the American Association of Independent Music, says “when you look at the revenue from the ad-supported section of the service, it pales into insignificance compared to the subscription payments.”\u003c/p>\n\u003cp>In a public dispute, singer Taylor Swift pulled her music from Spotify because “music should not be free,” \u003ca href=\"https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219\">she wrote\u003c/a>. Spotify CEO Daniel Ek \u003ca href=\"https://www.cbsnews.com/news/spotify-ceo-daniel-ek-taylor-swift-ending-feud/\">told CBS\u003c/a> that he went on a campaign to convince her to rejoin Spotify, which she eventually did.\u003c/p>\n\u003cp>This is the chicken-and-the-egg problem. Spotify can’t grow unless it offers a free version, but that doesn’t generate enough cash for the labels or Spotify. The record labels, on the other hand, don’t like to give away music, but very much need a music streaming service like Spotify to succeed.\u003c/p>\n\u003cp>Skeptics, like Pakman, call this “an unhealthy co-dependency.” But Burgess and others in the industry are optimistic Spotify can be profitable eventually.\u003c/p>\n\u003cp>“We need to find that sweet spot, between a price that still works for the labels but that doesn’t crush the streaming services and does encourage them to grow,” Burgess says.\u003c/p>\n\u003cp>For competing services like Apple Music or Amazon Music (36 million paid subscribers) or Amazon Music (\u003ca href=\"https://www.billboard.com/articles/business/8280570/amazon-music-subscriptions-doubled-past-six-months\">“tens of millions”\u003c/a> paid subscribers), not making profit on music is okay, because they have plenty of other profitable products. Spotify doesn’t. The company has tried to branch out into video and podcasts, but the real profit might lie somewhere else — like replacing the record labels.\u003c/p>\n\u003cp>“Record labels used to decide what we listened to. They would decide what songs ended up on the radio and the TV and got released when,” Mark Mulligan, an industry analysts for the investment research firm MIDiA, says. “All of that is changing. Spotify is dismembering the albums, if you like. Taking the best bits, cherry-picking the killer tracks, putting them onto playlists, deciding what goes where, using data to help inform those decisions. And that use of soft power is really terrifying for the record labels.”\u003c/p>\n\u003cp>Spotify has invested heavily in artificial intelligence. The company says almost a third of all listening is chosen not by users but by Spotify and its algorithms. It’s a significant change that undermines the role record labels have traditionally played. However, Mulligan says the new business model opens the doors for new investments into the industry. Those doors have been shut for the last twenty years since people first started pirating music on the internet.\u003c/p>\n\u003cp>“Now is the time when we find out whether the rest of the marketplace feels as confident of the music business as the music business does itself,” Mulligan says.\u003c/p>\n\u003cp>It will likely take at least a few months for Spotify’s stock price to stabilize. Once it does, the major record companies will have to decide how to position themselves — and what to do with the roughly 16 percent stake they took in Spotify in exchange for more favorable licensing terms. The companies have said they will share the windfall with the artists, but there’s nothing in the standard contracts that says how much, if at all. \u003ca href=\"https://www.billboard.com/articles/business/8282584/spotify-shares-nyse-record-labels-sell-stock?curator=MusicREDEF\">\u003cem>Billboard\u003c/em>\u003c/a> reports that the industry is wrestling with those questions now.\u003c/p>\n\u003cp>Songwriters and publishers are also wondering, what about them? They have sued Spotify over miscalculations in their royalty payments. Spotify has settled one suit, but more are pending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All of this over a company that hasn’t yet made a profit. \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=Spotify+Goes+Public+Valued+At+Nearly+%2430+Billion+%E2%80%93+But+Its+Future+Isn%27t+Guaranteed&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The world’s most popular music streaming service, Spotify, went public Tuesday. Shares were expected to start trading around $130 each, but ranges for the opening price went as high as $169, and at the time of this writing its stocks were trading at $155, making the company worth about $27.4 billion. (You could safely expect these figures to fluctuate widely over the coming hours, days, weeks and months.)\u003c/p>\n\u003cp>Spotify brings in almost $5 billion a year, but it pays out 79 percent of that to record labels, producers, songwriters and artists. David Pakman, a venture capitalist who has run several digital music companies including eMusic and Apple’s Music Group, says there’s just not enough left over to make a profit.\u003c/p>\n\u003cp>“It’s a business that’s never made money — and I think it’s unlikely to ever make money, which is a shame because it’s an incredible service,” Pakman tells NPR. He says the problem is that much of recorded music is controlled by just a handful of companies. “They are at the mercy of the record labels, who are really in control of Spotify’s long-term economic success.”\u003c/p>\n\u003cp>Last summer, Spotify renegotiated with the record labels in an effort to reduce what it pays in royalties. The labels agreed, provided they could keep certain albums behind paywalls and as long as Spotify met certain benchmarks.