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"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",
"headTitle": "Mary Halvorson Re-Engineered Jazz Guitar. Now, She’s Hacking Her Own Code | KQED",
"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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"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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"title": "Kim Jong Un was \"Deeply Moved\" After K-Pop Performance",
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"content": "\u003cp>Just two years after K-pop was \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/13/462853390/responding-to-nuclear-test-s-korea-cranks-up-the-k-pop\" target=\"_blank\" rel=\"noopener\">deployed\u003c/a> as a soft weapon against his country, North Korean leader Kim Jong Un said he was “deeply moved” following a two-hour performance by South Korean artists, the North Korean state news agency \u003ca href=\"https://kcnawatch.co/newstream/1522666885-955577091/kim-jong-un-enjoys-performance-of-south-side-art-troupe/\" target=\"_blank\" rel=\"noopener\">KCNA reported Monday\u003c/a>.\u003c/p>\n\u003cp>South Korea’s 160-person delegation — which included the K-pop group Red Velvet and Cho Yong Pil, the last South Korean to have performed in the North, \u003ca href=\"https://www.npr.org/sections/parallels/2018/03/30/597872371/k-pop-stars-red-velvet-set-to-perform-in-pyongyang-this-weekend\">back in 2005\u003c/a> — were in the North Korean capital Pyongyang on Sunday to further stoke a warming of relations between the two countries, which have a summit planned for April 27.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=WyiIGEHQP8o\u003c/p>\n\u003cp>Kim is the first North Korean leader to publicly attend a performance by South Korean artists in Pyongyang — Cho Yong Pil’s 2005 concert was broadcast on television in North Korea, but Kim Jong Un’s father Kim Jong Il reportedly \u003ca href=\"http://english.chosun.com/site/data/html_dir/2005/08/03/2005080361031.html\" target=\"_blank\" rel=\"noopener\">did not attend\u003c/a> — and was “particularly interested” in Red Velvet, a K-pop girl group, the publicly funded South Korean broadcaster \u003ca href=\"https://www.youtube.com/watch?v=CLoLxM0hd64\" target=\"_blank\" rel=\"noopener\">KBS reported\u003c/a>.\u003c/p>\n\u003cp>The performance was the latest public display in a diplomatic thaw between the two Koreas. In February, North Korea sent its own artistic olive branch to its southern neighbor, dispatching singers, dancers and an orchestra \u003ca href=\"https://www.nytimes.com/2018/02/08/world/asia/north-korea-orchestra-olympics.html\" target=\"_blank\" rel=\"noopener\">for a performance\u003c/a> celebrating the Winter Olympics in Pyeongchang.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>South Korea’s delegation arrived less than a week after Kim Jong Un was said to have left North Korea for the first time since assuming power in 2011, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/28/597507942/on-trip-to-china-north-koreas-leader-says-denuclearization-is-reachable\" target=\"_blank\" rel=\"noopener\">traveling to Beijing\u003c/a> for talks with President Xi Jinping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And then there is the matter of the White House accepting an “invitation to talk, based on [North Korea] following through with concrete actions on the promises that they’ve made,” as White House Press Secretary Sarah Huckabee Sanders told reporters at \u003ca href=\"https://www.whitehouse.gov/briefings-statements/press-briefing-press-secretary-sarah-sanders-030918/\" target=\"_blank\" rel=\"noopener\">a briefing on March 9\u003c/a>. “This meeting [between President Trump and Kim Jong Un] won’t take place without concrete actions that match the promises that have been made by North Korea,” Sanders cautioned, citing the North’s promises around denuclearization. \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=Kim+Jong+Un+Was+%27Deeply+Moved%27+After+K-Pop+Performance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just two years after K-pop was \u003ca href=\"https://www.npr.org/sections/parallels/2016/01/13/462853390/responding-to-nuclear-test-s-korea-cranks-up-the-k-pop\" target=\"_blank\" rel=\"noopener\">deployed\u003c/a> as a soft weapon against his country, North Korean leader Kim Jong Un said he was “deeply moved” following a two-hour performance by South Korean artists, the North Korean state news agency \u003ca href=\"https://kcnawatch.co/newstream/1522666885-955577091/kim-jong-un-enjoys-performance-of-south-side-art-troupe/\" target=\"_blank\" rel=\"noopener\">KCNA reported Monday\u003c/a>.\u003c/p>\n\u003cp>South Korea’s 160-person delegation — which included the K-pop group Red Velvet and Cho Yong Pil, the last South Korean to have performed in the North, \u003ca href=\"https://www.npr.org/sections/parallels/2018/03/30/597872371/k-pop-stars-red-velvet-set-to-perform-in-pyongyang-this-weekend\">back in 2005\u003c/a> — were in the North Korean capital Pyongyang on Sunday to further stoke a warming of relations between the two countries, which have a summit planned for April 27.\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/WyiIGEHQP8o'\n title='//www.youtube.com/embed/WyiIGEHQP8o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Kim is the first North Korean leader to publicly attend a performance by South Korean artists in Pyongyang — Cho Yong Pil’s 2005 concert was broadcast on television in North Korea, but Kim Jong Un’s father Kim Jong Il reportedly \u003ca href=\"http://english.chosun.com/site/data/html_dir/2005/08/03/2005080361031.html\" target=\"_blank\" rel=\"noopener\">did not attend\u003c/a> — and was “particularly interested” in Red Velvet, a K-pop girl group, the publicly funded South Korean broadcaster \u003ca href=\"https://www.youtube.com/watch?v=CLoLxM0hd64\" target=\"_blank\" rel=\"noopener\">KBS reported\u003c/a>.\u003c/p>\n\u003cp>The performance was the latest public display in a diplomatic thaw between the two Koreas. In February, North Korea sent its own artistic olive branch to its southern neighbor, dispatching singers, dancers and an orchestra \u003ca href=\"https://www.nytimes.com/2018/02/08/world/asia/north-korea-orchestra-olympics.html\" target=\"_blank\" rel=\"noopener\">for a performance\u003c/a> celebrating the Winter Olympics in Pyeongchang.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>South Korea’s delegation arrived less than a week after Kim Jong Un was said to have left North Korea for the first time since assuming power in 2011, \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/28/597507942/on-trip-to-china-north-koreas-leader-says-denuclearization-is-reachable\" target=\"_blank\" rel=\"noopener\">traveling to Beijing\u003c/a> for talks with President Xi Jinping.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And then there is the matter of the White House accepting an “invitation to talk, based on [North Korea] following through with concrete actions on the promises that they’ve made,” as White House Press Secretary Sarah Huckabee Sanders told reporters at \u003ca href=\"https://www.whitehouse.gov/briefings-statements/press-briefing-press-secretary-sarah-sanders-030918/\" target=\"_blank\" rel=\"noopener\">a briefing on March 9\u003c/a>. “This meeting [between President Trump and Kim Jong Un] won’t take place without concrete actions that match the promises that have been made by North Korea,” Sanders cautioned, citing the North’s promises around denuclearization. \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=Kim+Jong+Un+Was+%27Deeply+Moved%27+After+K-Pop+Performance&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "3 Photographers Who Captured the Undersides of Life",
"headTitle": "3 Photographers Who Captured the Undersides of Life | KQED",
"content": "\u003cp>We snap a selfie with the tap of a finger. We’re used to preserving smiling moments.\u003c/p>\n\u003cp>At the Museum of Contemporary Art in Los Angeles, there’s an exhibit right now which goes to darker places with a camera. The images in “Real Worlds” are from three major photographers, taken over half a century.\u003c/p>\n\u003cp>There’s Brassaï, a French-Hungarian who made his reputation revealing secret Paris nights between the World Wars. There’s Diane Arbus, American, who said in the 1960s, “I really believe there are things nobody would see if I didn’t photograph them.” And there’s Nan Goldin, another American, who stunned the 1980s with her series “The Ballad Of Sexual Dependency.”\u003c/p>\n\u003cp>All three picture-takers are revolutionary: They photographed, with profound intimacy, the undersides of life. Their images are stunning, sometimes shocking, often provocative.\u003c/p>\n\u003cp>In nighttime Paris, Brassaï stalked the underworld — brothels, streetwalkers. But at MOCA, there’s a Brassaï shot of a happy night at an Afro-Caribbean club in Montmartre. Black and white people smoke together, sip Perrier or stronger stuff, dance. And there’s an intriguing woman on the left.\u003c/p>\n\u003cfigure id=\"attachment_13828439\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b.jpg\" alt='Brassaï, \"At the Cabane Cubaine in Montmartre,\" c. 1932.' width=\"598\" height=\"800\" class=\"size-full wp-image-13828439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-520x696.jpg 520w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003cfigcaption class=\"wp-caption-text\">Brassaï, “At the Cabane Cubaine in Montmartre,” c. 1932. \u003ccite>(Brassaï/Courtesy of The Museum of Contemporary Art, Los Angeles, The Ralph M. Parsons Foundation Photography Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s wearing this white hat that’s just off to the side, a kind of kerchief hat, and she’s staring directly at the camera,” says curator Lanka Tattersall. “And this is the thing that I find so remarkable in this image. It’s taken in 1932. She’s looking at Brassaï and she’s very aware of her image being taken by this photographer.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It didn’t happen that much in 1932 — people roaming around, unannounced, taking your picture. What might she have been thinking?\u003c/p>\n\u003cp>“She’s probably thinking — you know, this scene is being preserved,” Tattersall says. “I think that’s what makes this photograph absolutely contemporary, is an awareness of what it is to be photographed, and to really think about having your image distributed across time and space.”\u003c/p>\n\u003cp>Thirty years later, American photographer Diane Arbus inherited Brassaï’s vision. We were used to having our pictures taken by the 1960s. But Arbus’ focus was new. In black and white, she documented people on the fringes. Giants, bearded ladies, people with mental disabilities or those who may have been institutionalized. In Tattersall’s words: “people whose bodies or sexual identities didn’t conform with kind of mainstream narrative of what it was to be an American.”\u003c/p>\n\u003cp>Arbus was accused of voyeurism, of going after what were then called freak shows. But Tattersall, the MOCA curator, says Arbus forged relationships with her subjects, and that there’s empathy in the pictures.\u003c/p>\n\u003cp>“To me, she’s photographing these remarkable individuals who want to be photographed,” Tattersall says.\u003c/p>\n\u003cfigure id=\"attachment_13828438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-800x530.jpg\" alt='Nan Goldin, \"Nan one month after being battered,\" 1984.' width=\"800\" height=\"530\" class=\"size-medium wp-image-13828438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-520x344.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nan Goldin, “Nan one month after being battered,” 1984. \u003ccite>(Nan Goldin/Courtesy of The Museum of Contemporary Art, Los Angeles, The Nimoy Family Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a remarkable 1969 photo Arbus called \u003ca href=\"https://www.moca.org/collection/work/transvestite-at-her-birthday-party-nyc\">“Transvestite at her birthday party.”