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"content": "\u003cp>I fell in love this week. Happens more often than you might think.\u003c/p>\n\u003cp>But the fact that it’s happened before, and will happen again, doesn’t mean this latest infatuation is any less passionate, abiding, head-over-heels, birds-suddenly-appear, stars-fall-down-from-the-sky resolute.\u003c/p>\n\u003cp>My husband’s cool with it. He always is; we have an understanding. Also the object of my love is a podcast. Probably should have mentioned that at the top.\u003c/p>\n\u003cp>This time it’s \u003ca href=\"http://answermethispodcast.com/\">\u003cem>Answer Me This\u003c/em>\u003c/a>, a (now) biweekly British show entering its 11th year, hosted by Helen Zaltzman and Olly Mann. They answer questions posed to them by the public — that’s it. That’s the whole thing. Except of course it isn’t, and there’s a lot more to it: I spend a few minutes extolling the depth and breadth and height of my passion for the show on an upcoming episode of \u003ca href=\"https://www.npr.org/sections/monkeysee/129472378/pop-culture-happy-hour/\">Pop Culture Happy Hour\u003c/a>, so I won’t jabber on about it here, but just know: It’s great.\u003c/p>\n\u003cp>I did what I always do, with a newly discovered podcast paramour: I binged. I tore through their archive, devouring episode after episode, moving steadily backward through time — Benjamin Buttoning like a goggling fiend. It’s all I’ve listened to for a solid week: on the Metro, at the gym, walking the dog, folding socks, loading the dishwasher, realizing I’d just loaded the dishwasher with folded socks, unloading the dishwasher, you get the idea.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Previously, I’d done the same thing with \u003ca href=\"http://www.maximumfun.org/shows/jordan-jesse-go\">\u003cem>Jordan Jesse Go\u003c/em>\u003c/a>. And\u003cem> \u003c/em>\u003ca href=\"http://thisistheread.com/\">\u003cem>The Read\u003c/em>\u003c/a>. And \u003ca href=\"http://www.gilmoreguysshow.com/\">\u003cem>Gilmore Guys\u003c/em>\u003c/a>. And\u003cem> \u003c/em>\u003ca href=\"http://www.maximumfun.org/shows/stop-podcasting-yourself\">\u003cem>Stop Podcasting Yourself\u003c/em>\u003c/a>. And \u003ca href=\"https://www.buzzfeed.com/anotherround\">\u003cem>Another Round\u003c/em>\u003c/a>. And\u003cem> \u003c/em>\u003ca href=\"http://foreverdogproductions.com/fdpn/podcasts/las-culturistas/\">\u003cem>Las Culturistas\u003c/em>\u003c/a>. And \u003ca href=\"http://www.mydadwroteaporno.com/\">\u003cem>My Dad Wrote A Porno\u003c/em>\u003c/a>. And\u003cem> \u003c/em>\u003ca href=\"https://audioboom.com/channel/Blank-Check\">\u003cem>Blank Check With Griffin And David\u003c/em>\u003c/a>. And \u003ca href=\"https://www.flophousepodcast.com/\">\u003cem>The Flop House\u003c/em>\u003c/a>. And many, many others.\u003c/p>\n\u003cp>The putative subjects of these podcasts that turn my eyes into fluttering hearts, in defiance of several basic biological and anatomical laws, vary widely: current events, movies, television, paternally penned erotica. Several are comedy podcasts, where the subject is the collective chemistry of the participants itself.\u003c/p>\n\u003cp>It occurred to me, as I paused in my gorging of the \u003cem>Answer Me This \u003c/em>archive (interrupting Helen and Olly as they were commiserating about what a lousy year 2015 was shaping up to be, which: oh, \u003cem>honey\u003c/em>) that what had triggered this latest infatuation was exactly the same thing that had triggered all those others.\u003c/p>\n\u003cp>This profound sense of adoration I was feeling, I realized then, was not directed at the podcast’s subject, or even, technically, at the hosts themselves. It turns out that what I love, what I hunger for, and what keeps me perpetually searching for new roundtable discussion podcasts, is what gets created at the intersection of these subjects, and these hosts — the particular \u003cem>nature \u003c/em>of these conversations.\u003c/p>\n\u003cp>It creates in me a great upwelling of congenial familiarity, of sense of knowing and being known.\u003c/p>\n\u003cp>Of \u003cem>friendship\u003c/em>, basically.\u003c/p>\n\u003cp>Which is, let’s stipulate here, nuts.\u003c/p>\n\u003cp>But that doesn’t matter: Listening to a favorite podcast — whether you do it over the course of years, months or hours — engenders a powerful sense of intimacy. You come to know the hosts’ tastes, their tics, the phrases they overuse. As they unthinkingly dole out tiny, incremental parcels of information about their personal lives — a new baby here, a beloved pet’s passing there — you realize one day that your brain has unthinkingly constructed exhaustive virtual dossiers on each of them.\u003c/p>\n\u003cp>You listen to them talk to one another in exactly the same way you talk to your friends. You keep them close throughout your day — you can even sleep with them if you want to, that’s your business.\u003c/p>\n\u003cp>Perhaps most crucially, earbuds transmit their voices inside your head — they \u003cem>roost \u003c/em>there, rubbing shoulders with your own thoughts.\u003c/p>\n\u003cp>No wonder you feel as if you know them; that the sound of their voices comes to fire precisely the same neurons, arouse the same feelings, that the voices of your closest friends do.\u003c/p>\n\u003cp>It’s purely biological, and it’s indistinguishable from intimacy — except for one minor, mundane, trifling detail:\u003c/p>\n\u003cp>It’s unidirectional.\u003c/p>\n\u003cp>You know them, you trust them, you \u003cem>love \u003c/em>them, and they have absolutely no idea who you are.\u003c/p>\n\u003cp>Mass media has always fostered this imbalance, of course. You likely feel some sense of ephemeral but deeply personal closeness with the authors of your favorite books, or actors whose work you’ve followed avidly all your life, or familiar radio personalities, maybe there’s a comedian or two whose sensibility you feel lines up with yours.\u003c/p>\n\u003cp>Theaters and movie houses are communal spaces that exist to take you outside of yourself, and transform you into a collective identity — an audience. But radio, television and the Web bring experiences to you, they’re inside your home. And in the case of podcasts, anyway, inside your brain.\u003c/p>\n\u003cp>It’s not logical, this sense that your favorite podcast hosts are your friends, but it’s hard-wired, inescapable. Look, I’m on a podcast myself, and over the years I’ve had several very nice strangers come up to me to remind me of a thing I said once that I don’t remember, or to ask something small and alarmingly specific about my husband, my dog, my favorite movie. It’s both tremendously flattering and a bit disorienting. I’m an open book to them; they’re a blank slate to me.\u003c/p>\n\u003cp>I know all this, and yet I have gone up to the hosts of podcasts I love and done the very same thing. That feeling of closeness bypasses higher brain functions. All of this information, these vast stores of osmotically collected data, these feelings on feelings, are sloshing around inside me; I gotta do \u003cem>something \u003c/em>with them.\u003c/p>\n\u003cp>That’s the singular power of podcasts, I think. (Roundtable discussion podcasts, that is. Obviously there are many different kinds, and the various formats — slick storytelling, authoritatively imparted history, true-crime deep dives — will engender different but related clusters of feelings.)\u003c/p>\n\u003cp>I’ve been thinking about why I feel the way I do about the podcasts I love, and what, precisely, triggers this sense of a deep, enduring, unidirectional intimacy. I’ve narrowed it down to a handful of factors they share.\u003c/p>\n\u003cp>Maybe you’re thinking of starting a podcast with some friends. (It’s 2018, those odds are pretty good.) Here then, humbly submitted, are some traits that, taken together, engender the profound sense of closeness I feel with my favorite podcasts. They’re subjective, of course, and they’re just common sense, but I did want to conclude this post by offering something a bit more concrete than \u003cem>gee podcasts are a thing, hunh?\u003c/em> so here goes:\u003c/p>\n\u003ch3>\u003cstrong>The 6 Eminently Disprovable Rules For Roundtable Podcasting \u003c/strong>\u003c/h3>\n\u003chr>\n\u003ch3>1. Like each other.\u003c/h3>\n\u003cp>This first rule is, of course, the toughest one to achieve. But if you’re trying to hit upon the precise interpersonal alchemical formula that will make us fall in love with your podcast, the best thing to do is not to try. We can sense when something’s forced, when you’ve selected your panel based on something clinical like expertise, instead of something organic like sensibility, or a shared history. If we can hear your respect and affection for each other, we’ll join in with it.\u003c/p>\n\u003cp>(I listed this first, but it’s \u003cem>\u003cstrong>not \u003c/strong>\u003c/em>the most important of these rules. It’s the \u003cstrong>\u003cem>second \u003c/em>\u003c/strong>most important. You’ll see why in a bit.)\u003c/p>\n\u003ch3>2. But maybe don’t, like, \u003cem>love \u003c/em>each other, you know?\u003c/h3>\n\u003cp>Look, there are plenty of great podcasts featuring romantic partners, and many romantic partners have no problem making fun of each other. That’s great, because being able to make fun of each other, and each other’s opinions — lightly, judiciously, respectfully, joyfully — is essential to the endeavor. We want to hear you disagreeing, when you do disagree, in an honest, full-throated way — but we don’t want to worry about your relationship. We don’t want you bringing outside arguments into the mix, or letting discussions descend to a place where you’re simply trying to score points off each other. Keep the stakes low, the conversation bubbling, and when necessary, call each other out with glee, the way friends do.\u003c/p>\n\u003ch3>3. Prepare …\u003c/h3>\n\u003cp>I know you, bunky. You’ve got the gift of gab. You’re eloquent, witty, thoughtful. You don’t want to sound flat, rehearsed, anodyne. You think you can you wing it.\u003c/p>\n\u003cp>Here’s the thing though: You can’t.\u003c/p>\n\u003cp>Attitude is not enough. I’ve unsubscribed from many podcasts over the years because the panelists in question have convinced themselves that a sardonic “What’s THAT about?” amounts to a point of view. It doesn’t. We need more. Think about what you’re going to say: Bring notes, plan phrasing.\u003c/p>\n\u003ch3>4. … but leave room for discovery.\u003c/h3>\n\u003cp>You need to invite us in, and the way you do that is by bringing us along with your thought process. Roundtable podcasts \u003cem>do \u003c/em>need to feel different than polished, heavily produced radio pieces. Slickness is the enemy, it keeps us listening at a far remove. We want to feel like we’re in the room with you. So by all means, prepare, and think about phrasing. But plan ways to say things that will \u003cem>open \u003c/em>the discussion, not shut it down. Invite your fellow panelists into your thinking, and follow along with theirs. Show your work; reach for insights. The goal is for all of you to collectively find something in that room that you hadn’t planned on finding before you went into it.\u003c/p>\n\u003cp>Which is to say: Listen.\u003c/p>\n\u003cp>(This is the \u003cem>third \u003c/em>most important rule.)\u003c/p>\n\u003ch3>5. Be yourself. But better.\u003c/h3>\n\u003cp>Blah blah blah, don’t be slick, it’s important to be raw and real, to reach for conclusions instead of forcing them blah blah blah: Yes. Clearly. That’s all true. Learn it. Internalize it. Live it.\u003c/p>\n\u003cp>… And now forget it. Because the version of you that you need to be on your podcast is a performance.