\u003c/p>\n\u003cp>The main point of contention with the recording industry, though, is how few Spotify users actually pay for the service. Nearly two-thirds of listeners use the free version, which is supported by ad revenue, but advertising only contributes 10 percent of Spotify’s revenue.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Richard Burgess, head of the American Association of Independent Music, says “when you look at the revenue from the ad-supported section of the service, it pales into insignificance compared to the subscription payments.”\u003c/p>\n\u003cp>In a public dispute, singer Taylor Swift pulled her music from Spotify because “music should not be free,” \u003ca href=\"https://www.wsj.com/articles/for-taylor-swift-the-future-of-music-is-a-love-story-1404763219\">she wrote\u003c/a>. Spotify CEO Daniel Ek \u003ca href=\"https://www.cbsnews.com/news/spotify-ceo-daniel-ek-taylor-swift-ending-feud/\">told CBS\u003c/a> that he went on a campaign to convince her to rejoin Spotify, which she eventually did.\u003c/p>\n\u003cp>This is the chicken-and-the-egg problem. Spotify can’t grow unless it offers a free version, but that doesn’t generate enough cash for the labels or Spotify. The record labels, on the other hand, don’t like to give away music, but very much need a music streaming service like Spotify to succeed.\u003c/p>\n\u003cp>Skeptics, like Pakman, call this “an unhealthy co-dependency.” But Burgess and others in the industry are optimistic Spotify can be profitable eventually.\u003c/p>\n\u003cp>“We need to find that sweet spot, between a price that still works for the labels but that doesn’t crush the streaming services and does encourage them to grow,” Burgess says.\u003c/p>\n\u003cp>For competing services like Apple Music or Amazon Music (36 million paid subscribers) or Amazon Music (\u003ca href=\"https://www.billboard.com/articles/business/8280570/amazon-music-subscriptions-doubled-past-six-months\">“tens of millions”\u003c/a> paid subscribers), not making profit on music is okay, because they have plenty of other profitable products. Spotify doesn’t. The company has tried to branch out into video and podcasts, but the real profit might lie somewhere else — like replacing the record labels.\u003c/p>\n\u003cp>“Record labels used to decide what we listened to. They would decide what songs ended up on the radio and the TV and got released when,” Mark Mulligan, an industry analysts for the investment research firm MIDiA, says. “All of that is changing. Spotify is dismembering the albums, if you like. Taking the best bits, cherry-picking the killer tracks, putting them onto playlists, deciding what goes where, using data to help inform those decisions. And that use of soft power is really terrifying for the record labels.”\u003c/p>\n\u003cp>Spotify has invested heavily in artificial intelligence. The company says almost a third of all listening is chosen not by users but by Spotify and its algorithms. It’s a significant change that undermines the role record labels have traditionally played. However, Mulligan says the new business model opens the doors for new investments into the industry. Those doors have been shut for the last twenty years since people first started pirating music on the internet.\u003c/p>\n\u003cp>“Now is the time when we find out whether the rest of the marketplace feels as confident of the music business as the music business does itself,” Mulligan says.\u003c/p>\n\u003cp>It will likely take at least a few months for Spotify’s stock price to stabilize. Once it does, the major record companies will have to decide how to position themselves — and what to do with the roughly 16 percent stake they took in Spotify in exchange for more favorable licensing terms. The companies have said they will share the windfall with the artists, but there’s nothing in the standard contracts that says how much, if at all. \u003ca href=\"https://www.billboard.com/articles/business/8282584/spotify-shares-nyse-record-labels-sell-stock?curator=MusicREDEF\">\u003cem>Billboard\u003c/em>\u003c/a> reports that the industry is wrestling with those questions now.\u003c/p>\n\u003cp>Songwriters and publishers are also wondering, what about them? They have sued Spotify over miscalculations in their royalty payments. Spotify has settled one suit, but more are pending.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>All of this over a company that hasn’t yet made a profit. \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=Spotify+Goes+Public+Valued+At+Nearly+%2430+Billion+%E2%80%93+But+Its+Future+Isn%27t+Guaranteed&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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"planet-money": {
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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",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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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": {
"id": "reveal",
"title": "Reveal",
"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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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"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": {
"id": "snap-judgment",
"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
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