\u003c/a>\u003c/p>\n\u003cp>“And it’s just this person lying alone, on a bed,” Tattersall says. “She’s got some balloons taped up on the wall. It might just be a two-person birthday party. It might just be Arbus and this one woman. They’re having a fabulous time.”\u003c/p>\n\u003cp>Transgender people also intrigue photographer Nan Goldin. Twenty years after Arbus, Goldin photographs them — as well as gays and lesbians. Hers are the most provocative pictures in the MOCA exhibit.\u003c/p>\n\u003cp>She also shows people having sex — friends, who let her photograph them having sex. Her camera is part of their scene. Are the pictures invasive?\u003c/p>\n\u003cp>“I think they’re voracious,” Tattersall says.\u003c/p>\n\u003cp>Goldin is exploring relationships — what happens in love, and when love goes wrong. Her 1984 self-portrait, “Nan one month after being battered” (pictured atop this page) shows the damage her lover did to her. Dark bruises under her eyes — the left eye bloody in her swollen face — she looks right at us. The look is uncompromising.\u003c/p>\n\u003cp>“I think there’s a chilling way in which she’s saying, ‘This is what it looks like to be battered,'” Tattersall says. “But this is also what it looks like to take control of your own image.”\u003c/p>\n\u003cp>Nan Goldin was 31 years old in that photo. One battered eye was nearly blind. But she’s painted her lips carefully. A bright, bright red.\u003c/p>\n\u003cp>“Even if that moment of violence and abuse is one of victimization, there’s a way in which she’s saying, “‘I am taking my own agency back in this image,'” Tattersall says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a lot of rough stuff in this exhibition — images and ideas that linger long after you’ve left the building. They trace how great photographers have used their cameras to make us see, understand or recoil, in the course of half a century. \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=3+Photographers+Who+Captured+The+Undersides+Of+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We snap a selfie with the tap of a finger. We’re used to preserving smiling moments.\u003c/p>\n\u003cp>At the Museum of Contemporary Art in Los Angeles, there’s an exhibit right now which goes to darker places with a camera. The images in “Real Worlds” are from three major photographers, taken over half a century.\u003c/p>\n\u003cp>There’s Brassaï, a French-Hungarian who made his reputation revealing secret Paris nights between the World Wars. There’s Diane Arbus, American, who said in the 1960s, “I really believe there are things nobody would see if I didn’t photograph them.” And there’s Nan Goldin, another American, who stunned the 1980s with her series “The Ballad Of Sexual Dependency.”\u003c/p>\n\u003cp>All three picture-takers are revolutionary: They photographed, with profound intimacy, the undersides of life. Their images are stunning, sometimes shocking, often provocative.\u003c/p>\n\u003cp>In nighttime Paris, Brassaï stalked the underworld — brothels, streetwalkers. But at MOCA, there’s a Brassaï shot of a happy night at an Afro-Caribbean club in Montmartre. Black and white people smoke together, sip Perrier or stronger stuff, dance. And there’s an intriguing woman on the left.\u003c/p>\n\u003cfigure id=\"attachment_13828439\" class=\"wp-caption alignright\" style=\"max-width: 598px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b.jpg\" alt='Brassaï, \"At the Cabane Cubaine in Montmartre,\" c. 1932.' width=\"598\" height=\"800\" class=\"size-full wp-image-13828439\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b.jpg 598w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-240x321.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-375x502.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/brassai_enl-7de308ae832d7ad2dc34a852b52d5edc85654e7b-520x696.jpg 520w\" sizes=\"(max-width: 598px) 100vw, 598px\">\u003cfigcaption class=\"wp-caption-text\">Brassaï, “At the Cabane Cubaine in Montmartre,” c. 1932. \u003ccite>(Brassaï/Courtesy of The Museum of Contemporary Art, Los Angeles, The Ralph M. Parsons Foundation Photography Collection)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“She’s wearing this white hat that’s just off to the side, a kind of kerchief hat, and she’s staring directly at the camera,” says curator Lanka Tattersall. “And this is the thing that I find so remarkable in this image. It’s taken in 1932. She’s looking at Brassaï and she’s very aware of her image being taken by this photographer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It didn’t happen that much in 1932 — people roaming around, unannounced, taking your picture. What might she have been thinking?\u003c/p>\n\u003cp>“She’s probably thinking — you know, this scene is being preserved,” Tattersall says. “I think that’s what makes this photograph absolutely contemporary, is an awareness of what it is to be photographed, and to really think about having your image distributed across time and space.”\u003c/p>\n\u003cp>Thirty years later, American photographer Diane Arbus inherited Brassaï’s vision. We were used to having our pictures taken by the 1960s. But Arbus’ focus was new. In black and white, she documented people on the fringes. Giants, bearded ladies, people with mental disabilities or those who may have been institutionalized. In Tattersall’s words: “people whose bodies or sexual identities didn’t conform with kind of mainstream narrative of what it was to be an American.”\u003c/p>\n\u003cp>Arbus was accused of voyeurism, of going after what were then called freak shows. But Tattersall, the MOCA curator, says Arbus forged relationships with her subjects, and that there’s empathy in the pictures.\u003c/p>\n\u003cp>“To me, she’s photographing these remarkable individuals who want to be photographed,” Tattersall says.\u003c/p>\n\u003cfigure id=\"attachment_13828438\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-800x530.jpg\" alt='Nan Goldin, \"Nan one month after being battered,\" 1984.' width=\"800\" height=\"530\" class=\"size-medium wp-image-13828438\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-768x509.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-1020x675.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-375x248.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f-520x344.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/nan-goldin_enl-19ce6ccdbef987aa3faec1fc7fbbba5e3f43901f.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nan Goldin, “Nan one month after being battered,” 1984. \u003ccite>(Nan Goldin/Courtesy of The Museum of Contemporary Art, Los Angeles, The Nimoy Family Foundation)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s a remarkable 1969 photo Arbus called \u003ca href=\"https://www.moca.org/collection/work/transvestite-at-her-birthday-party-nyc\">“Transvestite at her birthday party.”\u003c/a>\u003c/p>\n\u003cp>“And it’s just this person lying alone, on a bed,” Tattersall says. “She’s got some balloons taped up on the wall. It might just be a two-person birthday party. It might just be Arbus and this one woman. They’re having a fabulous time.”\u003c/p>\n\u003cp>Transgender people also intrigue photographer Nan Goldin. Twenty years after Arbus, Goldin photographs them — as well as gays and lesbians. Hers are the most provocative pictures in the MOCA exhibit.\u003c/p>\n\u003cp>She also shows people having sex — friends, who let her photograph them having sex. Her camera is part of their scene. Are the pictures invasive?\u003c/p>\n\u003cp>“I think they’re voracious,” Tattersall says.\u003c/p>\n\u003cp>Goldin is exploring relationships — what happens in love, and when love goes wrong. Her 1984 self-portrait, “Nan one month after being battered” (pictured atop this page) shows the damage her lover did to her. Dark bruises under her eyes — the left eye bloody in her swollen face — she looks right at us. The look is uncompromising.\u003c/p>\n\u003cp>“I think there’s a chilling way in which she’s saying, ‘This is what it looks like to be battered,'” Tattersall says. “But this is also what it looks like to take control of your own image.”\u003c/p>\n\u003cp>Nan Goldin was 31 years old in that photo. One battered eye was nearly blind. But she’s painted her lips carefully. A bright, bright red.\u003c/p>\n\u003cp>“Even if that moment of violence and abuse is one of victimization, there’s a way in which she’s saying, “‘I am taking my own agency back in this image,'” Tattersall says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>There’s a lot of rough stuff in this exhibition — images and ideas that linger long after you’ve left the building. They trace how great photographers have used their cameras to make us see, understand or recoil, in the course of half a century. \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=3+Photographers+Who+Captured+The+Undersides+Of+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "serial-subject-adnan-syed-deserves-a-new-trial-appeals-court-rules",
"title": "'Serial' Subject Adnan Syed Deserves A New Trial, Appeals Court Rules",
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"headTitle": "‘Serial’ Subject Adnan Syed Deserves A New Trial, Appeals Court Rules | KQED",
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"content": "\u003cp>\u003cstrong>Updated at 8:16 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Maryland’s second-highest court has ruled that Adnan Syed, whose murder conviction served as a subject for the hit podcast \u003cem>Serial\u003c/em>, deserves a new trial. The \u003ca href=\"https://www.courts.state.md.us/data/opinions/cosa/2018/2519s13.pdf\" target=\"_blank\" rel=\"noopener\">decision issued Thursday\u003c/a> by the Court of Special Appeals upheld a lower-court ruling that Syed’s counsel in his original murder trial was deficient and ineffective.\u003c/p>\n\u003cp>[contextly_sidebar id=”5Df10Nh7Zg4hzHEyb2y2AYngt4yrDxkW”]\u003c/p>\n\u003cp>In its majority opinion Thursday, the three-judge panel affirmed that the defense team’s “deficient performance prejudiced Syed’s defense,” explaining that his counsel failed to contact a potential witness whose alibi could “have raised a reasonable doubt in the mind of at least one juror.”\u003c/p>\n\u003cp>The ruling upholds a previous decision to vacate Syed’s 2000 conviction for the murder of his former girlfriend Hae Min Lee and remands the case back to Maryland’s circuit court for retrial. But prosecutors still still have 30 days to appeal Thursday’s decision to Maryland’s highest court, the Court of Appeals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/CJBrownLaw/status/979402646078545920\u003c/p>\n\u003cp>For readers unfamiliar with \u003cem>Serial\u003c/em>, here is a summary \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/02/03/465406957/adnan-syed-of-serial-fame-appears-in-court-to-seek-new-trial\">we offered in 2016\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Each season of \u003cem>Serial \u003c/em>follows a single true story, told episode by episode.\u003c/p>\n\u003cp>“The first season investigated the case of Adnan Syed, who was convicted of murdering his former girlfriend more than 15 years ago. Host Sarah Koenig and her team uncovered inconsistencies in his case — including the fact that Asia McClain was an alibi witness. She said she’d seen Syed at the time Hae Min Lee’s murder occurred, but that testimony was never brought forth in court.\u003c/p>\n\u003cp>“The podcast became the most-downloaded of all time, fascinating more than a million listeners and inspiring \u003ca href=\"http://www.slate.com/topics/s/serial.html\" target=\"_blank\" rel=\"noopener\">passionate communities\u003c/a> of \u003ca href=\"https://www.reddit.com/r/serialpodcast/\" target=\"_blank\" rel=\"noopener\">amateur sleuths\u003c/a> and \u003ca href=\"https://itunes.apple.com/us/podcast/serially-obsessed/id942696749?mt=2\" target=\"_blank\" rel=\"noopener\">Adnan obsessives\u003c/a>.