\u003c/p>\n\u003cp>Or maybe it would better to say: a \u003cem>distillation \u003c/em>of yourself. Sharper, cleaner, more efficient. Pithier.\u003c/p>\n\u003cp>Please, for the love of all that is holy, be pithier.\u003c/p>\n\u003cp>How do you do that? Simple:\u003c/p>\n\u003ch3>6. Edit. Edit \u003cem>ruthlessly\u003c/em>. I mean, with \u003cem>no discernible ruth. \u003c/em>At all. None. Think the last 10 minutes of \u003cem>Harold and Maude\u003c/em>. Is how ruthless.\u003c/h3>\n\u003cp>\u003cem>This is the single most important rule of all. \u003c/em>\u003c/p>\n\u003cp>Look, no hyperbole or anything, but it’s the One True Answer to Everything.\u003c/p>\n\u003cp>I know, I \u003cem>know \u003c/em>I’ve hectored you above about how roundtable discussions need to feel loose and shaggy — natural, not polished.\u003c/p>\n\u003cp>But that’s just it. They need to \u003cem>feel \u003c/em>loose and shaggy. Not \u003cem>be\u003c/em>. \u003cem>FEEL\u003c/em>.\u003c/p>\n\u003cp>And that means editing. That means cutting digressions, dead ends, jokes that don’t land, and — if you’re willing (and be willing, oh, do!) — the uhms and aahs and lip-smacks. It means listening back with your aural scalpel and slicing away any dead conversational tissue. When it doubt, take it out.\u003c/p>\n\u003cp>It’s not dishonest. It’s not disingenuous. It’s not slick. It’s a vital service to us, your listeners. It’s a way of centering your discussion, a vital opportunity for you to identify and clearly delineate what makes your podcast uniquely its own.\u003c/p>\n\u003cp>On Pop Culture Happy Hour, we freshly marvel, week after week, at the yawning chasm that stretches between our raw audio and the finished product producer Jessica Reedy delivers. Applying what I call the Jess Filter makes any given episode 100 percent better than it began — and, in the bargain, makes us seem a good 40 to 45 percent smarter than we know ourselves to be.\u003c/p>\n\u003cp>Now: You likely don’t have a Jess. That means the hard duty of editing falls to you. Don’t shirk it. Violate Rules 1 through 5 if you must, but you can still pull things out — you can still inspire legions of listeners to tear through your archives, binge-listening to your every utterance while cartoon hearts flutter around their heads — if you don’t flake on Rule 6.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So go now, and podcast. Podcast like the wind, if the wind were a thing with a podcast! Be brilliant, be witty, be warm (but not \u003cem>too \u003c/em>warm, please, guys), be brutally tough on yourself, and have fun. If you do, so will we. \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=It%27s+All+In+Your+Head%3A+The+One-Way+Intimacy+Of+Podcast+Listening&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I fell in love this week. Happens more often than you might think.\u003c/p>\n\u003cp>But the fact that it’s happened before, and will happen again, doesn’t mean this latest infatuation is any less passionate, abiding, head-over-heels, birds-suddenly-appear, stars-fall-down-from-the-sky resolute.\u003c/p>\n\u003cp>My husband’s cool with it. He always is; we have an understanding. Also the object of my love is a podcast. Probably should have mentioned that at the top.\u003c/p>\n\u003cp>This time it’s \u003ca href=\"http://answermethispodcast.com/\">\u003cem>Answer Me This\u003c/em>\u003c/a>, a (now) biweekly British show entering its 11th year, hosted by Helen Zaltzman and Olly Mann. They answer questions posed to them by the public — that’s it. That’s the whole thing. Except of course it isn’t, and there’s a lot more to it: I spend a few minutes extolling the depth and breadth and height of my passion for the show on an upcoming episode of \u003ca href=\"https://www.npr.org/sections/monkeysee/129472378/pop-culture-happy-hour/\">Pop Culture Happy Hour\u003c/a>, so I won’t jabber on about it here, but just know: It’s great.\u003c/p>\n\u003cp>I did what I always do, with a newly discovered podcast paramour: I binged. I tore through their archive, devouring episode after episode, moving steadily backward through time — Benjamin Buttoning like a goggling fiend. It’s all I’ve listened to for a solid week: on the Metro, at the gym, walking the dog, folding socks, loading the dishwasher, realizing I’d just loaded the dishwasher with folded socks, unloading the dishwasher, you get the idea.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Previously, I’d done the same thing with \u003ca href=\"http://www.maximumfun.org/shows/jordan-jesse-go\">\u003cem>Jordan Jesse Go\u003c/em>\u003c/a>. And\u003cem> \u003c/em>\u003ca href=\"http://thisistheread.com/\">\u003cem>The Read\u003c/em>\u003c/a>. And \u003ca href=\"http://www.gilmoreguysshow.com/\">\u003cem>Gilmore Guys\u003c/em>\u003c/a>. And\u003cem> \u003c/em>\u003ca href=\"http://www.maximumfun.org/shows/stop-podcasting-yourself\">\u003cem>Stop Podcasting Yourself\u003c/em>\u003c/a>. And \u003ca href=\"https://www.buzzfeed.com/anotherround\">\u003cem>Another Round\u003c/em>\u003c/a>. And\u003cem> \u003c/em>\u003ca href=\"http://foreverdogproductions.com/fdpn/podcasts/las-culturistas/\">\u003cem>Las Culturistas\u003c/em>\u003c/a>. And \u003ca href=\"http://www.mydadwroteaporno.com/\">\u003cem>My Dad Wrote A Porno\u003c/em>\u003c/a>. And\u003cem> \u003c/em>\u003ca href=\"https://audioboom.com/channel/Blank-Check\">\u003cem>Blank Check With Griffin And David\u003c/em>\u003c/a>. And \u003ca href=\"https://www.flophousepodcast.com/\">\u003cem>The Flop House\u003c/em>\u003c/a>. And many, many others.\u003c/p>\n\u003cp>The putative subjects of these podcasts that turn my eyes into fluttering hearts, in defiance of several basic biological and anatomical laws, vary widely: current events, movies, television, paternally penned erotica. Several are comedy podcasts, where the subject is the collective chemistry of the participants itself.\u003c/p>\n\u003cp>It occurred to me, as I paused in my gorging of the \u003cem>Answer Me This \u003c/em>archive (interrupting Helen and Olly as they were commiserating about what a lousy year 2015 was shaping up to be, which: oh, \u003cem>honey\u003c/em>) that what had triggered this latest infatuation was exactly the same thing that had triggered all those others.\u003c/p>\n\u003cp>This profound sense of adoration I was feeling, I realized then, was not directed at the podcast’s subject, or even, technically, at the hosts themselves. It turns out that what I love, what I hunger for, and what keeps me perpetually searching for new roundtable discussion podcasts, is what gets created at the intersection of these subjects, and these hosts — the particular \u003cem>nature \u003c/em>of these conversations.\u003c/p>\n\u003cp>It creates in me a great upwelling of congenial familiarity, of sense of knowing and being known.\u003c/p>\n\u003cp>Of \u003cem>friendship\u003c/em>, basically.\u003c/p>\n\u003cp>Which is, let’s stipulate here, nuts.\u003c/p>\n\u003cp>But that doesn’t matter: Listening to a favorite podcast — whether you do it over the course of years, months or hours — engenders a powerful sense of intimacy. You come to know the hosts’ tastes, their tics, the phrases they overuse. As they unthinkingly dole out tiny, incremental parcels of information about their personal lives — a new baby here, a beloved pet’s passing there — you realize one day that your brain has unthinkingly constructed exhaustive virtual dossiers on each of them.\u003c/p>\n\u003cp>You listen to them talk to one another in exactly the same way you talk to your friends. You keep them close throughout your day — you can even sleep with them if you want to, that’s your business.\u003c/p>\n\u003cp>Perhaps most crucially, earbuds transmit their voices inside your head — they \u003cem>roost \u003c/em>there, rubbing shoulders with your own thoughts.\u003c/p>\n\u003cp>No wonder you feel as if you know them; that the sound of their voices comes to fire precisely the same neurons, arouse the same feelings, that the voices of your closest friends do.\u003c/p>\n\u003cp>It’s purely biological, and it’s indistinguishable from intimacy — except for one minor, mundane, trifling detail:\u003c/p>\n\u003cp>It’s unidirectional.\u003c/p>\n\u003cp>You know them, you trust them, you \u003cem>love \u003c/em>them, and they have absolutely no idea who you are.\u003c/p>\n\u003cp>Mass media has always fostered this imbalance, of course. You likely feel some sense of ephemeral but deeply personal closeness with the authors of your favorite books, or actors whose work you’ve followed avidly all your life, or familiar radio personalities, maybe there’s a comedian or two whose sensibility you feel lines up with yours.\u003c/p>\n\u003cp>Theaters and movie houses are communal spaces that exist to take you outside of yourself, and transform you into a collective identity — an audience. But radio, television and the Web bring experiences to you, they’re inside your home. And in the case of podcasts, anyway, inside your brain.\u003c/p>\n\u003cp>It’s not logical, this sense that your favorite podcast hosts are your friends, but it’s hard-wired, inescapable. Look, I’m on a podcast myself, and over the years I’ve had several very nice strangers come up to me to remind me of a thing I said once that I don’t remember, or to ask something small and alarmingly specific about my husband, my dog, my favorite movie. It’s both tremendously flattering and a bit disorienting. I’m an open book to them; they’re a blank slate to me.\u003c/p>\n\u003cp>I know all this, and yet I have gone up to the hosts of podcasts I love and done the very same thing. That feeling of closeness bypasses higher brain functions. All of this information, these vast stores of osmotically collected data, these feelings on feelings, are sloshing around inside me; I gotta do \u003cem>something \u003c/em>with them.\u003c/p>\n\u003cp>That’s the singular power of podcasts, I think. (Roundtable discussion podcasts, that is. Obviously there are many different kinds, and the various formats — slick storytelling, authoritatively imparted history, true-crime deep dives — will engender different but related clusters of feelings.)\u003c/p>\n\u003cp>I’ve been thinking about why I feel the way I do about the podcasts I love, and what, precisely, triggers this sense of a deep, enduring, unidirectional intimacy. I’ve narrowed it down to a handful of factors they share.\u003c/p>\n\u003cp>Maybe you’re thinking of starting a podcast with some friends. (It’s 2018, those odds are pretty good.) Here then, humbly submitted, are some traits that, taken together, engender the profound sense of closeness I feel with my favorite podcasts. They’re subjective, of course, and they’re just common sense, but I did want to conclude this post by offering something a bit more concrete than \u003cem>gee podcasts are a thing, hunh?\u003c/em> so here goes:\u003c/p>\n\u003ch3>\u003cstrong>The 6 Eminently Disprovable Rules For Roundtable Podcasting \u003c/strong>\u003c/h3>\n\u003chr>\n\u003ch3>1. Like each other.\u003c/h3>\n\u003cp>This first rule is, of course, the toughest one to achieve. But if you’re trying to hit upon the precise interpersonal alchemical formula that will make us fall in love with your podcast, the best thing to do is not to try. We can sense when something’s forced, when you’ve selected your panel based on something clinical like expertise, instead of something organic like sensibility, or a shared history. If we can hear your respect and affection for each other, we’ll join in with it.\u003c/p>\n\u003cp>(I listed this first, but it’s \u003cem>\u003cstrong>not \u003c/strong>\u003c/em>the most important of these rules. It’s the \u003cstrong>\u003cem>second \u003c/em>\u003c/strong>most important. You’ll see why in a bit.)