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After the ruling was released, Julie Snyder, an executive producer of \u003cem>Serial\u003c/em>, told NPR she felt that the podcast’s season showed that “the story that the state presented at trial could not have happened.”\u003c/p>\n\u003cp>“To me,” she added, “some sort of remedy seems appropriate.”\u003c/p>\n\u003cp>Since the original trial, Syed’s representatives have pointed to that failure to bring forth that alibi witness — as well as a failure to question the reliability of cellphone tower evidence used to place Syed at the scene of the crime — as proof Syed’s original attorney failed him.\u003c/p>\n\u003cp>Judge Martin Welch, who \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/06/30/484225226/adnan-syed-subject-of-serial-podcast-will-get-a-new-trial\" target=\"_blank\" rel=\"noopener\">overturned the conviction in 2016\u003c/a> in Baltimore City Court, ultimately found that Syed’s first attorney “fell below the standard of reasonable professional judgment.”\u003c/p>\n\u003cp>Prosecutors appealed that decision, only to lose that appeal Thursday in a 2-1 ruling.\u003c/p>\n\u003cp>Prosecutors did not immediately announce whether they would appeal Thursday’s ruling. Maryland Attorney General Brian Frosh’s office said it is “currently reviewing today’s decision to determine next steps,” \u003ca href=\"http://www.baltimoresun.com/news/maryland/crime/bs-md-ci-adnan-syed-ruling-20171205-story.html\">according to The Baltimore Sun\u003c/a>.\u003c/p>\n\u003cp>In the meantime, Syed’s current attorney, C. Justin Brown, celebrated the decision at a news conference, expressing his eagerness to proceed to a new trial.\u003c/p>\n\u003cp>“Let’s take it to a jury in Baltimore City and let them decide whether or not Adnan Syed is guilty or innocent,” Brown told reporters. “You know, this process has taken so long already. It’s time to make some final resolution of it — and we hope that the state will see it the same way that we do.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.documentcloud.org/documents/4426220-2519s13.html#document/p1\" target=\"_blank\" rel=\"noopener\">Read the Court of Special Appeals ruling here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR intern Adrienne St. Clair contributed to this report.\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=%27Serial%27+Subject+Adnan+Syed+Deserves+A+New+Trial%2C+Appeals+Court+Rules&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Maryland's second-highest court has upheld a ruling vacating Syed's murder conviction, which the hit podcast covered. Syed will be retried in a lower court, provided Thursday's ruling isn't appealed.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 8:16 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Maryland’s second-highest court has ruled that Adnan Syed, whose murder conviction served as a subject for the hit podcast \u003cem>Serial\u003c/em>, deserves a new trial. The \u003ca href=\"https://www.courts.state.md.us/data/opinions/cosa/2018/2519s13.pdf\" target=\"_blank\" rel=\"noopener\">decision issued Thursday\u003c/a> by the Court of Special Appeals upheld a lower-court ruling that Syed’s counsel in his original murder trial was deficient and ineffective.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>In its majority opinion Thursday, the three-judge panel affirmed that the defense team’s “deficient performance prejudiced Syed’s defense,” explaining that his counsel failed to contact a potential witness whose alibi could “have raised a reasonable doubt in the mind of at least one juror.”\u003c/p>\n\u003cp>The ruling upholds a previous decision to vacate Syed’s 2000 conviction for the murder of his former girlfriend Hae Min Lee and remands the case back to Maryland’s circuit court for retrial. But prosecutors still still have 30 days to appeal Thursday’s decision to Maryland’s highest court, the Court of Appeals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>For readers unfamiliar with \u003cem>Serial\u003c/em>, here is a summary \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/02/03/465406957/adnan-syed-of-serial-fame-appears-in-court-to-seek-new-trial\">we offered in 2016\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Each season of \u003cem>Serial \u003c/em>follows a single true story, told episode by episode.\u003c/p>\n\u003cp>“The first season investigated the case of Adnan Syed, who was convicted of murdering his former girlfriend more than 15 years ago. Host Sarah Koenig and her team uncovered inconsistencies in his case — including the fact that Asia McClain was an alibi witness. She said she’d seen Syed at the time Hae Min Lee’s murder occurred, but that testimony was never brought forth in court.\u003c/p>\n\u003cp>“The podcast became the most-downloaded of all time, fascinating more than a million listeners and inspiring \u003ca href=\"http://www.slate.com/topics/s/serial.html\" target=\"_blank\" rel=\"noopener\">passionate communities\u003c/a> of \u003ca href=\"https://www.reddit.com/r/serialpodcast/\" target=\"_blank\" rel=\"noopener\">amateur sleuths\u003c/a> and \u003ca href=\"https://itunes.apple.com/us/podcast/serially-obsessed/id942696749?mt=2\" target=\"_blank\" rel=\"noopener\">Adnan obsessives\u003c/a>.”\u003c/p>\n\u003c/blockquote>\n\u003cp>After the ruling was released, Julie Snyder, an executive producer of \u003cem>Serial\u003c/em>, told NPR she felt that the podcast’s season showed that “the story that the state presented at trial could not have happened.”\u003c/p>\n\u003cp>“To me,” she added, “some sort of remedy seems appropriate.”\u003c/p>\n\u003cp>Since the original trial, Syed’s representatives have pointed to that failure to bring forth that alibi witness — as well as a failure to question the reliability of cellphone tower evidence used to place Syed at the scene of the crime — as proof Syed’s original attorney failed him.\u003c/p>\n\u003cp>Judge Martin Welch, who \u003ca href=\"https://www.npr.org/sections/thetwo-way/2016/06/30/484225226/adnan-syed-subject-of-serial-podcast-will-get-a-new-trial\" target=\"_blank\" rel=\"noopener\">overturned the conviction in 2016\u003c/a> in Baltimore City Court, ultimately found that Syed’s first attorney “fell below the standard of reasonable professional judgment.”\u003c/p>\n\u003cp>Prosecutors appealed that decision, only to lose that appeal Thursday in a 2-1 ruling.\u003c/p>\n\u003cp>Prosecutors did not immediately announce whether they would appeal Thursday’s ruling. Maryland Attorney General Brian Frosh’s office said it is “currently reviewing today’s decision to determine next steps,” \u003ca href=\"http://www.baltimoresun.com/news/maryland/crime/bs-md-ci-adnan-syed-ruling-20171205-story.html\">according to The Baltimore Sun\u003c/a>.\u003c/p>\n\u003cp>In the meantime, Syed’s current attorney, C. Justin Brown, celebrated the decision at a news conference, expressing his eagerness to proceed to a new trial.\u003c/p>\n\u003cp>“Let’s take it to a jury in Baltimore City and let them decide whether or not Adnan Syed is guilty or innocent,” Brown told reporters. “You know, this process has taken so long already. It’s time to make some final resolution of it — and we hope that the state will see it the same way that we do.”\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.documentcloud.org/documents/4426220-2519s13.html#document/p1\" target=\"_blank\" rel=\"noopener\">Read the Court of Special Appeals ruling here.\u003c/a>\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>NPR intern Adrienne St. Clair contributed to this report.\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=%27Serial%27+Subject+Adnan+Syed+Deserves+A+New+Trial%2C+Appeals+Court+Rules&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cstrong>\u003cem>Warning\u003c/em>\u003c/strong>\u003cem>: This post contains language that some people may find offensive.\u003c/em>\u003c/p>\n\u003cp>“I think companies are purposely putting out noticably racist ads so they can get more views,” Chance the Rapper posted on \u003ca href=\"https://twitter.com/chancetherapper/status/978078809995046912\">Twitter\u003c/a> after seeing a recent ad for light beer.\u003c/p>\n\u003cp>https://twitter.com/chancetherapper/status/978078809995046912\u003c/p>\n\u003cp>In it, as reggae music plays, a light-skinned bartender slides a bottle across the bar, past three black people (one playing a guitar), to a light-skinned customer.\u003c/p>\n\u003cp>It ends with the tagline, “Sometimes, lighter is better.” The company Chance called out, Heineken, has since pulled the spot, globally.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://youtu.be/g_u_-OD1_z0\u003c/p>\n\u003cp>Though it may have been lost amid the noise of media reactions to Chance’s recognition of what he saw as the ad’s racist subtext, which was then amplified by its subsequent disavowal by the company, Chance’s point was a good one.\u003c/p>\n\u003cp>In a statement provided to NPR, Heineken says it “missed the mark” but did not respond to a question about whether the ad was purposefully controversial.\u003c/p>\n\u003cp>In the end, it may not really matter. Could having a Grammy-winning artist pillory your brand for being racist actually be beneficial?\u003c/p>\n\u003cp>As the old adage goes, “All press is good press.”\u003c/p>\n\u003cp>In 2014, \u003ca href=\"http://www.adweek.com/digital/bad-news-negative-headlines-get-much-more-attention/\">\u003cem>Adweek\u003c/em> \u003c/a>looked at a study that suggested negative headlines — for instance, several media outlets reporting that a rap star accused a brand of being subtly racist — have a 63 percent higher click-through rate than positive ones.\u003c/p>\n\u003cp>A \u003ca href=\"http://www.pewinternet.org/2018/03/01/social-media-use-in-2018/\">recent study from the Pew Research Center \u003c/a>found that nearly a quarter of Americans are on Twitter and that more than two-thirds are on Facebook.\u003c/p>\n\u003cp>The combination presents a useful overlap for a brand, even if it is the subject of negative attention — if a “controversy” is stoked on Twitter, and news outlets are posting their articles about that controversy to Facebook, it’s reasonable to assume a large audience would be scooped into paying attention to it, relative to the one an ad could have hoped for in the first place. As a 2014 working paper from \u003ca href=\"https://www.hbs.edu/faculty/Publication%20Files/14-055_2ef21e7e-7529-4864-b0f0-c64e4169e17f.pdf\">Harvard Business School titled, “The Rising Cost of Consumer Attention.”\u003c/a> put it: “Before consumers can be affected by advertising messages, they need to first be paying attention.”\u003c/p>\n\u003cp>It later poses the question: “How can brands create ads so compelling that consumers actively seek them out?”\u003c/p>\n\u003cp>Chance’s tweet, and media coverage of it, presents one way. Remember: Fyre Festival, that doomed experiment in entrepreneurial and excess hubris, began as nothing more than an expensive social media marketing campaign.\u003c/p>\n\u003cp>Meanwhile, the fuzzy practice of translating the value of people seeing your advertisement versus reading about your company through an article, what is called “\u003ca href=\"http://apps.prsa.org/intelligence/businesscase/measurementresources/advertisingvalueequivalency/\">advertising value equivalency\u003c/a>,” is not particularly well-regarded by professionals and has largely fallen out of favor as a metric, according to the Public Relations Society of America. Moreover, advertising value equivalency relies on an outdated equation that depended on comparing the total square inches a brand would receive in a physical magazine and then extrapolating its value based on the advertising rates for that publication.\u003c/p>\n\u003cp>The sweet spot, regardless, would be media coverage \u003cem>of\u003c/em> a brand’s advertisement — just as Chance pointed out.\u003c/p>\n\u003cp>There are recent-ish examples of a similar situation. Last fall, a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556523422/dove-expresses-regret-for-ad-that-missed-the-mark.\">soap brand was forced to express\u003c/a>, like Heineken, its “regret” over a racially insensitive ad showing a black person washing her skin and revealing it to be white. A year ago, Pepsi’s grandiose ad featuring Kendall Jenner was so \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/05/522750764/after-uproar-pepsi-halts-rollout-of-controversial-protest-themed-ad\">laughably out-of-touch\u003c/a> that its rollout was halted, all but forcing \u003cem>Saturday Night Live\u003c/em> to parody it. And on Wednesday, an egregious example from Groupon was \u003ca href=\"https://www.cosmopolitan.com/lifestyle/a19619963/groupon-racial-slur-boots-ad/\">added to the pile\u003c/a>.\u003c/p>\n\u003cp>https://youtu.be/Pn8pwoNWseM\u003c/p>\n\u003cp>In a media landscape with only one common denominator — fragmentation — getting people’s shattered attention spans to focus on one place for any amount of time is a win. Even if that win is \u003ca href=\"https://www.youtube.com/watch?v=phr1pOFK1V8\">achieved by failing\u003c/a>.\u003c/p>\n\u003cp>[contextly_sidebar id=”JSAzu4oJNTLLeWwE0smS7hyeN4MglWHJ”]\u003c/p>\n\u003cp>“In truth, it might not matter whether they ‘meant; to do this or not, when the outcome is the same,” writes Ian Bogost, an editor at \u003ca href=\"https://www.theatlantic.com/technology/archive/2017/04/pepsi-ad-success/522021/\">The Atlantic \u003c/a>and a media studies professor, in an email to NPR Music. “The commercial probably had a much greater effect even though it was technically pulled than it might have had otherwise.”\u003c/p>\n\u003cp>Bogost had similar thoughts around Pepsi’s own experience with failing upwards last year.\u003c/p>\n\u003cp>“It’s a trap: Let the ad lie and risk its seemingly racist message to continue,” Bogost says, “or draw attention to it and spread the marketing message far further than it would have reached. There’s no good move.”\u003c/p>\n\u003cp>“I didnt wanna tweet about it so bad … but its like how can u not,” Chance \u003ca href=\"https://twitter.com/chancetherapper/status/978082289207988231\">wrote\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Thursday morning, Heineken stock was up — that isn’t proof that it was positively impacted by the controversy, but it certainly shows it wasn’t hurt by it. Late capitalism is strange sometimes.\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=When+A+Brand+Does+Well+Even+When+It%27s+Called+%27Racist%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/g_u_-OD1_z0'\n title='//www.youtube.com/embed/g_u_-OD1_z0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Though it may have been lost amid the noise of media reactions to Chance’s recognition of what he saw as the ad’s racist subtext, which was then amplified by its subsequent disavowal by the company, Chance’s point was a good one.\u003c/p>\n\u003cp>In a statement provided to NPR, Heineken says it “missed the mark” but did not respond to a question about whether the ad was purposefully controversial.\u003c/p>\n\u003cp>In the end, it may not really matter. Could having a Grammy-winning artist pillory your brand for being racist actually be beneficial?\u003c/p>\n\u003cp>As the old adage goes, “All press is good press.”\u003c/p>\n\u003cp>In 2014, \u003ca href=\"http://www.adweek.com/digital/bad-news-negative-headlines-get-much-more-attention/\">\u003cem>Adweek\u003c/em> \u003c/a>looked at a study that suggested negative headlines — for instance, several media outlets reporting that a rap star accused a brand of being subtly racist — have a 63 percent higher click-through rate than positive ones.\u003c/p>\n\u003cp>A \u003ca href=\"http://www.pewinternet.org/2018/03/01/social-media-use-in-2018/\">recent study from the Pew Research Center \u003c/a>found that nearly a quarter of Americans are on Twitter and that more than two-thirds are on Facebook.\u003c/p>\n\u003cp>The combination presents a useful overlap for a brand, even if it is the subject of negative attention — if a “controversy” is stoked on Twitter, and news outlets are posting their articles about that controversy to Facebook, it’s reasonable to assume a large audience would be scooped into paying attention to it, relative to the one an ad could have hoped for in the first place. As a 2014 working paper from \u003ca href=\"https://www.hbs.edu/faculty/Publication%20Files/14-055_2ef21e7e-7529-4864-b0f0-c64e4169e17f.pdf\">Harvard Business School titled, “The Rising Cost of Consumer Attention.”\u003c/a> put it: “Before consumers can be affected by advertising messages, they need to first be paying attention.”\u003c/p>\n\u003cp>It later poses the question: “How can brands create ads so compelling that consumers actively seek them out?”\u003c/p>\n\u003cp>Chance’s tweet, and media coverage of it, presents one way. Remember: Fyre Festival, that doomed experiment in entrepreneurial and excess hubris, began as nothing more than an expensive social media marketing campaign.\u003c/p>\n\u003cp>Meanwhile, the fuzzy practice of translating the value of people seeing your advertisement versus reading about your company through an article, what is called “\u003ca href=\"http://apps.prsa.org/intelligence/businesscase/measurementresources/advertisingvalueequivalency/\">advertising value equivalency\u003c/a>,” is not particularly well-regarded by professionals and has largely fallen out of favor as a metric, according to the Public Relations Society of America. Moreover, advertising value equivalency relies on an outdated equation that depended on comparing the total square inches a brand would receive in a physical magazine and then extrapolating its value based on the advertising rates for that publication.\u003c/p>\n\u003cp>The sweet spot, regardless, would be media coverage \u003cem>of\u003c/em> a brand’s advertisement — just as Chance pointed out.\u003c/p>\n\u003cp>There are recent-ish examples of a similar situation. Last fall, a \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/08/556523422/dove-expresses-regret-for-ad-that-missed-the-mark.\">soap brand was forced to express\u003c/a>, like Heineken, its “regret” over a racially insensitive ad showing a black person washing her skin and revealing it to be white. A year ago, Pepsi’s grandiose ad featuring Kendall Jenner was so \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/04/05/522750764/after-uproar-pepsi-halts-rollout-of-controversial-protest-themed-ad\">laughably out-of-touch\u003c/a> that its rollout was halted, all but forcing \u003cem>Saturday Night Live\u003c/em> to parody it. And on Wednesday, an egregious example from Groupon was \u003ca href=\"https://www.cosmopolitan.com/lifestyle/a19619963/groupon-racial-slur-boots-ad/\">added to the pile\u003c/a>.\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/Pn8pwoNWseM'\n title='//www.youtube.com/embed/Pn8pwoNWseM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In a media landscape with only one common denominator — fragmentation — getting people’s shattered attention spans to focus on one place for any amount of time is a win. Even if that win is \u003ca href=\"https://www.youtube.com/watch?v=phr1pOFK1V8\">achieved by failing\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>“In truth, it might not matter whether they ‘meant; to do this or not, when the outcome is the same,” writes Ian Bogost, an editor at \u003ca href=\"https://www.theatlantic.com/technology/archive/2017/04/pepsi-ad-success/522021/\">The Atlantic \u003c/a>and a media studies professor, in an email to NPR Music. “The commercial probably had a much greater effect even though it was technically pulled than it might have had otherwise.”\u003c/p>\n\u003cp>Bogost had similar thoughts around Pepsi’s own experience with failing upwards last year.\u003c/p>\n\u003cp>“It’s a trap: Let the ad lie and risk its seemingly racist message to continue,” Bogost says, “or draw attention to it and spread the marketing message far further than it would have reached. There’s no good move.”\u003c/p>\n\u003cp>“I didnt wanna tweet about it so bad … but its like how can u not,” Chance \u003ca href=\"https://twitter.com/chancetherapper/status/978082289207988231\">wrote\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>On Thursday morning, Heineken stock was up — that isn’t proof that it was positively impacted by the controversy, but it certainly shows it wasn’t hurt by it. Late capitalism is strange sometimes.\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=When+A+Brand+Does+Well+Even+When+It%27s+Called+%27Racist%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Congress Takes a Brush to the Budget, Barring Federal Funds for Portraits",
"headTitle": "Congress Takes a Brush to the Budget, Barring Federal Funds for Portraits | KQED",
"content": "\u003cp>\u003cstrong>Updated at 5:50 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>For many elected officials, it’s something of a rite of passage: After getting to Capitol Hill, bearing their constituents’ hopes and fears on their shoulders, virtually every politician finally decides to take a stand — in front of a painter paid to make their portrait. Some even decide to sit for it.\u003c/p>\n\u003cp>But either way, for a long time many of those official portraits were paid for by the same patrons: U.S. taxpayers.\u003c/p>\n\u003cp>Not anymore.\u003c/p>\n\u003cp>On Tuesday, President Trump signed into law the \u003ca href=\"https://www.congress.gov/bill/115th-congress/senate-bill/188\">Eliminating Government-funded Oil-painting Act\u003c/a>, also known as — wait for it — the EGO Act.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Under the new law, federal funds can no longer be used toward official painted portraits for federal government officials or employees. (It remains a little unclear if watercolor painters can find themselves a loophole.)\u003c/p>\n\u003cp>The law applies to members of Congress, heads of executive agencies, even the president himself. If one of them wishes to have an official portrait rendered in paint, they will need to retrieve the requisite cash from their own wallets — or canvass (homophone joke, see what we did there?) private donors for the cash. That’s what the Obamas did for their own official portraits \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/12/585066637/paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery\">unveiled last month\u003c/a>.\u003c/p>\n\u003cp>“I came to Congress to cut wasteful spending,” \u003ca href=\"https://twitter.com/BillCassidy/status/979020737326481408?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fseamus.npr.org%2Ftemplates%2Freports%2FtwitterPreview.php%3FtweetId%3D979020737326481408%26hideMedia%3Dtrue\">tweeted \u003c/a>GOP Sen. Bill Cassidy, who has pushed for this measure since he represented Louisiana in the House.\u003c/p>\n\u003cp>He had already succeeded in getting the ban slipped into spending bills in 2014 and 2016, but those riders were only temporary. The standalone bill, which renders the ban permanent, did not enjoy the same kind of success. Cassidy’s campaign had gotten so regular, \u003ca href=\"http://www.nola.com/politics/index.ssf/2017/01/bill_cassidys_pet_peeve_over_p.html\">the New Orleans \u003cem>Times-Picayune \u003c/em>reports\u003c/a>, he even recycled his statement marking the bill’s introduction in each new Congress.\u003c/p>\n\u003cp>But on Wednesday, he enjoyed his long-sought victory lap. “Our debt is over $20 trillion,” his statement said. “There’s no excuse for spending hundreds of thousands of dollars on paintings of government officials.”