\u003c/p>\n\u003ch3>2. But maybe don’t, like, \u003cem>love \u003c/em>each other, you know?\u003c/h3>\n\u003cp>Look, there are plenty of great podcasts featuring romantic partners, and many romantic partners have no problem making fun of each other. That’s great, because being able to make fun of each other, and each other’s opinions — lightly, judiciously, respectfully, joyfully — is essential to the endeavor. We want to hear you disagreeing, when you do disagree, in an honest, full-throated way — but we don’t want to worry about your relationship. We don’t want you bringing outside arguments into the mix, or letting discussions descend to a place where you’re simply trying to score points off each other. Keep the stakes low, the conversation bubbling, and when necessary, call each other out with glee, the way friends do.\u003c/p>\n\u003ch3>3. Prepare …\u003c/h3>\n\u003cp>I know you, bunky. You’ve got the gift of gab. You’re eloquent, witty, thoughtful. You don’t want to sound flat, rehearsed, anodyne. You think you can you wing it.\u003c/p>\n\u003cp>Here’s the thing though: You can’t.\u003c/p>\n\u003cp>Attitude is not enough. I’ve unsubscribed from many podcasts over the years because the panelists in question have convinced themselves that a sardonic “What’s THAT about?” amounts to a point of view. It doesn’t. We need more. Think about what you’re going to say: Bring notes, plan phrasing.\u003c/p>\n\u003ch3>4. … but leave room for discovery.\u003c/h3>\n\u003cp>You need to invite us in, and the way you do that is by bringing us along with your thought process. Roundtable podcasts \u003cem>do \u003c/em>need to feel different than polished, heavily produced radio pieces. Slickness is the enemy, it keeps us listening at a far remove. We want to feel like we’re in the room with you. So by all means, prepare, and think about phrasing. But plan ways to say things that will \u003cem>open \u003c/em>the discussion, not shut it down. Invite your fellow panelists into your thinking, and follow along with theirs. Show your work; reach for insights. The goal is for all of you to collectively find something in that room that you hadn’t planned on finding before you went into it.\u003c/p>\n\u003cp>Which is to say: Listen.\u003c/p>\n\u003cp>(This is the \u003cem>third \u003c/em>most important rule.)\u003c/p>\n\u003ch3>5. Be yourself. But better.\u003c/h3>\n\u003cp>Blah blah blah, don’t be slick, it’s important to be raw and real, to reach for conclusions instead of forcing them blah blah blah: Yes. Clearly. That’s all true. Learn it. Internalize it. Live it.\u003c/p>\n\u003cp>… And now forget it. Because the version of you that you need to be on your podcast is a performance.\u003c/p>\n\u003cp>Or maybe it would better to say: a \u003cem>distillation \u003c/em>of yourself. Sharper, cleaner, more efficient. Pithier.\u003c/p>\n\u003cp>Please, for the love of all that is holy, be pithier.\u003c/p>\n\u003cp>How do you do that? Simple:\u003c/p>\n\u003ch3>6. Edit. Edit \u003cem>ruthlessly\u003c/em>. I mean, with \u003cem>no discernible ruth. \u003c/em>At all. None. Think the last 10 minutes of \u003cem>Harold and Maude\u003c/em>. Is how ruthless.\u003c/h3>\n\u003cp>\u003cem>This is the single most important rule of all. \u003c/em>\u003c/p>\n\u003cp>Look, no hyperbole or anything, but it’s the One True Answer to Everything.\u003c/p>\n\u003cp>I know, I \u003cem>know \u003c/em>I’ve hectored you above about how roundtable discussions need to feel loose and shaggy — natural, not polished.\u003c/p>\n\u003cp>But that’s just it. They need to \u003cem>feel \u003c/em>loose and shaggy. Not \u003cem>be\u003c/em>. \u003cem>FEEL\u003c/em>.\u003c/p>\n\u003cp>And that means editing. That means cutting digressions, dead ends, jokes that don’t land, and — if you’re willing (and be willing, oh, do!) — the uhms and aahs and lip-smacks. It means listening back with your aural scalpel and slicing away any dead conversational tissue. When it doubt, take it out.\u003c/p>\n\u003cp>It’s not dishonest. It’s not disingenuous. It’s not slick. It’s a vital service to us, your listeners. It’s a way of centering your discussion, a vital opportunity for you to identify and clearly delineate what makes your podcast uniquely its own.\u003c/p>\n\u003cp>On Pop Culture Happy Hour, we freshly marvel, week after week, at the yawning chasm that stretches between our raw audio and the finished product producer Jessica Reedy delivers. Applying what I call the Jess Filter makes any given episode 100 percent better than it began — and, in the bargain, makes us seem a good 40 to 45 percent smarter than we know ourselves to be.\u003c/p>\n\u003cp>Now: You likely don’t have a Jess. That means the hard duty of editing falls to you. Don’t shirk it. Violate Rules 1 through 5 if you must, but you can still pull things out — you can still inspire legions of listeners to tear through your archives, binge-listening to your every utterance while cartoon hearts flutter around their heads — if you don’t flake on Rule 6.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So go now, and podcast. Podcast like the wind, if the wind were a thing with a podcast! Be brilliant, be witty, be warm (but not \u003cem>too \u003c/em>warm, please, guys), be brutally tough on yourself, and have fun. If you do, so will we. \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=It%27s+All+In+Your+Head%3A+The+One-Way+Intimacy+Of+Podcast+Listening&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When Orlando (Francisco Reyes) enters a rooftop supper-club in Santiago at the beginning of the film, he can’t take his eyes off Marina (Daniela Vega), a striking young vocalist who’s crooning lyrics about throwing her boyfriend out with the garbage because, she sings, his love “is like yesterday’s newspaper.” \u003c/p>\n\u003cp>She sings that line straight to Orlando, with a little smile. She’s definitely not throwing \u003cem>him\u003c/em> away … she’s moving into his apartment as soon as they celebrate her 27th birthday. \u003c/p>\n\u003cp>But that night, things take a terrible turn. Orlando wakes up feeling ill. Marina rushes him to the hospital, where less than half an hour later, he dies due to an aneurysm. \u003c/p>\n\u003cp>At that point, Marina’s ordeal is only beginning. The doctors who couldn’t save Orlando look at Marina in the harsh hospital lighting and begin to treat her as a suspect. A policeman demands to see identification and frowns at the fact that the name on her ID card is “Daniel.”\u003c/p>\n\u003cp>https://youtu.be/PJHex4ZitgA\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>A Fantastic Woman\u003c/em> is Chile’s submission to this year’s Academy Awards, and it’ll be one of the five films up for best foreign language film on Oscar night. Director Sebastian Lelio often makes films with strong, complicated women at their centers — his 2013 awards-circuit hit, \u003cem>Gloria\u003c/em> for instance. In Marina, he’s got a uniquely striking heroine, whom he is forever surrounding with mirrors and reflective surfaces, as if determined that we should see her from every possible angle. \u003c/p>\n\u003cp>The director first encountered Daniela Vega, who plays Marina, while researching Santiago’s transgender community. Initially a consultant, Vega not only won the part, she clearly influenced it — she is herself a trans woman, and an opera-trained singer who supplies her own vocals throughout the film. Vega gives Marina a fierce dignity that the character needs when dealing with Orlando’s son and with his ex-wife, who refuses even to see Marina as a woman.\u003c/p>\n\u003cp>“When I look at you I don’t know what I’m seeing” she says bluntly, but she also uses the word “perversion” — which suggests she at least knows what she \u003cem>thinks\u003c/em> about what she’s seeing. And she’s adamant that Marina not attend Orlando’s funeral, something she emphasizes by always addressing him as Daniel.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Complicated,” she says at one point, “quantum physics complicated.” The film reflects that, while also acknowledging that things don’t have to be. Even as she copes with her own grief, Marina must deal with being mistreated, misjudged, even mugged. And then there’ll be a moment of grace — as a gentleman simply stands aside to let her enter an elevator first. Someone who can navigate all that, and remain resilient, assertive, even charismatic? Yes — she’s a fantastic woman.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>A Fantastic Woman\u003c/em> is Chile’s submission to this year’s Academy Awards, and it’ll be one of the five films up for best foreign language film on Oscar night. Director Sebastian Lelio often makes films with strong, complicated women at their centers — his 2013 awards-circuit hit, \u003cem>Gloria\u003c/em> for instance. In Marina, he’s got a uniquely striking heroine, whom he is forever surrounding with mirrors and reflective surfaces, as if determined that we should see her from every possible angle. \u003c/p>\n\u003cp>The director first encountered Daniela Vega, who plays Marina, while researching Santiago’s transgender community. Initially a consultant, Vega not only won the part, she clearly influenced it — she is herself a trans woman, and an opera-trained singer who supplies her own vocals throughout the film. Vega gives Marina a fierce dignity that the character needs when dealing with Orlando’s son and with his ex-wife, who refuses even to see Marina as a woman.\u003c/p>\n\u003cp>“When I look at you I don’t know what I’m seeing” she says bluntly, but she also uses the word “perversion” — which suggests she at least knows what she \u003cem>thinks\u003c/em> about what she’s seeing. And she’s adamant that Marina not attend Orlando’s funeral, something she emphasizes by always addressing him as Daniel.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Complicated,” she says at one point, “quantum physics complicated.” The film reflects that, while also acknowledging that things don’t have to be. Even as she copes with her own grief, Marina must deal with being mistreated, misjudged, even mugged. And then there’ll be a moment of grace — as a gentleman simply stands aside to let her enter an elevator first. Someone who can navigate all that, and remain resilient, assertive, even charismatic? Yes — she’s a fantastic woman.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A lot of very hard work is going on at the National Portrait Gallery in Washington, D.C.\u003c/p>\n\u003cp>A muscled guy in an undershirt tightens a big bolt with his wrench; a farm worker bends almost in half, filling his sack with cotton; Rosie the Riveter rolls up her sleeve to tackle her factory job. They’re all part of an exhibition called “\u003ca href=\"http://npg.si.edu/sweat-of-their-face\">The Sweat Of Their Face: Portraying American Workers\u003c/a>.”\u003c/p>\n\u003cp>But not all the laborers are big and burly.\u003c/p>\n\u003cp>A forlorn young girl — she can’t be more than 11 or 12 — stands at a long row of spools of thread mounted on a big piece of complicated machinery. Photographer Lewis Wickes Hine wrote her name and height on the back of the picture: “Sadie Pfeifer, 48 inches high, has worked half a year.” She had a job in 1908 at the Lancaster Cotton Mills in South Carolina. You can almost hear the noise, feel the heat.\u003c/p>\n\u003cp>“And there she is, this little girl, alone, facing an enormous machine,” says Dorothy Moss, who curated this show with David C. Ward. She says Hine was a crusader, and his cause was to abolish child labor. “He would often disguise himself as a Bible vendor or newspaper deliverer, other professions, to get into these mills.