\u003c/p>\n\u003cp>https://twitter.com/BillCassidy/status/979020737326481408\u003c/p>\n\u003cp>Now, it’s fair to wonder just how much effect this law will have on that towering number. In a 2017 report issued by the Senate Committee on Homeland Security and Governmental Affairs, the authors selected a slew of examples to highlight:\u003c/p>\n\u003cul>\n\u003cli>There was the $22,500 paid by the Department of Commerce for John Bryson’s portrait, despite the fact that he served just eight months as chief of the department.\u003c/li>\n\u003cli>The $19,500 for Steve Preston, who served as secretary of housing and urban development for an even shorter span.\u003c/li>\n\u003cli>And the $46,790 paid by the Department of Defense for former Secretary Donald Rumsfeld’s second official portrait.\u003c/li>\n\u003c/ul>\n\u003cp>And then there’s this one with a poodle, which goes unmentioned in the report but has drawn a \u003ca href=\"https://twitter.com/AdrianChen/status/696016605231374337\">different kind of attention\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/HouseForeign/status/401118976383524864\u003c/p>\n\u003cp>And this one with spaceships.\u003c/p>\n\u003cp>https://twitter.com/USHouseHistory/status/607879770575994882\u003c/p>\n\u003cp>All told, the report stated, from 2010 to 2013 more than $400,000 was spent on portraits displayed in agency buildings, “often in secure locations that are not open to the public.”\u003c/p>\n\u003cp>But the federal government spent \u003ca href=\"https://www.cbo.gov/topics/budget\">an estimated $4 trillion\u003c/a> in fiscal year 2017 alone. The expenditure on portraits represents a fraction of that total so small it would be very difficult to clearly represent here. A single F-35 fighter jet \u003ca href=\"https://www.nytimes.com/2016/12/12/us/politics/trump-f35-fighter-jet-tweet.html\">costs about 250 times\u003c/a> as much as all of the portraits bought during that three-year span, combined.\u003c/p>\n\u003cp>And portraits have not been the only source of concern for onlookers monitoring extravagant spending. Current HUD Secretary Ben Carson was called before a House committee earlier this month \u003ca href=\"https://www.npr.org/2018/03/26/595231728/why-trump-appointees-refer-to-optics-when-discussing-spending-scandals\">to explain the decision\u003c/a> to buy a $31,000 dining room set for his office.\u003c/p>\n\u003cp>Outgoing Veterans Affairs Secretary David Shulkin \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/15/585957402/inspector-serious-derelictions-by-va-secretary-related-to-overseas-travel\">has attracted scrutiny\u003c/a> from his department’s inspector general for an expensive overseas trip with his wife at taxpayer expense.\u003c/p>\n\u003cp>Former Health and Human Services Secretary Tom Price \u003ca href=\"https://www.npr.org/sections/health-shots/2017/09/29/554475788/price-resigns-from-trump-cabinet-amidst-private-jet-investigations\">already resigned\u003c/a> from Trump’s cabinet for reportedly using $400,000 of taxpayer money — or roughly 13 official portraits, according to the average price listed in the report — on private charter planes. He said he would \u003ca href=\"https://www.npr.org/2017/09/28/554328239/price-says-he-will-pay-for-travel-on-private-planes\">pay a portion\u003c/a> of that sum back.\u003c/p>\n\u003cp>But for backers of the EGO Act, ending the long tradition of taxpayer-funded official portraits means more than the numbers: they say it carries symbolic weight, as well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The expensive practice has a long history of criticism dating back to at least the Carter Administration,” the 2017 committee report says. “Although portraits are a minor piece of the Federal budget, every dollar the government spends on vanity projects for federal officials is a dollar that is not spent improving the lives of everyday Americans.” \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=Congress+Takes+A+Brush+To+The+Budget%2C+Barring+Federal+Funds+For+Portraits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Under the new law, federal funds can no longer be used toward official painted portraits for federal government officials or employees. (It remains a little unclear if watercolor painters can find themselves a loophole.)\u003c/p>\n\u003cp>The law applies to members of Congress, heads of executive agencies, even the president himself. If one of them wishes to have an official portrait rendered in paint, they will need to retrieve the requisite cash from their own wallets — or canvass (homophone joke, see what we did there?) private donors for the cash. That’s what the Obamas did for their own official portraits \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/12/585066637/paintings-of-barack-and-michelle-obama-unveiled-at-portrait-gallery\">unveiled last month\u003c/a>.\u003c/p>\n\u003cp>“I came to Congress to cut wasteful spending,” \u003ca href=\"https://twitter.com/BillCassidy/status/979020737326481408?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fseamus.npr.org%2Ftemplates%2Freports%2FtwitterPreview.php%3FtweetId%3D979020737326481408%26hideMedia%3Dtrue\">tweeted \u003c/a>GOP Sen. Bill Cassidy, who has pushed for this measure since he represented Louisiana in the House.\u003c/p>\n\u003cp>He had already succeeded in getting the ban slipped into spending bills in 2014 and 2016, but those riders were only temporary. The standalone bill, which renders the ban permanent, did not enjoy the same kind of success. Cassidy’s campaign had gotten so regular, \u003ca href=\"http://www.nola.com/politics/index.ssf/2017/01/bill_cassidys_pet_peeve_over_p.html\">the New Orleans \u003cem>Times-Picayune \u003c/em>reports\u003c/a>, he even recycled his statement marking the bill’s introduction in each new Congress.\u003c/p>\n\u003cp>But on Wednesday, he enjoyed his long-sought victory lap. “Our debt is over $20 trillion,” his statement said. “There’s no excuse for spending hundreds of thousands of dollars on paintings of government officials.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Now, it’s fair to wonder just how much effect this law will have on that towering number. In a 2017 report issued by the Senate Committee on Homeland Security and Governmental Affairs, the authors selected a slew of examples to highlight:\u003c/p>\n\u003cul>\n\u003cli>There was the $22,500 paid by the Department of Commerce for John Bryson’s portrait, despite the fact that he served just eight months as chief of the department.\u003c/li>\n\u003cli>The $19,500 for Steve Preston, who served as secretary of housing and urban development for an even shorter span.\u003c/li>\n\u003cli>And the $46,790 paid by the Department of Defense for former Secretary Donald Rumsfeld’s second official portrait.\u003c/li>\n\u003c/ul>\n\u003cp>And then there’s this one with a poodle, which goes unmentioned in the report but has drawn a \u003ca href=\"https://twitter.com/AdrianChen/status/696016605231374337\">different kind of attention\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>And this one with spaceships.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>All told, the report stated, from 2010 to 2013 more than $400,000 was spent on portraits displayed in agency buildings, “often in secure locations that are not open to the public.”\u003c/p>\n\u003cp>But the federal government spent \u003ca href=\"https://www.cbo.gov/topics/budget\">an estimated $4 trillion\u003c/a> in fiscal year 2017 alone. The expenditure on portraits represents a fraction of that total so small it would be very difficult to clearly represent here. A single F-35 fighter jet \u003ca href=\"https://www.nytimes.com/2016/12/12/us/politics/trump-f35-fighter-jet-tweet.html\">costs about 250 times\u003c/a> as much as all of the portraits bought during that three-year span, combined.\u003c/p>\n\u003cp>And portraits have not been the only source of concern for onlookers monitoring extravagant spending. Current HUD Secretary Ben Carson was called before a House committee earlier this month \u003ca href=\"https://www.npr.org/2018/03/26/595231728/why-trump-appointees-refer-to-optics-when-discussing-spending-scandals\">to explain the decision\u003c/a> to buy a $31,000 dining room set for his office.\u003c/p>\n\u003cp>Outgoing Veterans Affairs Secretary David Shulkin \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/02/15/585957402/inspector-serious-derelictions-by-va-secretary-related-to-overseas-travel\">has attracted scrutiny\u003c/a> from his department’s inspector general for an expensive overseas trip with his wife at taxpayer expense.\u003c/p>\n\u003cp>Former Health and Human Services Secretary Tom Price \u003ca href=\"https://www.npr.org/sections/health-shots/2017/09/29/554475788/price-resigns-from-trump-cabinet-amidst-private-jet-investigations\">already resigned\u003c/a> from Trump’s cabinet for reportedly using $400,000 of taxpayer money — or roughly 13 official portraits, according to the average price listed in the report — on private charter planes. He said he would \u003ca href=\"https://www.npr.org/2017/09/28/554328239/price-says-he-will-pay-for-travel-on-private-planes\">pay a portion\u003c/a> of that sum back.\u003c/p>\n\u003cp>But for backers of the EGO Act, ending the long tradition of taxpayer-funded official portraits means more than the numbers: they say it carries symbolic weight, as well.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The expensive practice has a long history of criticism dating back to at least the Carter Administration,” the 2017 committee report says. “Although portraits are a minor piece of the Federal budget, every dollar the government spends on vanity projects for federal officials is a dollar that is not spent improving the lives of everyday Americans.” \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=Congress+Takes+A+Brush+To+The+Budget%2C+Barring+Federal+Funds+For+Portraits&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Jazz's Bleeding Edge? You Can Find It, Briefly, in Eastern Tennessee",
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"content": "\u003cp>Milford Graves and Jason Moran were listening hard at the Big Ears Festival on Friday evening, and in this they were far from alone. Their spontaneous musical dialogue, onstage at the elegant Bijou Theater in Knoxville, Tenn., suggested a merging of the ancient and the ultramodern, aglow with an ephemeral sort of grace. At one point, Moran’s deep, mournful sonorities at the piano led Graves toward a murmuring hush at the drums, as if anything else would break the spell.\u003c/p>\n\u003cp>Musically speaking, this was a first-time encounter for Graves, who at 76 is a sagacious elder in the improvising avant-garde, and Moran, 43, whose career has branched out from a position closer to jazz’s center. Their concert was a gemlike centerpiece of Big Ears 2018; capacity at the Bijou is 700, but even with several competing options on the schedule, a lot of people were turned away.\u003c/p>\n\u003cp>Standing in line, I struck up a conversation with a white-bearded Tennesseean who has never missed an edition of the festival. When I asked whether he’d been looking forward to Graves and Moran, he said he didn’t know a thing about either one. His eyes lit up as he said it, like a kid about to open a birthday present. He wasn’t a rare-sound partisan, or a practicing connoisseur; he had just learned to count on musical discovery at Big Ears. “The more bizarre, the better,” he told me.\u003c/p>\n\u003cp>Big Ears will do that to a person. Contained within a walkable radius of historic downtown Knoxville — in a range of ornate landmark theaters, refurbished industrial spaces, art galleries, churches, and clubs — it creates its own atmospheric climate, along with a center of gravity. From its first iteration in 2009, the festival has been a locus of expedition, defined more by a go-anywhere ethos than by any style or genre allegiance. For a few years, the event honored vanguardist classical composers like Terry Riley and Steve Reich. It has skipped some years over the last decade. This was its seventh edition — and my first, despite the best of intentions and the deepest of affinities.\u003c/p>\n\u003cfigure id=\"attachment_13828182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-800x450.jpg\" alt=\"Jason Moran, left, and Milford Graves, right, performing on the second day of the Big Ears Festival in Knoxville, Tennessee.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13828182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jason Moran, left, and Milford Graves, right, performing on the second day of the Big Ears Festival in Knoxville, Tennessee. \u003ccite>(Eli Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What led me to Big Ears this year, in part, was an unusually high quotient of experimental jazz — or one or another form of unnamable music, like Graves and Moran’s spirit trance, that bore a vestigial relationship to jazz. Increasingly, improvising artists across the style spectrum are accessing multiple vocabularies, reconciling divergent strategies, bringing other disciplines into the frame. This coalescence was also a hallmark of\u003ca href=\"https://www.npr.org/2017/10/18/558549535/at-ojai-music-festival-vijay-iyer-showcases-improvisation\"> last summer’s Ojai Music Festival\u003c/a>, programmed by pianist and composer Vijay Iyer. Like that inspiring event, which featured a few of the same artists, this year’s Big Ears felt right in tune with an emergent, exhilarating frontier. I see this not only as a hopeful turn in the festival’s model of inclusion but also as an indicator of present-day permissions around jazz’s state of the art.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moran is an obvious case in point. Along with the Graves duo, he played a show at the Mill & Mine, around midnight, with his Fats Waller Dance Party, creating a hallucinatory funk jam inspired by one of jazz’s foundational heroes. He also performed at the Bijou with BANGS, a trio that released\u003ca href=\"https://www.npr.org/2017/12/14/570561785/nate-chinens-top-10-actually-21-albums-of-2017\"> one of my favorite albums\u003c/a> last year and sounded even better here.\u003c/p>\n\u003cp>BANGS is all about Moran’s sensitive, shifting rapport with guitarist Mary Halvorson and cornetist Ron Miles, who each brought furious concentration to the task. Sometimes it sounded unmistakably like jazz, sometimes not. A seamless progression from the austere beauty of “White Space” (by Halvorson) to the pastoral reassurance of “Cupid” (by Miles) imparted the sensation of pure possibility, an open road under a billowing sky.\u003c/p>\n\u003cp>The festival abounded with other manifestations of this improv-activated, beyond-the-known-horizon sort of music, too many for a laundry list, let alone a concert agenda. But among other things: the formidable British saxophonist Evan Parker playing both a cathedral recital and in a pair of futuristic bands, his Electro-Acoustic Ensemble and the collective Rocket Science; a solitary explosion of sonic dimensions by trumpeter Peter Evans; two views on the violinist Jenny Scheinman, who first led Mischief & Mayhem, a raucous jazz-rock unit with Nels Cline on guitar and later presented ‘Kannopolis: A Moving Portrait,’ a found-footage-and-string-band experience steeped in Carolina twang; and the Tyshawn Sorey Trio, which developed like a high-pressure front, in an inexorable gyre. \u003c/p>\n\u003cfigure id=\"attachment_13828184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-800x450.jpg\" alt=\"Guitarist Nels Cline, left, with violinist Jenny Scheinman, left background, and bassist Todd Sickafoose of Mischief & Mayhem.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13828184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist Nels Cline, left, with violinist Jenny Scheinman, left background, and bassist Todd Sickafoose of Mischief & Mayhem. \u003ccite>(Eli Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pianist and reliable sound sorcerer Craig Taborn, whom I heard in four distinct contexts over the weekend, played the festival’s final slot with his superdynamic quartet. Introducing the band, which appears on his 2017 album \u003cem>Daylight Ghosts\u003c/em>, he gave a shout out to the Big Ears brain trust, “because it’s a festival that kind of represents how I listen to music.”\u003c/p>\n\u003cp>Ashley Capps, the founder and artistic director of Big Ears, would say much the same. He did, in fact, over breakfast on Friday morning. “It kind of unfolds with a logic of its own,” he said of the festival’s programming calculus. “But sometimes there’s something in the air. A clear association with the cultural moment.”\u003c/p>\n\u003cp>In the music industry, Capps is probably best known as a cofounder of the Bonnaroo Music and Arts Festival, which has sprawled out from a baseline of jam-band exuberance — this year’s headliners include Future, Paramore and Eminem. But Capps started out promoting shows in Knoxville during the late ’70s, and ran an eclectic club called Ella Guru’s in the ’80s. “For people who’ve grown up with me and know my taste,” he said, “they’re surprised it took so long for jazz to have such a prominent place at the festival.”\u003c/p>\n\u003cp>The tipping point, he said, was a 2016 Big Ears appearance by the brilliant, sometimes inscrutable composer and multireedist Anthony Braxton. “He played in the Bijou, and that was the first time we had done shows on a Friday afternoon,” Capps recalled, painting a picture just like the one I saw with Graves and Moran: full house, little to no turnover, 200 people shut out in line. “It was so encouraging to me as a programmer or a curator, to realize that we had managed to attract an audience with that level of interest and curiosity.”\u003c/p>\n\u003cp>Since then, Big Ears has featured saxophonist and flutist Henry Threadgill and trumpeter Wadada Leo Smith, who like Braxton are longtime members of the Association for the Advancement of Creative Musicians (AACM). Two of the most galvanic performances I saw were by a guiding elder of that organization, the multi-reedist and composer Roscoe Mitchell.\u003c/p>\n\u003cp>The first was a tumultuous show at The Standard, a converted warehouse where I also saw portions of sets by Rostam and Algiers. Mitchell was leading Trio Five, featuring the younger rhythm team of bassist Junius Paul and drummer Vincent Davis, who met his volcanic outpourings with power and poise. After a long stretch of circular breathing on soprano saxophone, expressive and atonal, Mitchell cued up “Odwalla,” a swinging theme he composed for the Art Ensemble of Chicago.\u003c/p>\n\u003cfigure id=\"attachment_13828188\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR.jpg\" alt=\"Roscoe Mitchell.\" width=\"400\" height=\"601\" class=\"size-full wp-image-13828188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-375x563.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe Mitchell. \u003ccite>(Giles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same anthem closed Mitchell’s concert at the Bijou on Saturday night, with a nine-piece confab similar to the one on his double album \u003cem>Bells For the South Side\u003c/em>, released last year. Sorey and Taborn were there alongside Mitchell associates like Hugh Ragin (trumpet), Tani Tabbal (drums) and James Fei (electronics and saxophones). As on the album — which was recorded in 2015, as part of a 50th anniversary celebration for the AACM — this performance began in a stark, accretive mode and gradually led to an incredible, wildly cacophonous squall.\u003c/p>\n\u003cp>Capps, who first presented the Art Ensemble of Chicago at the Bijou in 1980, told me that this performance felt a bit like coming full circle. And he agreed with my suggestion that after decades of marginalization, the AACM had finally begun to see its restless, collectivist methodologies metabolized into the improvised-music mainstream, at least up to a point.\u003c/p>\n\u003cp>“There’s a certain parallel with, say, minimalism — Steve Reich and Philip Glass, the stuff in the ’70s,” he said. “It was totally fringe; they had to form their own bands because nobody else could play it. I think the AACM is part of that tradition. It’s been 50 years of not only putting these ideas out there, but also building a community around the ideas.”\u003c/p>\n\u003cp>Big Ears represents another expression of that community, even if its convergent superabundance is as fleeting as a dream. For all the enlightened sprawl of its programming, which also included a heavy infusion of traditional Appalachian music this year, Capps said his curation was driven first and foremost by a sense of urgency. “Many of these musicians are now in their 70s and 80s,” he said. “Their contribution to art and culture has been profound, for me and for so many others. And I want to acknowledge them and honor that.”\u003c/p>\n\u003cp>Mitchell and Parker were two shining embodiments of this, avatars of uncompromising vision and intergenerational exchange. So too was Milford Graves, who performed a separate solo-percussion-and-vocal concert at the Bijou, to a rapt full house. At one point, after a casual demonstration of mystical Cuban rumba, he stopped to catch his breath. “It’s all in there,” he said of his flowing access to the music. “There’s no free jazz, no avant-garde, no bebop.”\u003c/p>\n\u003cp>He paused, magisterially, and then perked up. “Hey, check this out,” he said, suddenly sounding like a guy handing out flyers outside a hardcore show. “Tomorrow night, Jason Moran and myself. It should be interesting.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Beyond Jazz\u003c/strong>\u003c/h3>\n\u003cp>In the Big Ears spirit of roving interests and genre defiance, here are five great performances with little, or no, connection to jazz.\u003c/p>\n\u003cp>\u003cstrong>Arto Lindsay\u003c/strong>, The Mill & Mine\u003c/p>\n\u003cp>The always unclassifiable guitarist, composer and singer Arto Lindsay made this show a fever dream of growling funk, leading a band with Melvin Gibbs on bass, flanked by two excellent drummers. It was political, too — and not only when Lindsay dedicated a song to a black feminist activist who was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/15/594005158/brazilians-protest-after-black-human-rights-activist-is-murdered\">killed earlier this month \u003c/a>in Rio de Janeiro, Brazil.\u003c/p>\n\u003cp>\u003cstrong>Bang On A Can All-Stars: Julia Wolfe’s \u003c/strong>\u003cem>\u003cstrong>Anthracite Fields\u003c/strong>\u003c/em>, The Mill & Mine\u003c/p>\n\u003cp>Julia Wolfe’s new-music oratorio for choir and chamber sextet, which \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2015/09/26/442917172/a-dark-but-redeeming-tour-of-coal-country-with-composer-julia-wolfe\">won the 2015 Pulitzer Prize\u003c/a> for Music, is a haunting elegy inspired by the plight of Pennsylvania coal country near the turn of the century, and \u003cem>Anthracite Fields \u003c/em>was all the more haunting in the cavernous dark of The Mill & Mine, where much of the audience sat cross-legged on the floor.\u003c/p>\n\u003cp>\u003cstrong>Béla Fleck & Abigail Washburn\u003c/strong>, The Jig & Reel\u003c/p>\n\u003cp>Hours earlier, they were onstage at the Tennessee Theatre, an exquisite hall whose décor has often been likened to the inside of a Fabergé egg. This pop-up show was a lot smaller and scruffier. But where better to hear Washburn’s clarion voice and clawhammer banjo — deftly backed by Fleck, her husband — than in an old Scottish pub in Eastern Tennessee?