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hine put himself at risk to take these pictures, and, with the camera as witness, reforms and regulations were enacted. This exhibition showcases centuries of American workers. They are, as Moss says,”the people who were building this country, who may be on the sidelines, who are not always the focus of our attention. But because artists often identify as workers, artists felt strongly to bring these peoples’ stories out and to honor them.”\u003c/p>\n\u003cp>In this century, Los Angeles painter Ramiro Gomez honors his parents (his mother is a janitor; his father is a truck driver) by adding workers onto copies of iconic American paintings. In his version of \u003ca href=\"http://www.david-hockney.org/man-taking-shower/\">David Hockney’s \u003cem>Man in Shower in Beverly Hills\u003c/em>\u003c/a>, Gomez deletes the man and inserts a cleaning woman; we can’t see her face — just her hands squeegee-ing the shower tiles. Gomez is making the invisible visible; he and others in the show take workers we never notice, and make us notice.\u003c/p>\n\u003cfigure id=\"attachment_13823494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/sf80-woman-cleaning-shower-gomez-2014_enl-fc2ec4707c6888d9857b6eae71f6d97fb18274c7-2-800x798.jpg\" alt=\"In his version of a famous David Hockney painting, Ramiro Gomez deletes the man and inserts a cleaning woman. The result is 'Woman Cleaning Shower in Beverly Hills.'\" width=\"800\" height=\"798\" class=\"size-medium wp-image-13823494\">\u003cfigcaption class=\"wp-caption-text\">In his version of a famous David Hockney painting, Ramiro Gomez deletes the man and inserts a cleaning woman. The result is ‘Woman Cleaning Shower in Beverly Hills.’\u003c/figcaption>\u003c/figure>\n\u003cp>A food worker in a Subway sandwich store gets the full treatment from photographer Shauna Frischkorn. She puts him against a black background, and lights his face to look sculptural. The black and green Subway cap sits on his red hair like a crown. It’s like a Renaissance portrait, but with a little smile — a twinkle.\u003c/p>\n\u003cp>“She’s restoring his humanity through the pose and lighting,” Moss says.\u003c/p>\n\u003cp>While the workers aren’t known, some of the artists who portray them are famous. The exhibition includes photographs by Dorothea Lange, Gordon Parks and Ansel Adams, and it has paintings by Winslow Homer and George Bellows.\u003c/p>\n\u003cfigure id=\"attachment_13823499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/subway-artist-800x524.jpg\" alt=\"Left: 'Kean, Subway Sandwich Artist' by Shauna Frischkorn. Right: 'Pat Lyon 'at the Forgev by John Neagle.\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13823499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-520x341.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Kean, Subway Sandwich Artist’ by Shauna Frischkorn. Right: ‘Pat Lyon ‘at the Forgev by John Neagle. \u003ccite>(Shauna Frischkorn; Pennsylvania Academy of the Fine Arts, Philadelphia/Courtesy of the National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists are less familiar. John Neagle was fashionable in his day, less so now. Still, his 1829 portrait of Pat Lyon is a marvel. It shows a big, beefy guy in a leather apron — a blacksmith at his anvil. The muscles strain in his right arm. In real life, Pat Lyon was falsely accused of theft and jailed for three years — then he became a wealthy businessman. Yet the painter shows him sweating at his anvil, at Lyon’s request.\u003c/p>\n\u003cp>“He said he wanted to be shown as a working man because the working people of this country are the most honest people of the country,” Moss says.\u003c/p>\n\u003cp>For an image of someone actually enjoying their work, Moss points to Dawoud Bey’s 1976 photo \u003cem>Mr. Moore’s Bar-B-Que, 125th Street\u003c/em>. The owner beams from behind his Harlem lunch counter. He’s looked up from talking with a customer who’s waiting for her food. (She’s smoking, and better flick off the long cigarette ash pretty soon.) Mr. Moore’s apron is stained, probably with barbecue sauce, and he looks welcoming and proud.\u003c/p>\n\u003cfigure id=\"attachment_13823496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/mooresbbq_custom-efac2fb9c3da488e836434203a8637663ddf5164-2-800x531.jpg\" alt=\"Dawoud Bey's 'Mr. Moore's Bar-B-Que, 125th Street' shows someone actually enjoying their work.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13823496\">\u003cfigcaption class=\"wp-caption-text\">Dawoud Bey’s ‘Mr. Moore’s Bar-B-Que, 125th Street’ shows someone actually enjoying their work.\u003c/figcaption>\u003c/figure>\n\u003cp>“It looks like a wonderful place to spend an afternoon,” Moss says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Workers of the world — well, the United States, anyway — unite at this Portrait Gallery exhibition. “The Sweat Of Their Face” reminds visitors of the range of vital work we do — and the ways we feel about it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Sandwich+Shops+To+Cotton+Mills%2C+Art+That+Honors+The+American+Worker&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of very hard work is going on at the National Portrait Gallery in Washington, D.C.\u003c/p>\n\u003cp>A muscled guy in an undershirt tightens a big bolt with his wrench; a farm worker bends almost in half, filling his sack with cotton; Rosie the Riveter rolls up her sleeve to tackle her factory job. They’re all part of an exhibition called “\u003ca href=\"http://npg.si.edu/sweat-of-their-face\">The Sweat Of Their Face: Portraying American Workers\u003c/a>.”\u003c/p>\n\u003cp>But not all the laborers are big and burly.\u003c/p>\n\u003cp>A forlorn young girl — she can’t be more than 11 or 12 — stands at a long row of spools of thread mounted on a big piece of complicated machinery. Photographer Lewis Wickes Hine wrote her name and height on the back of the picture: “Sadie Pfeifer, 48 inches high, has worked half a year.” She had a job in 1908 at the Lancaster Cotton Mills in South Carolina. You can almost hear the noise, feel the heat.\u003c/p>\n\u003cp>“And there she is, this little girl, alone, facing an enormous machine,” says Dorothy Moss, who curated this show with David C. Ward. She says Hine was a crusader, and his cause was to abolish child labor. “He would often disguise himself as a Bible vendor or newspaper deliverer, other professions, to get into these mills.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hine put himself at risk to take these pictures, and, with the camera as witness, reforms and regulations were enacted. This exhibition showcases centuries of American workers. They are, as Moss says,”the people who were building this country, who may be on the sidelines, who are not always the focus of our attention. But because artists often identify as workers, artists felt strongly to bring these peoples’ stories out and to honor them.”\u003c/p>\n\u003cp>In this century, Los Angeles painter Ramiro Gomez honors his parents (his mother is a janitor; his father is a truck driver) by adding workers onto copies of iconic American paintings. In his version of \u003ca href=\"http://www.david-hockney.org/man-taking-shower/\">David Hockney’s \u003cem>Man in Shower in Beverly Hills\u003c/em>\u003c/a>, Gomez deletes the man and inserts a cleaning woman; we can’t see her face — just her hands squeegee-ing the shower tiles. Gomez is making the invisible visible; he and others in the show take workers we never notice, and make us notice.\u003c/p>\n\u003cfigure id=\"attachment_13823494\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/sf80-woman-cleaning-shower-gomez-2014_enl-fc2ec4707c6888d9857b6eae71f6d97fb18274c7-2-800x798.jpg\" alt=\"In his version of a famous David Hockney painting, Ramiro Gomez deletes the man and inserts a cleaning woman. The result is 'Woman Cleaning Shower in Beverly Hills.'\" width=\"800\" height=\"798\" class=\"size-medium wp-image-13823494\">\u003cfigcaption class=\"wp-caption-text\">In his version of a famous David Hockney painting, Ramiro Gomez deletes the man and inserts a cleaning woman. The result is ‘Woman Cleaning Shower in Beverly Hills.’\u003c/figcaption>\u003c/figure>\n\u003cp>A food worker in a Subway sandwich store gets the full treatment from photographer Shauna Frischkorn. She puts him against a black background, and lights his face to look sculptural. The black and green Subway cap sits on his red hair like a crown. It’s like a Renaissance portrait, but with a little smile — a twinkle.\u003c/p>\n\u003cp>“She’s restoring his humanity through the pose and lighting,” Moss says.\u003c/p>\n\u003cp>While the workers aren’t known, some of the artists who portray them are famous. The exhibition includes photographs by Dorothea Lange, Gordon Parks and Ansel Adams, and it has paintings by Winslow Homer and George Bellows.\u003c/p>\n\u003cfigure id=\"attachment_13823499\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/subway-artist-800x524.jpg\" alt=\"Left: 'Kean, Subway Sandwich Artist' by Shauna Frischkorn. Right: 'Pat Lyon 'at the Forgev by John Neagle.\" width=\"800\" height=\"524\" class=\"size-medium wp-image-13823499\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-768x503.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-240x157.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-375x246.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/02/subway-artist-520x341.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Left: ‘Kean, Subway Sandwich Artist’ by Shauna Frischkorn. Right: ‘Pat Lyon ‘at the Forgev by John Neagle. \u003ccite>(Shauna Frischkorn; Pennsylvania Academy of the Fine Arts, Philadelphia/Courtesy of the National Portrait Gallery)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Other artists are less familiar. John Neagle was fashionable in his day, less so now. Still, his 1829 portrait of Pat Lyon is a marvel. It shows a big, beefy guy in a leather apron — a blacksmith at his anvil. The muscles strain in his right arm. In real life, Pat Lyon was falsely accused of theft and jailed for three years — then he became a wealthy businessman. Yet the painter shows him sweating at his anvil, at Lyon’s request.\u003c/p>\n\u003cp>“He said he wanted to be shown as a working man because the working people of this country are the most honest people of the country,” Moss says.\u003c/p>\n\u003cp>For an image of someone actually enjoying their work, Moss points to Dawoud Bey’s 1976 photo \u003cem>Mr. Moore’s Bar-B-Que, 125th Street\u003c/em>. The owner beams from behind his Harlem lunch counter. He’s looked up from talking with a customer who’s waiting for her food. (She’s smoking, and better flick off the long cigarette ash pretty soon.) Mr. Moore’s apron is stained, probably with barbecue sauce, and he looks welcoming and proud.\u003c/p>\n\u003cfigure id=\"attachment_13823496\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/02/mooresbbq_custom-efac2fb9c3da488e836434203a8637663ddf5164-2-800x531.jpg\" alt=\"Dawoud Bey's 'Mr. Moore's Bar-B-Que, 125th Street' shows someone actually enjoying their work.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13823496\">\u003cfigcaption class=\"wp-caption-text\">Dawoud Bey’s ‘Mr. Moore’s Bar-B-Que, 125th Street’ shows someone actually enjoying their work.\u003c/figcaption>\u003c/figure>\n\u003cp>“It looks like a wonderful place to spend an afternoon,” Moss says.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Workers of the world — well, the United States, anyway — unite at this Portrait Gallery exhibition. “The Sweat Of Their Face” reminds visitors of the range of vital work we do — and the ways we feel about it. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+Sandwich+Shops+To+Cotton+Mills%2C+Art+That+Honors+The+American+Worker&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Truck Driver Plows Over Peru's Nazca Lines, Leaving 'Deep Scars'",