\u003c/p>\n\u003cp>\u003cstrong>Laurel Halo with Eli Keszler\u003c/strong>, The Standard\u003c/p>\n\u003cp>During an afternoon interview with music critic Ben Ratliff, the experimental electronic artist Laurel Halo and the drummer Eli Keszler talked about their formative influences, free jazz among them. That evening they made an ambient music of shifting layers, hallucinatory at times but rooted in body movement. \u003c/p>\n\u003cp>\u003cstrong>Julie Byrne\u003c/strong>, The Standard\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Interiority is a generous condition in the music of Julie Byrne, who worked here with an understated command, singing in a warm, floaty hush and lightly fingerpicking her acoustic guitar. She had two supportive band members, on synthesizer and violin, but what mattered most were her songs, which could feel like spaces to crawl into and disappear. \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=Jazz%27s+Bleeding+Edge%3F+You+Can+Find+It%2C+Briefly%2C+In+Eastern+Tennesse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Milford Graves and Jason Moran were listening hard at the Big Ears Festival on Friday evening, and in this they were far from alone. Their spontaneous musical dialogue, onstage at the elegant Bijou Theater in Knoxville, Tenn., suggested a merging of the ancient and the ultramodern, aglow with an ephemeral sort of grace. At one point, Moran’s deep, mournful sonorities at the piano led Graves toward a murmuring hush at the drums, as if anything else would break the spell.\u003c/p>\n\u003cp>Musically speaking, this was a first-time encounter for Graves, who at 76 is a sagacious elder in the improvising avant-garde, and Moran, 43, whose career has branched out from a position closer to jazz’s center. Their concert was a gemlike centerpiece of Big Ears 2018; capacity at the Bijou is 700, but even with several competing options on the schedule, a lot of people were turned away.\u003c/p>\n\u003cp>Standing in line, I struck up a conversation with a white-bearded Tennesseean who has never missed an edition of the festival. When I asked whether he’d been looking forward to Graves and Moran, he said he didn’t know a thing about either one. His eyes lit up as he said it, like a kid about to open a birthday present. He wasn’t a rare-sound partisan, or a practicing connoisseur; he had just learned to count on musical discovery at Big Ears. “The more bizarre, the better,” he told me.\u003c/p>\n\u003cp>Big Ears will do that to a person. Contained within a walkable radius of historic downtown Knoxville — in a range of ornate landmark theaters, refurbished industrial spaces, art galleries, churches, and clubs — it creates its own atmospheric climate, along with a center of gravity. From its first iteration in 2009, the festival has been a locus of expedition, defined more by a go-anywhere ethos than by any style or genre allegiance. For a few years, the event honored vanguardist classical composers like Terry Riley and Steve Reich. It has skipped some years over the last decade. This was its seventh edition — and my first, despite the best of intentions and the deepest of affinities.\u003c/p>\n\u003cfigure id=\"attachment_13828182\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-800x450.jpg\" alt=\"Jason Moran, left, and Milford Graves, right, performing on the second day of the Big Ears Festival in Knoxville, Tennessee.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13828182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_moran-graves_be18-3_wide-5ae8afc75184443b04fd242294118001b9a2a5ac.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jason Moran, left, and Milford Graves, right, performing on the second day of the Big Ears Festival in Knoxville, Tennessee. \u003ccite>(Eli Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What led me to Big Ears this year, in part, was an unusually high quotient of experimental jazz — or one or another form of unnamable music, like Graves and Moran’s spirit trance, that bore a vestigial relationship to jazz. Increasingly, improvising artists across the style spectrum are accessing multiple vocabularies, reconciling divergent strategies, bringing other disciplines into the frame. This coalescence was also a hallmark of\u003ca href=\"https://www.npr.org/2017/10/18/558549535/at-ojai-music-festival-vijay-iyer-showcases-improvisation\"> last summer’s Ojai Music Festival\u003c/a>, programmed by pianist and composer Vijay Iyer. Like that inspiring event, which featured a few of the same artists, this year’s Big Ears felt right in tune with an emergent, exhilarating frontier. I see this not only as a hopeful turn in the festival’s model of inclusion but also as an indicator of present-day permissions around jazz’s state of the art.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moran is an obvious case in point. Along with the Graves duo, he played a show at the Mill & Mine, around midnight, with his Fats Waller Dance Party, creating a hallucinatory funk jam inspired by one of jazz’s foundational heroes. He also performed at the Bijou with BANGS, a trio that released\u003ca href=\"https://www.npr.org/2017/12/14/570561785/nate-chinens-top-10-actually-21-albums-of-2017\"> one of my favorite albums\u003c/a> last year and sounded even better here.\u003c/p>\n\u003cp>BANGS is all about Moran’s sensitive, shifting rapport with guitarist Mary Halvorson and cornetist Ron Miles, who each brought furious concentration to the task. Sometimes it sounded unmistakably like jazz, sometimes not. A seamless progression from the austere beauty of “White Space” (by Halvorson) to the pastoral reassurance of “Cupid” (by Miles) imparted the sensation of pure possibility, an open road under a billowing sky.\u003c/p>\n\u003cp>The festival abounded with other manifestations of this improv-activated, beyond-the-known-horizon sort of music, too many for a laundry list, let alone a concert agenda. But among other things: the formidable British saxophonist Evan Parker playing both a cathedral recital and in a pair of futuristic bands, his Electro-Acoustic Ensemble and the collective Rocket Science; a solitary explosion of sonic dimensions by trumpeter Peter Evans; two views on the violinist Jenny Scheinman, who first led Mischief & Mayhem, a raucous jazz-rock unit with Nels Cline on guitar and later presented ‘Kannopolis: A Moving Portrait,’ a found-footage-and-string-band experience steeped in Carolina twang; and the Tyshawn Sorey Trio, which developed like a high-pressure front, in an inexorable gyre. \u003c/p>\n\u003cfigure id=\"attachment_13828184\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-800x450.jpg\" alt=\"Guitarist Nels Cline, left, with violinist Jenny Scheinman, left background, and bassist Todd Sickafoose of Mischief & Mayhem.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13828184\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/elijohnson_mischief_mayhem_be18-1_wide-9abda366bb647709f0b8748c12f1afbf99b9f791.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Guitarist Nels Cline, left, with violinist Jenny Scheinman, left background, and bassist Todd Sickafoose of Mischief & Mayhem. \u003ccite>(Eli Johnson)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The pianist and reliable sound sorcerer Craig Taborn, whom I heard in four distinct contexts over the weekend, played the festival’s final slot with his superdynamic quartet. Introducing the band, which appears on his 2017 album \u003cem>Daylight Ghosts\u003c/em>, he gave a shout out to the Big Ears brain trust, “because it’s a festival that kind of represents how I listen to music.”\u003c/p>\n\u003cp>Ashley Capps, the founder and artistic director of Big Ears, would say much the same. He did, in fact, over breakfast on Friday morning. “It kind of unfolds with a logic of its own,” he said of the festival’s programming calculus. “But sometimes there’s something in the air. A clear association with the cultural moment.”\u003c/p>\n\u003cp>In the music industry, Capps is probably best known as a cofounder of the Bonnaroo Music and Arts Festival, which has sprawled out from a baseline of jam-band exuberance — this year’s headliners include Future, Paramore and Eminem. But Capps started out promoting shows in Knoxville during the late ’70s, and ran an eclectic club called Ella Guru’s in the ’80s. “For people who’ve grown up with me and know my taste,” he said, “they’re surprised it took so long for jazz to have such a prominent place at the festival.”\u003c/p>\n\u003cp>The tipping point, he said, was a 2016 Big Ears appearance by the brilliant, sometimes inscrutable composer and multireedist Anthony Braxton. “He played in the Bijou, and that was the first time we had done shows on a Friday afternoon,” Capps recalled, painting a picture just like the one I saw with Graves and Moran: full house, little to no turnover, 200 people shut out in line. “It was so encouraging to me as a programmer or a curator, to realize that we had managed to attract an audience with that level of interest and curiosity.”\u003c/p>\n\u003cp>Since then, Big Ears has featured saxophonist and flutist Henry Threadgill and trumpeter Wadada Leo Smith, who like Braxton are longtime members of the Association for the Advancement of Creative Musicians (AACM). Two of the most galvanic performances I saw were by a guiding elder of that organization, the multi-reedist and composer Roscoe Mitchell.\u003c/p>\n\u003cp>The first was a tumultuous show at The Standard, a converted warehouse where I also saw portions of sets by Rostam and Algiers. Mitchell was leading Trio Five, featuring the younger rhythm team of bassist Junius Paul and drummer Vincent Davis, who met his volcanic outpourings with power and poise. After a long stretch of circular breathing on soprano saxophone, expressive and atonal, Mitchell cued up “Odwalla,” a swinging theme he composed for the Art Ensemble of Chicago.\u003c/p>\n\u003cfigure id=\"attachment_13828188\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR.jpg\" alt=\"Roscoe Mitchell.\" width=\"400\" height=\"601\" class=\"size-full wp-image-13828188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-240x361.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/03/Roscoe-MitchellNPR-375x563.jpg 375w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">Roscoe Mitchell. \u003ccite>(Giles)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The same anthem closed Mitchell’s concert at the Bijou on Saturday night, with a nine-piece confab similar to the one on his double album \u003cem>Bells For the South Side\u003c/em>, released last year. Sorey and Taborn were there alongside Mitchell associates like Hugh Ragin (trumpet), Tani Tabbal (drums) and James Fei (electronics and saxophones). As on the album — which was recorded in 2015, as part of a 50th anniversary celebration for the AACM — this performance began in a stark, accretive mode and gradually led to an incredible, wildly cacophonous squall.\u003c/p>\n\u003cp>Capps, who first presented the Art Ensemble of Chicago at the Bijou in 1980, told me that this performance felt a bit like coming full circle. And he agreed with my suggestion that after decades of marginalization, the AACM had finally begun to see its restless, collectivist methodologies metabolized into the improvised-music mainstream, at least up to a point.\u003c/p>\n\u003cp>“There’s a certain parallel with, say, minimalism — Steve Reich and Philip Glass, the stuff in the ’70s,” he said. “It was totally fringe; they had to form their own bands because nobody else could play it. I think the AACM is part of that tradition. It’s been 50 years of not only putting these ideas out there, but also building a community around the ideas.”\u003c/p>\n\u003cp>Big Ears represents another expression of that community, even if its convergent superabundance is as fleeting as a dream. For all the enlightened sprawl of its programming, which also included a heavy infusion of traditional Appalachian music this year, Capps said his curation was driven first and foremost by a sense of urgency. “Many of these musicians are now in their 70s and 80s,” he said. “Their contribution to art and culture has been profound, for me and for so many others. And I want to acknowledge them and honor that.”