"headTitle": "Truck Driver Plows Over Peru’s Nazca Lines, Leaving ‘Deep Scars’ | KQED",
"content": "\u003cp>A semitrailer driver ignored warning signs and drove over Peru’s famous Nazca Lines on Saturday, causing significant damage to the UNESCO World Heritage site.\u003c/p>\n\u003cp>The driver, identified as 40-year-old \u003ca href=\"https://twitter.com/FiscaliaPeru/status/958496177774739456?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fperu21.pe%2Fperu%2Flineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\" target=\"_blank\" rel=\"noopener\">Jainer Jesús Flores Vigo\u003c/a>, was detained and released, \u003ca href=\"https://peru21.pe/peru/lineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\" target=\"_blank\" rel=\"noopener\">according\u003c/a> to newspaper \u003cem>Peru21.\u003c/em>\u003c/p>\n\u003cp>https://twitter.com/MinCulturaPe/status/958120324029173760\u003c/p>\n\u003cp>The lines were scratched into the ground approximately 2,000 years ago and depict animals, plants, imaginary creatures and geometric figures miles long. Nazca’s lines and geoglyphs stretch across an area of about 280 square miles.\u003c/p>\n\u003cp>A magistrate concluded that there wasn’t sufficient evidence to indicate the driver acted with intent, \u003cem>Peru21 \u003c/em>reports. Peru’s public minister \u003ca href=\"https://peru21.pe/peru/lineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\">announced\u003c/a> that Nazca’s prosecutor’s office was appealing the judge’s decision. The ministry had sought nine months of preventive detention and a $1,550 fine while the investigation continues, according to the newspaper.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The rig left “deep scars” across a 50 meter by 100 meter (104 feet by 328 feet) area, \u003ca href=\"http://www.cultura.gob.pe/es/comunicacion/noticia/comunicado-ministerio-de-cultura-denuncia-penalmente-chofer-de-camion-que\" target=\"_blank\" rel=\"noopener\">the Culture Ministry said\u003c/a>, affecting the surface of the ancient site and damaging three of the geoglyphs. \u003c/p>\n\u003cp>Argentine newspaper \u003cem>Clarín\u003c/em> \u003ca href=\"https://www.clarin.com/sociedad/desvio-camino-paso-camion-historicas-lineas-nazca-piden-meses-prision-preventiva_0_H1GYPvRrf.html\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that the driver said he didn’t know the area because he had never traveled there before and that he left the road because of a mechanical problem. The newspaper speculated that the driver actually drove off the Pan-American Highway to avoid paying a toll.\u003c/p>\n\u003cp>UNESCO \u003ca href=\"http://whc.unesco.org/en/list/700\" target=\"_blank\" rel=\"noopener\">says \u003c/a>the Nazca site is “the most outstanding group of geoglyphs anywhere in the world and are unmatched in its extent, magnitude, quantity, size, diversity and ancient tradition to any similar work in the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This isn’t the first time people have damaged the site. In 2014, Greenpeace activists left footprints as they planted a message there in advance of U.N. climate talks in Lima. \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=Truck+Driver+Plows+Over+Peru%27s+2%2C000-Year-Old+Nazca+Lines%2C+Leaving+%27Deep+Scars%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A semitrailer driver ignored warning signs and drove over Peru’s famous Nazca Lines on Saturday, causing significant damage to the UNESCO World Heritage site.\u003c/p>\n\u003cp>The driver, identified as 40-year-old \u003ca href=\"https://twitter.com/FiscaliaPeru/status/958496177774739456?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fperu21.pe%2Fperu%2Flineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\" target=\"_blank\" rel=\"noopener\">Jainer Jesús Flores Vigo\u003c/a>, was detained and released, \u003ca href=\"https://peru21.pe/peru/lineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\" target=\"_blank\" rel=\"noopener\">according\u003c/a> to newspaper \u003cem>Peru21.\u003c/em>\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>The lines were scratched into the ground approximately 2,000 years ago and depict animals, plants, imaginary creatures and geometric figures miles long. Nazca’s lines and geoglyphs stretch across an area of about 280 square miles.\u003c/p>\n\u003cp>A magistrate concluded that there wasn’t sufficient evidence to indicate the driver acted with intent, \u003cem>Peru21 \u003c/em>reports. Peru’s public minister \u003ca href=\"https://peru21.pe/peru/lineas-nazca-chofer-camion-destruyo-patrimonio-liberado-393916\">announced\u003c/a> that Nazca’s prosecutor’s office was appealing the judge’s decision. The ministry had sought nine months of preventive detention and a $1,550 fine while the investigation continues, according to the newspaper.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The rig left “deep scars” across a 50 meter by 100 meter (104 feet by 328 feet) area, \u003ca href=\"http://www.cultura.gob.pe/es/comunicacion/noticia/comunicado-ministerio-de-cultura-denuncia-penalmente-chofer-de-camion-que\" target=\"_blank\" rel=\"noopener\">the Culture Ministry said\u003c/a>, affecting the surface of the ancient site and damaging three of the geoglyphs. \u003c/p>\n\u003cp>Argentine newspaper \u003cem>Clarín\u003c/em> \u003ca href=\"https://www.clarin.com/sociedad/desvio-camino-paso-camion-historicas-lineas-nazca-piden-meses-prision-preventiva_0_H1GYPvRrf.html\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that the driver said he didn’t know the area because he had never traveled there before and that he left the road because of a mechanical problem. The newspaper speculated that the driver actually drove off the Pan-American Highway to avoid paying a toll.\u003c/p>\n\u003cp>UNESCO \u003ca href=\"http://whc.unesco.org/en/list/700\" target=\"_blank\" rel=\"noopener\">says \u003c/a>the Nazca site is “the most outstanding group of geoglyphs anywhere in the world and are unmatched in its extent, magnitude, quantity, size, diversity and ancient tradition to any similar work in the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This isn’t the first time people have damaged the site. In 2014, Greenpeace activists left footprints as they planted a message there in advance of U.N. climate talks in Lima. \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=Truck+Driver+Plows+Over+Peru%27s+2%2C000-Year-Old+Nazca+Lines%2C+Leaving+%27Deep+Scars%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Super Bowl halftime show is arguably as big a spectacle as the actual game. And back in 2015, it launched an unwitting star.\u003c/p>\n\u003cp>Katy Perry was the halftime artist, but one of her dancers stole the spotlight. During her performance of the song “Teenage Dream,” she was flanked onstage by two dancers dressed in enormous blue shark costumes. The one on the right seemed to dance in sync; \u003ca href=\"https://www.youtube.com/watch?v=WmcWZ2Bzoho\">the one on the other side\u003c/a> flailed as if he’d been encased in that costume against his will.\u003c/p>\n\u003cp>“Left Shark” became an instant sensation. \u003c/p>\n\u003cp>Everyone wanted to know: Could he not hear the music? Could he not see his cues from inside that costume? What happened? \u003c/p>\n\u003cp>At the time, the man inside Left Shark refused to talk to news outlets. That’s since changed.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Left Shark’s real name is Bryan Gaw. He’d been a dancer with Katy Perry’s touring ensemble for five years. He left the road about a year ago, and today he’s a hair stylist at Mare Salon in West Hollywood. That’s where NPR’s David Greene caught up with him.\u003c/p>\n\u003cfigure id=\"attachment_13823252\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg\" alt=\"Bryan Gaw: dancer with Katy Perry's touring ensemble, hair stylist, Left Shark.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13823252\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1920x1280.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/img_8483_slide-8bc0f7b361942f9864d3c9f342300e587bf40296.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Bryan Gaw: dancer with Katy Perry’s touring ensemble, hair stylist, Left Shark. \u003ccite>(Danny Hajek/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gaw explained that the role of Left Shark involved some freedom of expression. “So there’s a set choreography,” he said. “There’s also what’s called free-style choreography, or, like, you get to move around or play your character as a dancer. … I’m in a 7-foot blue shark costume. There’s no cool in that. So what’s the other option? Well, I’m gonna play a different character.”\u003c/p>\n\u003cp>And that character, he claims, was an underdog. An everyday person. Someone imperfect.\u003c/p>\n\u003cp>Gaw rehearsed his improvisational moment thinking he’d be a little goofy, but when he reached midfield at the Super Bowl, his movements became maximum goofy.\u003c/p>\n\u003cp> “Totally,” Gaw says with a laugh. “I’m on a maximum stage!” \u003c/p>\n\u003cp>https://twitter.com/katyperry/status/562539448588435456\u003c/p>\n\u003cp>https://twitter.com/desusnice/status/562065864149966850\u003c/p>\n\u003cp>https://twitter.com/James_Dator/status/562291770751733760\u003c/p>\n\u003cp>It took Gaw a while to get used to his newfound fame. In the immediate aftermath, the media had a field day with what was perceived as a botched performance. Social media was especially cutting. Gaw didn’t talk about it publicly at first — he said he didn’t want to draw attention away from Katy Perry. But he’s since found a lot of love for Left Shark. \u003c/p>\n\u003cp>“Actually I don’t get any negative feedback from it. If anything, people are, like, ‘Whoa, that’s so cool!’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Now, Gaw even lists Left Shark on his resume. \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=The+Man+Behind+%27Left+Shark%27+Explains+His+Viral+Super+Bowl+Moment&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Super Bowl halftime show is arguably as big a spectacle as the actual game. And back in 2015, it launched an unwitting star.\u003c/p>\n\u003cp>Katy Perry was the halftime artist, but one of her dancers stole the spotlight. During her performance of the song “Teenage Dream,” she was flanked onstage by two dancers dressed in enormous blue shark costumes. The one on the right seemed to dance in sync; \u003ca href=\"https://www.youtube.com/watch?v=WmcWZ2Bzoho\">the one on the other side\u003c/a> flailed as if he’d been encased in that costume against his will.\u003c/p>\n\u003cp>“Left Shark” became an instant sensation. \u003c/p>\n\u003cp>Everyone wanted to know: Could he not hear the music? Could he not see his cues from inside that costume? What happened? \u003c/p>\n\u003cp>At the time, the man inside Left Shark refused to talk to news outlets. That’s since changed.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s time to acknowledge that the Grammy Awards has a real race problem on its hands: It’s racing toward total irrelevance.\u003c/p>\n\u003cp>Well before the night reached its disappointing apex, viewers were already feeling let down. “[S]till mad as hell that I kept watching the Grammys after Best New Artist,” Nadeska Alexis, the moderator of Complex’s \u003cem>Everyday Struggle\u003c/em> hip-hop commentary show, tweeted during her morning-after commute today, echoing the sentiments of most hip-hop fans. She was referring to the loss by R&B darling SZA in the Best New Artist category, despite the breakout success of her debut album \u003cem>Ctrl\u003c/em> in 2017. The loss by Kendrick Lamar’s Top Dawg Entertainment labelmate foreshadowed the rest of the 60th Annual Grammy Awards.