\u003c/p>\n\u003cp>Mitchell and Parker were two shining embodiments of this, avatars of uncompromising vision and intergenerational exchange. So too was Milford Graves, who performed a separate solo-percussion-and-vocal concert at the Bijou, to a rapt full house. At one point, after a casual demonstration of mystical Cuban rumba, he stopped to catch his breath. “It’s all in there,” he said of his flowing access to the music. “There’s no free jazz, no avant-garde, no bebop.”\u003c/p>\n\u003cp>He paused, magisterially, and then perked up. “Hey, check this out,” he said, suddenly sounding like a guy handing out flyers outside a hardcore show. “Tomorrow night, Jason Moran and myself. It should be interesting.”\u003c/p>\n\u003chr>\n\u003ch3>\u003cstrong>Beyond Jazz\u003c/strong>\u003c/h3>\n\u003cp>In the Big Ears spirit of roving interests and genre defiance, here are five great performances with little, or no, connection to jazz.\u003c/p>\n\u003cp>\u003cstrong>Arto Lindsay\u003c/strong>, The Mill & Mine\u003c/p>\n\u003cp>The always unclassifiable guitarist, composer and singer Arto Lindsay made this show a fever dream of growling funk, leading a band with Melvin Gibbs on bass, flanked by two excellent drummers. It was political, too — and not only when Lindsay dedicated a song to a black feminist activist who was \u003ca href=\"https://www.npr.org/sections/thetwo-way/2018/03/15/594005158/brazilians-protest-after-black-human-rights-activist-is-murdered\">killed earlier this month \u003c/a>in Rio de Janeiro, Brazil.\u003c/p>\n\u003cp>\u003cstrong>Bang On A Can All-Stars: Julia Wolfe’s \u003c/strong>\u003cem>\u003cstrong>Anthracite Fields\u003c/strong>\u003c/em>, The Mill & Mine\u003c/p>\n\u003cp>Julia Wolfe’s new-music oratorio for choir and chamber sextet, which \u003ca href=\"https://www.npr.org/sections/deceptivecadence/2015/09/26/442917172/a-dark-but-redeeming-tour-of-coal-country-with-composer-julia-wolfe\">won the 2015 Pulitzer Prize\u003c/a> for Music, is a haunting elegy inspired by the plight of Pennsylvania coal country near the turn of the century, and \u003cem>Anthracite Fields \u003c/em>was all the more haunting in the cavernous dark of The Mill & Mine, where much of the audience sat cross-legged on the floor.\u003c/p>\n\u003cp>\u003cstrong>Béla Fleck & Abigail Washburn\u003c/strong>, The Jig & Reel\u003c/p>\n\u003cp>Hours earlier, they were onstage at the Tennessee Theatre, an exquisite hall whose décor has often been likened to the inside of a Fabergé egg. This pop-up show was a lot smaller and scruffier. But where better to hear Washburn’s clarion voice and clawhammer banjo — deftly backed by Fleck, her husband — than in an old Scottish pub in Eastern Tennessee?\u003c/p>\n\u003cp>\u003cstrong>Laurel Halo with Eli Keszler\u003c/strong>, The Standard\u003c/p>\n\u003cp>During an afternoon interview with music critic Ben Ratliff, the experimental electronic artist Laurel Halo and the drummer Eli Keszler talked about their formative influences, free jazz among them. That evening they made an ambient music of shifting layers, hallucinatory at times but rooted in body movement. \u003c/p>\n\u003cp>\u003cstrong>Julie Byrne\u003c/strong>, The Standard\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Interiority is a generous condition in the music of Julie Byrne, who worked here with an understated command, singing in a warm, floaty hush and lightly fingerpicking her acoustic guitar. She had two supportive band members, on synthesizer and violin, but what mattered most were her songs, which could feel like spaces to crawl into and disappear. \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=Jazz%27s+Bleeding+Edge%3F+You+Can+Find+It%2C+Briefly%2C+In+Eastern+Tennesse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Prince Died With 'Exceedingly High' Level Of Fentanyl, Report States",
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"content": "\u003cp>Prince had an extremely high level of a powerful synthetic opioid in his body at the time of his death at his home in Minnesota in April 2016, according to a toxicology report obtained by The Associated Press.\u003c/p>\n\u003cp>The confidential toxicology information was reported less than a week after the Carver County Attorney Mark Metz \u003ca href=\"https://www.co.carver.mn.us/home/showdocument?id=12976\">stated that the death investigation\u003c/a> remains active. Metz is still deciding whether to charge someone with a crime.\u003c/p>\n\u003cp>The Midwest Medical Examiner’s Office in Ramsey, Minn., had ruled “fentanyl toxicity” as the superstar musician’s cause of death \u003ca href=\"https://www.anokacounty.us/DocumentCenter/View/10066\">in its public autopsy report\u003c/a> in June 2016. It also ruled his death to be an accident and had provided no details about the concentration of the “self-administered” drug in his body.\u003c/p>\n\u003cp>According to the AP, the confidential toxicology report indicates that “concentration of fentanyl in Prince’s blood was 67.8 micrograms per liter.” As the wire service notes, “fatalities have been documented in people with blood levels ranging from three to 58 micrograms per liter.”\u003c/p>\n\u003cp>“The amount in his blood is exceedingly high, even for somebody who is a chronic pain patient on fentanyl patches,” Dr. Lewis Nelson, chairman of emergency medicine at Rutgers New Jersey Medical School, told the wire service.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The 57-year-old musician was found dead at Paisley Park, his home in a Minneapolis suburb. As NPR’s Andrew Flanagan and Anastasia Tsioulcas reported, local officials have been investigating how Prince obtained the fentanyl that killed him. \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/17/524398523/investigation-into-prince-s-death-reveals-pills-were-hidden-throughout-paisley-p\">Here’s more\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Throughout Prince’s residence, including in the laundry room and in Prince’s bedroom, investigators discovered controlled substances that ‘were not contained in typical prescription pill bottles but rather, were stored in various other containers such as vitamin bottles,’ according to the documents.\u003c/p>\n\u003cp>“Much of the investigation appears to focus on Kirk Johnson, a bodyguard and friend of Prince’s since the ’80s and, according to the investigators, ‘one of the few people who had unrestricted access to Paisley Park.’ The investigation also delved into Dr. Michael Schulenberg, who had begun treating Prince on April 7, 2016 — just weeks before his death.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s worth noting that Prince, while secretive about his private life, was known to not allow drugs or alcohol in his home, \u003ca href=\"https://www.npr.org/2016/06/03/480564725/autopsy-report-prince-died-of-accidental-overdose\">as NPR’s Cheryl Corley has reported\u003c/a>. He was also thought to be in severe pain and struggling with damaged hips, using a cane in his later years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Carver County Attorney, the Anoka County District Court ordered the release last week of the full autopsy report to lawyers representing Prince’s next of kin. The lawyers were hired, the county attorney stated, to “explore the possibility of a potential civil wrongful death lawsuit” before the statute of limitations expires. This would be separate from any potential criminal charges.\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=Prince+Died+With+%27Exceedingly+High%27+Level+Of+Fentanyl%2C+Report+States&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Prince had an extremely high level of a powerful synthetic opioid in his body at the time of his death at his home in Minnesota in April 2016, according to a toxicology report obtained by The Associated Press.\u003c/p>\n\u003cp>The confidential toxicology information was reported less than a week after the Carver County Attorney Mark Metz \u003ca href=\"https://www.co.carver.mn.us/home/showdocument?id=12976\">stated that the death investigation\u003c/a> remains active. Metz is still deciding whether to charge someone with a crime.\u003c/p>\n\u003cp>The Midwest Medical Examiner’s Office in Ramsey, Minn., had ruled “fentanyl toxicity” as the superstar musician’s cause of death \u003ca href=\"https://www.anokacounty.us/DocumentCenter/View/10066\">in its public autopsy report\u003c/a> in June 2016. It also ruled his death to be an accident and had provided no details about the concentration of the “self-administered” drug in his body.\u003c/p>\n\u003cp>According to the AP, the confidential toxicology report indicates that “concentration of fentanyl in Prince’s blood was 67.8 micrograms per liter.” As the wire service notes, “fatalities have been documented in people with blood levels ranging from three to 58 micrograms per liter.”\u003c/p>\n\u003cp>“The amount in his blood is exceedingly high, even for somebody who is a chronic pain patient on fentanyl patches,” Dr. Lewis Nelson, chairman of emergency medicine at Rutgers New Jersey Medical School, told the wire service.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The 57-year-old musician was found dead at Paisley Park, his home in a Minneapolis suburb. As NPR’s Andrew Flanagan and Anastasia Tsioulcas reported, local officials have been investigating how Prince obtained the fentanyl that killed him. \u003ca href=\"https://www.npr.org/sections/therecord/2017/04/17/524398523/investigation-into-prince-s-death-reveals-pills-were-hidden-throughout-paisley-p\">Here’s more\u003c/a>:\u003c/p>\n\u003cblockquote>\u003cp>“Throughout Prince’s residence, including in the laundry room and in Prince’s bedroom, investigators discovered controlled substances that ‘were not contained in typical prescription pill bottles but rather, were stored in various other containers such as vitamin bottles,’ according to the documents.\u003c/p>\n\u003cp>“Much of the investigation appears to focus on Kirk Johnson, a bodyguard and friend of Prince’s since the ’80s and, according to the investigators, ‘one of the few people who had unrestricted access to Paisley Park.’ The investigation also delved into Dr. Michael Schulenberg, who had begun treating Prince on April 7, 2016 — just weeks before his death.”\u003c/p>\u003c/blockquote>\n\u003cp>It’s worth noting that Prince, while secretive about his private life, was known to not allow drugs or alcohol in his home, \u003ca href=\"https://www.npr.org/2016/06/03/480564725/autopsy-report-prince-died-of-accidental-overdose\">as NPR’s Cheryl Corley has reported\u003c/a>. He was also thought to be in severe pain and struggling with damaged hips, using a cane in his later years.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>According to the Carver County Attorney, the Anoka County District Court ordered the release last week of the full autopsy report to lawyers representing Prince’s next of kin. The lawyers were hired, the county attorney stated, to “explore the possibility of a potential civil wrongful death lawsuit” before the statute of limitations expires. This would be separate from any potential criminal charges.\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=Prince+Died+With+%27Exceedingly+High%27+Level+Of+Fentanyl%2C+Report+States&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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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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"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": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"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.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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