\u003c/p>\n\u003cp>[contextly_sidebar id=”7FctIg3iAu3HXUgtXuItolE9k4067uR6″]\u003c/p>\n\u003cp>This happened despite the Academy’s attempt to make up for its history of snubs where hip-hop, and black music in general, are concerned. The main event of November’s nominations was the record number of rap artists nominated outside the hip-hop categories. For those keeping score, it signaled that the Academy might finally be ready to acknowledge that the genre’s impact is much broader than the narrow confines to which it has historically been relegated. The recognition seemed to coincide with the rise of hip-hop/R&B — i.e. black music — as the \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8085975/us-music-consumption-up-2017-rb-hip-hop-most-popular-genre\">most-consumed genre\u003c/a> in 2017.\u003c/p>\n\u003cp>Two of 2017’s most resonant albums, Kendrick Lamar’s \u003cem>DAMN.\u003c/em> and Jay-Z’s \u003cem>4:44\u003c/em>, competed against rapper Childish Gambino’s funk-inspired departure \u003cem>“Awaken, My Love!”\u003c/em> in a category rounded out by Lorde (\u003cem>Melodrama\u003c/em>) and ultimate upsetter Bruno Mars (\u003cem>24K Magic\u003c/em>), who also took home respective trophies for Song and Record of the Year (“That’s What I Like,” “24K Magic”).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even with the deck stacked in hip-hop’s favor, the genre came up short yet again in the coveted Album of the Year category. But the real loss is for the Recording Academy, which continues to prove how out of step it has become. If the story of 2017 is hip-hop’s takeover, the Grammys, by failing to reflect rap’s urgency, have settled deeper into an age-old narrative.\u003c/p>\n\u003cp>Oddly enough, Jay made a record as close to Grammy bait as any, a veteran performer releasing his most mature album to date, wrapped in a vulnerable narrative that features everything from him apologizing for celebrity infidelity to his mother’s personal coming out on record. And Lamar released a record deemed consensus album of the year, a critical and commercial success, by toeing the line between heady conceptual arc and rare pop triumph.\u003c/p>\n\u003cp>The snub makes it explicit that the Grammys is not here for hip-hop. And that’s no surprise. As is often the case, there are plenty of other problems we could discuss regarding Sunday night’s Grammy Awards. The lack of women nominees, in a year when the industry’s complicit silence around sexism speaks louder than the resulting #metoo movement, is a travesty. And there’s no excusing how the Spanish-language “Despacito,” which tied for longest-running \u003cem>Billboard \u003c/em>100 No. 1, failed to pick up a single award.\u003c/p>\n\u003cp>These are the results of a flawed voting process that increasingly fails to reflect the will of the majority in pop or politics. The electorate, in this case, is an aging academy membership in dire need of hip replacement surgery. But there’s a bigger takeaway regarding the Academy’s record on hip-hop that’s easy to miss. Despite celebrated Album of the Year wins by Lauryn Hill (\u003cem>The Miseducation of Lauryn Hill\u003c/em>, 1999) and OutKast (\u003cem>Speakerboxxx/The Love Below\u003c/em>, 2004), a pure rap album has never won the Grammy’s most esteemed category. Without the R&B-heavy stylings Lauryn offered on \u003cem>Miseducation\u003c/em> or Andre 3000’s pop-inflected melodies, a la “Hey Ya,” on \u003cem>The Love Below\u003c/em>, neither of those projects would’ve been primed for the award. Not even Eminem, the genre’s great white hope and one of the best emcees of all time, has won in the coveted AOY category; nominated for \u003cem>The Marshall Mathers LP\u003c/em> in 2001, he lost to Steely Dan.\u003c/p>\n\u003cp>So, what does it mean? Are the Grammys woefully out of touch, or do these chronic missteps mirror a deeper reflection of America’s inbred racism?\u003c/p>\n\u003cp>[contextly_sidebar id=”m3uVq5Jn241snf2khW8w9JVA4MGP65SS”]\u003c/p>\n\u003cp>That, in no way, erases the impact of Bruno Mars’ album win. Being a man of color himself, he acknowledges R&B predecessors from Jimmy Jam & Terry Lewis to Teddy Riley among his greatest influences. But in 2018, he’s also a safe Grammy pick who echoes the sounds of the past with performances that recall an era of black music more palatable to the mainstream now that it’s two decades in the recycled past. His chops may be rooted within the realm of hip-hop, as \u003cem>The New York Times Magazine’s \u003c/em>Jody Rosen \u003ca href=\"https://twitter.com/jodyrosen/status/958013399937495042\">argued today\u003c/a>, but it’s the fact that his music is also pop-friendly, drawing from many genres, that makes him easy for Grammy voters to embrace.\u003c/p>\n\u003cp>Meanwhile, artists pushing the envelope in 2017 are forced to watch from the sidelines or fight like crabs over the rap categories. Hip-hop’s relationship with the award show began with a boycott back in 1989. Since then the debate has continued to rage on about whether such recognition matters. From frequent Grammy-winner Kanye West to the never-nominated Vince Staples, rap artists have pointed to the significance of rap being segregated from the general categories. While November’s list of nominees looked hopeful, it was only a reminder of the inherent bias that remains built into the system in the end.\u003c/p>\n\u003cp>An artist would be stupid at this point to believe in change. Jay-Z reportedly declined the Academy’s invitation to perform last night. A performance on the Grammy stage works wonders for most young artists, but at this point in Jay-Z’s career he’d only be putting on a spectacle for ratings. The most successful rap artist in the history of the genre might not require our sympathies, but just imagine what it must be like for Jay-Z to walk away empty-handed in the general award categories, just as his wife Beyoncé did one year ago. When Adele won Album of the Year over \u003cem>Lemonade\u003c/em>, even she admittedly struggled to accept the award.\u003c/p>\n\u003cp>[contextly_sidebar id=”21FhlAhmAEBYUxUYVzNVElaY5edakSjO”]\u003c/p>\n\u003cp>But I don’t know if the Academy deserves all the blame. Maybe the award show is a scapegoat for a greater ill. The Grammys’ continued ghettoization of hip-hop is a distillation of America’s longstanding record on race. It’s a woefully offbeat record that black artists continue to remix and subvert. But if the rough and real noise heard in voices that dare to challenge that record — like those voices employed by Lamar throughout \u003cem>DAMN. \u003c/em>or the ones Jay exorcises on such \u003cem>4:44\u003c/em> songs as “Story of O.J.” — continue to fall on deaf Academy ears, those voices will only grow louder. And the Grammy’s will mute its own self-importance.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In the end, a show of some sort will go on — whether onstage or off. Because “the only thing more frightening than watching a black man be honest in America,” as comedian Dave Chappelle interjected last night during Kendrick Lamar’s opening performance, is \u003cem>being \u003c/em>black in America.\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=Same+Old+Rap%3A+The+Grammys%27+Race+Toward+Irrelevance+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s time to acknowledge that the Grammy Awards has a real race problem on its hands: It’s racing toward total irrelevance.\u003c/p>\n\u003cp>Well before the night reached its disappointing apex, viewers were already feeling let down. “[S]till mad as hell that I kept watching the Grammys after Best New Artist,” Nadeska Alexis, the moderator of Complex’s \u003cem>Everyday Struggle\u003c/em> hip-hop commentary show, tweeted during her morning-after commute today, echoing the sentiments of most hip-hop fans. She was referring to the loss by R&B darling SZA in the Best New Artist category, despite the breakout success of her debut album \u003cem>Ctrl\u003c/em> in 2017. The loss by Kendrick Lamar’s Top Dawg Entertainment labelmate foreshadowed the rest of the 60th Annual Grammy Awards.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>This happened despite the Academy’s attempt to make up for its history of snubs where hip-hop, and black music in general, are concerned. The main event of November’s nominations was the record number of rap artists nominated outside the hip-hop categories. For those keeping score, it signaled that the Academy might finally be ready to acknowledge that the genre’s impact is much broader than the narrow confines to which it has historically been relegated. The recognition seemed to coincide with the rise of hip-hop/R&B — i.e. black music — as the \u003ca href=\"https://www.billboard.com/articles/columns/chart-beat/8085975/us-music-consumption-up-2017-rb-hip-hop-most-popular-genre\">most-consumed genre\u003c/a> in 2017.\u003c/p>\n\u003cp>Two of 2017’s most resonant albums, Kendrick Lamar’s \u003cem>DAMN.\u003c/em> and Jay-Z’s \u003cem>4:44\u003c/em>, competed against rapper Childish Gambino’s funk-inspired departure \u003cem>“Awaken, My Love!”\u003c/em> in a category rounded out by Lorde (\u003cem>Melodrama\u003c/em>) and ultimate upsetter Bruno Mars (\u003cem>24K Magic\u003c/em>), who also took home respective trophies for Song and Record of the Year (“That’s What I Like,” “24K Magic”).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even with the deck stacked in hip-hop’s favor, the genre came up short yet again in the coveted Album of the Year category. But the real loss is for the Recording Academy, which continues to prove how out of step it has become. If the story of 2017 is hip-hop’s takeover, the Grammys, by failing to reflect rap’s urgency, have settled deeper into an age-old narrative.\u003c/p>\n\u003cp>Oddly enough, Jay made a record as close to Grammy bait as any, a veteran performer releasing his most mature album to date, wrapped in a vulnerable narrative that features everything from him apologizing for celebrity infidelity to his mother’s personal coming out on record. And Lamar released a record deemed consensus album of the year, a critical and commercial success, by toeing the line between heady conceptual arc and rare pop triumph.\u003c/p>\n\u003cp>The snub makes it explicit that the Grammys is not here for hip-hop. And that’s no surprise. As is often the case, there are plenty of other problems we could discuss regarding Sunday night’s Grammy Awards. The lack of women nominees, in a year when the industry’s complicit silence around sexism speaks louder than the resulting #metoo movement, is a travesty. And there’s no excusing how the Spanish-language “Despacito,” which tied for longest-running \u003cem>Billboard \u003c/em>100 No. 1, failed to pick up a single award.\u003c/p>\n\u003cp>These are the results of a flawed voting process that increasingly fails to reflect the will of the majority in pop or politics. The electorate, in this case, is an aging academy membership in dire need of hip replacement surgery. But there’s a bigger takeaway regarding the Academy’s record on hip-hop that’s easy to miss. Despite celebrated Album of the Year wins by Lauryn Hill (\u003cem>The Miseducation of Lauryn Hill\u003c/em>, 1999) and OutKast (\u003cem>Speakerboxxx/The Love Below\u003c/em>, 2004), a pure rap album has never won the Grammy’s most esteemed category. Without the R&B-heavy stylings Lauryn offered on \u003cem>Miseducation\u003c/em> or Andre 3000’s pop-inflected melodies, a la “Hey Ya,” on \u003cem>The Love Below\u003c/em>, neither of those projects would’ve been primed for the award. Not even Eminem, the genre’s great white hope and one of the best emcees of all time, has won in the coveted AOY category; nominated for \u003cem>The Marshall Mathers LP\u003c/em> in 2001, he lost to Steely Dan.\u003c/p>\n\u003cp>So, what does it mean? Are the Grammys woefully out of touch, or do these chronic missteps mirror a deeper reflection of America’s inbred racism?\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>That, in no way, erases the impact of Bruno Mars’ album win. Being a man of color himself, he acknowledges R&B predecessors from Jimmy Jam & Terry Lewis to Teddy Riley among his greatest influences. But in 2018, he’s also a safe Grammy pick who echoes the sounds of the past with performances that recall an era of black music more palatable to the mainstream now that it’s two decades in the recycled past. His chops may be rooted within the realm of hip-hop, as \u003cem>The New York Times Magazine’s \u003c/em>Jody Rosen \u003ca href=\"https://twitter.com/jodyrosen/status/958013399937495042\">argued today\u003c/a>, but it’s the fact that his music is also pop-friendly, drawing from many genres, that makes him easy for Grammy voters to embrace.\u003c/p>\n\u003cp>Meanwhile, artists pushing the envelope in 2017 are forced to watch from the sidelines or fight like crabs over the rap categories. Hip-hop’s relationship with the award show began with a boycott back in 1989. Since then the debate has continued to rage on about whether such recognition matters. From frequent Grammy-winner Kanye West to the never-nominated Vince Staples, rap artists have pointed to the significance of rap being segregated from the general categories. While November’s list of nominees looked hopeful, it was only a reminder of the inherent bias that remains built into the system in the end.\u003c/p>\n\u003cp>An artist would be stupid at this point to believe in change. Jay-Z reportedly declined the Academy’s invitation to perform last night. A performance on the Grammy stage works wonders for most young artists, but at this point in Jay-Z’s career he’d only be putting on a spectacle for ratings. The most successful rap artist in the history of the genre might not require our sympathies, but just imagine what it must be like for Jay-Z to walk away empty-handed in the general award categories, just as his wife Beyoncé did one year ago. When Adele won Album of the Year over \u003cem>Lemonade\u003c/em>, even she admittedly struggled to accept the award.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>But I don’t know if the Academy deserves all the blame. Maybe the award show is a scapegoat for a greater ill. The Grammys’ continued ghettoization of hip-hop is a distillation of America’s longstanding record on race. It’s a woefully offbeat record that black artists continue to remix and subvert. But if the rough and real noise heard in voices that dare to challenge that record — like those voices employed by Lamar throughout \u003cem>DAMN. \u003c/em>or the ones Jay exorcises on such \u003cem>4:44\u003c/em> songs as “Story of O.J.” — continue to fall on deaf Academy ears, those voices will only grow louder. And the Grammy’s will mute its own self-importance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, a show of some sort will go on — whether onstage or off. Because “the only thing more frightening than watching a black man be honest in America,” as comedian Dave Chappelle interjected last night during Kendrick Lamar’s opening performance, is \u003cem>being \u003c/em>black in America.\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=Same+Old+Rap%3A+The+Grammys%27+Race+Toward+Irrelevance+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'The Insult,' All Politics Is A Local Neighborhood Squabble",
"headTitle": "In ‘The Insult,’ All Politics Is A Local Neighborhood Squabble | KQED",
"content": "\u003cp>Can something as simple as saying “I’m sorry” stop a looming war in the Middle East?\u003c/p>\n\u003cp>That’s the premise of a new film called \u003cem>The Insult\u003c/em> — it’s Lebanon’s entry to the Oscars. In it, a neighborhood spat pushes the city of Beirut to the brink of chaos.\u003c/p>\n\u003cp>Filmmaker Ziad Doueiri says he was inspired by a real-life incident. He was watering his plants on the balcony of his home in Beirut, when the water spilled out onto a construction worker below.\u003c/p>\n\u003cp>“So I leaned on the balcony — I yelled at him, he yelled back, he says, ‘You’re a dog,'” Doueiri says. “And then this thing led to a bigger insult, which — I threw an insult at him. Joelle [Touma], the co-screenwriter, was standing behind me that day, and she says, ‘How could you insult a Palestinian as you said. This is so bad, what you just said.’ I said, ‘You’re right.’ So I came down to apologize and then the guy refused my apology because he was very hurt.” \u003c/p>\n\u003cp>That argument is pushed to its extreme in Doueiri’s new film. Water leaks off a Christian man’s balcony onto a Palestinian construction worker below. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Arguments ensue. Insults are thrown. Neither man is willing to apologize.\u003c/p>\n\u003cfigure id=\"attachment_13820074\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill3_1200.jpg\" alt=\"Adel Karam in 'The Insult.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13820074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Adel Karam in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s very rare in my culture where you can have somebody who does something and he comes face-to-face, says, ‘Look, I really apologize,'” Doueiri says. “It’s not part of our culture. Sometime the simplest thing can be the beginning of resolving a much bigger problem. So that’s why this guy in the film, he wants an apology. All he wants is an apology and then later we start finding out why.”\u003c/p>\n\u003cp>The why has to do with Lebanon’s past — the religious and ethnic divisions that tore the country into warring factions. From 1975-1990, the Lebanese Civil War killed more than a hundred thousand people.\u003c/p>\n\u003cp>“Lebanon, in spite of its smallness — it’s only 4 million people — it’s still extremely rich because it’s one of those places that has all the religions in it,” Doueiri says. “You have Christians, Shiites, Sunnis, Catholics, Protestants, Armenians, Turks. All of it. You know, you have 16 religions that are all recognized by the government. It’s what it made it diversified, complex and fiery.”\u003c/p>\n\u003cp>And it remains flammable, says Lebanese-born arts journalist Nana Asfour. She says what has kept those communities together since the Civil War is only a shaky peace.\u003c/p>\n\u003cp>“The theme that Ziad is taking on, which is this whole idea that the war ended abruptly without any national conciliation — you know, we need to address what happened and take it head-on — it’s something that a lot of Lebanese filmmakers and artists and writers of his generation have been sort of pushing for in their own works,” Asfour says. “That idea that there has been what they call a historical amnesia that has happened in Lebanon where everybody thinks, ‘Let’s look forward and not look back,’ and how problematic that is because all the problems that led to the war have not been dealt with appropriately and anything can happen to bring them back.”\u003c/p>\n\u003cfigure id=\"attachment_13820075\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill4_1200.jpg\" alt=\"Rita Hayek and Adel Karam in 'The Insult.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13820075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rita Hayek and Adel Karam in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>The Insult\u003c/em> the argument over leaking water goes to trial. The proceedings go viral. Palestinians and Christians start fighting on the streets.\u003c/p>\n\u003cp>The politics on screen are still so sensitive that Ziad Doueiri’s previous film was banned in the Arab world. It was called \u003cem>The Attack\u003c/em> and it was about Arab citizens of Israel. Doueiri filmed part of the story in Israel, which is against Lebanese law.\u003c/p>\n\u003cp>The director says artists have to be free to explore other points of view.\u003c/p>\n\u003cp>“I grew up all my life considering the other side as the ultimate enemy but I am still curious,” Doueiri says. “I want to know who are those people. I am for dialogue. I am for bridging gaps. This is how I am. This is what we do for living. Crossing borders is what we do for a living.\u003c/p>\n\u003cp>“So whether we talk about tolerance or we want to look at the other side of the rock just to see what is their narrative, what is their discourse, those people you grew up all your life hating so much. But they must have a point of view. \u003cem>The Insult\u003c/em> is a response to that.”\u003c/p>\n\u003cp>\u003cem>The Insult\u003c/em> is also facing protests, led by the BDS movement, which calls for boycotts, divestment and sanctions against Israel. Activists have accused Doueiri of being pro-Israeli and have launched a social media campaign accusing him of acquiescing to Israeli occupation.\u003c/p>\n\u003cfigure id=\"attachment_13820073\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill2_1200.jpg\" alt=\"Nadim Hobeika, Kamel El Basha and Diamand Bou Abboud in 'The Insult.'\" width=\"1200\" height=\"504\" class=\"size-full wp-image-13820073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-800x336.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-768x323.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-1180x496.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-960x403.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-375x158.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nadim Hobeika, Kamel El Basha and Diamand Bou Abboud in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After \u003cem>The Insult\u003c/em> premiered at the Venice Film Festival, Doueiri was detained at the Beirut airport. The film’s premiere in the West Bank was cancelled. \u003c/p>\n\u003cp>“The BDS purpose is what?” Doueiri says. “Defend Palestine. When you go and you forbid a film where the main actor, a Palestinian guy [Kamel El Basha], won best [actor] award at Venice Film Festival — first time in history that a Palestinian actor win in Venice or anywhere else in the world, first time! — when the BDS, who are supposed to be protecting Palestinian rights, stop this Palestinian actor to present his movies in Ramallah, basically you’re screwing yourself in the head. It doesn’t make any logic.”\u003c/p>\n\u003cp>Ziad Doueri says he won’t apologize. And given the firestorm around his work, Doueiri says he was shocked that Lebanon chose \u003cem>The Insult\u003c/em> as its entry to this year’s Oscars.\u003c/p>\n\u003cp>“That was my award,” he says. “I already got my award. Nobody believed that it would happen. I mean Lebanon does take you by surprise from time to time.”\u003c/p>\n\u003cp>Ziad Doueiri says his cinema takes him by surprise too.\u003c/p>\n\u003cp>His default setting is angry and cynical. He’s been known to throw insults. But he says it’s through his films that he calms down.\u003c/p>\n\u003cp>“In my film, I try to tap into the moderate part of me,” Doueiri says. “Otherwise you lose your mind. But if you let me out there, I can be a lot angrier. If you hear what I really think, I would be the subject of a different interview.”\u003c/p>\n\u003cp>Ziad Doueiri says his films are his way of healing the scars that still divide Beirut — and his way of pouring water over the insults that inflame so easily.\u003c/p>\n\u003cp>https://youtu.be/QEQDZL6bAXo\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"excerpt": "Ziad Doueiri's new Oscar-nominated film is about the religious and tribal divisions in contemporary Lebanon -- and how a small altercation in Beirut can spiral out of control.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Can something as simple as saying “I’m sorry” stop a looming war in the Middle East?\u003c/p>\n\u003cp>That’s the premise of a new film called \u003cem>The Insult\u003c/em> — it’s Lebanon’s entry to the Oscars. In it, a neighborhood spat pushes the city of Beirut to the brink of chaos.\u003c/p>\n\u003cp>Filmmaker Ziad Doueiri says he was inspired by a real-life incident. He was watering his plants on the balcony of his home in Beirut, when the water spilled out onto a construction worker below.\u003c/p>\n\u003cp>“So I leaned on the balcony — I yelled at him, he yelled back, he says, ‘You’re a dog,'” Doueiri says. “And then this thing led to a bigger insult, which — I threw an insult at him. Joelle [Touma], the co-screenwriter, was standing behind me that day, and she says, ‘How could you insult a Palestinian as you said. This is so bad, what you just said.’ I said, ‘You’re right.’ So I came down to apologize and then the guy refused my apology because he was very hurt.” \u003c/p>\n\u003cp>That argument is pushed to its extreme in Doueiri’s new film. Water leaks off a Christian man’s balcony onto a Palestinian construction worker below. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Arguments ensue. Insults are thrown. Neither man is willing to apologize.\u003c/p>\n\u003cfigure id=\"attachment_13820074\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill3_1200.jpg\" alt=\"Adel Karam in 'The Insult.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13820074\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill3_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Adel Karam in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“It’s very rare in my culture where you can have somebody who does something and he comes face-to-face, says, ‘Look, I really apologize,'” Doueiri says. “It’s not part of our culture. Sometime the simplest thing can be the beginning of resolving a much bigger problem. So that’s why this guy in the film, he wants an apology. All he wants is an apology and then later we start finding out why.”\u003c/p>\n\u003cp>The why has to do with Lebanon’s past — the religious and ethnic divisions that tore the country into warring factions. From 1975-1990, the Lebanese Civil War killed more than a hundred thousand people.\u003c/p>\n\u003cp>“Lebanon, in spite of its smallness — it’s only 4 million people — it’s still extremely rich because it’s one of those places that has all the religions in it,” Doueiri says. “You have Christians, Shiites, Sunnis, Catholics, Protestants, Armenians, Turks. All of it. You know, you have 16 religions that are all recognized by the government. It’s what it made it diversified, complex and fiery.”\u003c/p>\n\u003cp>And it remains flammable, says Lebanese-born arts journalist Nana Asfour. She says what has kept those communities together since the Civil War is only a shaky peace.\u003c/p>\n\u003cp>“The theme that Ziad is taking on, which is this whole idea that the war ended abruptly without any national conciliation — you know, we need to address what happened and take it head-on — it’s something that a lot of Lebanese filmmakers and artists and writers of his generation have been sort of pushing for in their own works,” Asfour says. “That idea that there has been what they call a historical amnesia that has happened in Lebanon where everybody thinks, ‘Let’s look forward and not look back,’ and how problematic that is because all the problems that led to the war have not been dealt with appropriately and anything can happen to bring them back.”\u003c/p>\n\u003cfigure id=\"attachment_13820075\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill4_1200.jpg\" alt=\"Rita Hayek and Adel Karam in 'The Insult.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13820075\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill4_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Rita Hayek and Adel Karam in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In \u003cem>The Insult\u003c/em> the argument over leaking water goes to trial. The proceedings go viral. Palestinians and Christians start fighting on the streets.\u003c/p>\n\u003cp>The politics on screen are still so sensitive that Ziad Doueiri’s previous film was banned in the Arab world. It was called \u003cem>The Attack\u003c/em> and it was about Arab citizens of Israel. Doueiri filmed part of the story in Israel, which is against Lebanese law.\u003c/p>\n\u003cp>The director says artists have to be free to explore other points of view.\u003c/p>\n\u003cp>“I grew up all my life considering the other side as the ultimate enemy but I am still curious,” Doueiri says. “I want to know who are those people. I am for dialogue. I am for bridging gaps. This is how I am. This is what we do for living. Crossing borders is what we do for a living.\u003c/p>\n\u003cp>“So whether we talk about tolerance or we want to look at the other side of the rock just to see what is their narrative, what is their discourse, those people you grew up all your life hating so much. But they must have a point of view. \u003cem>The Insult\u003c/em> is a response to that.”\u003c/p>\n\u003cp>\u003cem>The Insult\u003c/em> is also facing protests, led by the BDS movement, which calls for boycotts, divestment and sanctions against Israel. Activists have accused Doueiri of being pro-Israeli and have launched a social media campaign accusing him of acquiescing to Israeli occupation.\u003c/p>\n\u003cfigure id=\"attachment_13820073\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/InsultStill2_1200.jpg\" alt=\"Nadim Hobeika, Kamel El Basha and Diamand Bou Abboud in 'The Insult.'\" width=\"1200\" height=\"504\" class=\"size-full wp-image-13820073\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-800x336.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-768x323.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-1020x428.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-1180x496.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-960x403.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-375x158.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/InsultStill2_1200-520x218.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Nadim Hobeika, Kamel El Basha and Diamand Bou Abboud in ‘The Insult.’ \u003ccite>(Courtesy of Cohen Media Group)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>After \u003cem>The Insult\u003c/em> premiered at the Venice Film Festival, Doueiri was detained at the Beirut airport. The film’s premiere in the West Bank was cancelled. \u003c/p>\n\u003cp>“The BDS purpose is what?” Doueiri says. “Defend Palestine. When you go and you forbid a film where the main actor, a Palestinian guy [Kamel El Basha], won best [actor] award at Venice Film Festival — first time in history that a Palestinian actor win in Venice or anywhere else in the world, first time! — when the BDS, who are supposed to be protecting Palestinian rights, stop this Palestinian actor to present his movies in Ramallah, basically you’re screwing yourself in the head. It doesn’t make any logic.”\u003c/p>\n\u003cp>Ziad Doueri says he won’t apologize. And given the firestorm around his work, Doueiri says he was shocked that Lebanon chose \u003cem>The Insult\u003c/em> as its entry to this year’s Oscars.\u003c/p>\n\u003cp>“That was my award,” he says. “I already got my award. Nobody believed that it would happen. I mean Lebanon does take you by surprise from time to time.”\u003c/p>\n\u003cp>Ziad Doueiri says his cinema takes him by surprise too.\u003c/p>\n\u003cp>His default setting is angry and cynical. He’s been known to throw insults. But he says it’s through his films that he calms down.\u003c/p>\n\u003cp>“In my film, I try to tap into the moderate part of me,” Doueiri says. “Otherwise you lose your mind. But if you let me out there, I can be a lot angrier. If you hear what I really think, I would be the subject of a different interview.”\u003c/p>\n\u003cp>Ziad Doueiri says his films are his way of healing the scars that still divide Beirut — and his way of pouring water over the insults that inflame so easily.\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/QEQDZL6bAXo'\n title='//www.youtube.com/embed/QEQDZL6bAXo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It is safe to say that there was no one else like Mark E. Smith. The irascible leader of the legendary Manchester post-punk group The Fall — who died yesterday at the age of 60 — was a true artist and eccentric. An acerbic British icon with working-class roots, his words were like cryptic incantations, layered with bone-dry wit and an interest in horror, fantasy and the surreal. Smith was a stubborn contrarian who broke new ground both sonically and lyrically with the band he founded, and then owned that territory for over 40 years and dozens of albums.\u003c/p>\n\u003cp>The Fall first formed in Prestwich, near Manchester, in 1976, taking its name from the title of a darkly philosophical novel by Albert Camus. The group bonded over a share interest in literature, bands like Can and the Velvet Underground and copious amounts of psychedelic drugs. (Smith even took acid before his high school O-level exams, according to an account by his friend Dave Haslam.)\u003c/p>\n\u003cfigure id=\"attachment_13820044\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85.jpg\" alt=\"The latest version of The Fall, featuring (left to right) Pete Greenway, Keiron Melling, Mark E. Smith and Dave Spurr\" width=\"400\" height=\"400\" class=\"size-full wp-image-13820044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The latest version of The Fall, featuring (left to right) Pete Greenway, Keiron Melling, Mark E. Smith and Dave Spurr. \u003ccite>(Pamela Vander / Courtesy of the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith’s unique skill as a lyricist was evident from the band’s earliest days, his stream-of-consciousness style laced with sideways references, quirky humor, sharply honed imagery and trenchant observations on British society, culture and politics. “It was like a poetry group at first,” recalled Martin Bramah, The Fall’s first guitarist, to the critic Simon Reynolds in the anthology \u003cem>Totally Wired\u003c/em>. “We used to share our innermost feelings in words and play our favorite albums. Mark bought a guitar but couldn’t play it. I was already singing in another band, so the first lineup of The Fall was me singing and Mark playing guitar. It quickly switched because Mark was writing these mad, well-observed lyrics. Our early stuff sounded American, but Mark picked up on how to make Manchester interesting.”\u003c/p>\n\u003cp>Manchester occupies a legendary place in music lore; a huge number of bands were spawned within the city’s grim industrial confines during that era. The scene surrounding Joy Division and Factory Records captured the public’s imagination, but it was The Fall who held the crown as the strangest and most singular band to have ever come out of Manchester. The group’s debut album, 1979’s \u003cem>Live at the Witch Trials\u003c/em>, proved it to already be well on its way to developing a signature sound: a churning, propulsive rhythm section, an emphasis on extreme, almost trancelike repetition and pointed, cryptic lyrics that Smith scowled with a voice that sometimes sounded like he was gargling razorblades. With each successive album, The Fall honed its technique, with Smith reveling in all ideas that ran counter to social norms.\u003c/p>\n\u003cp>“The Fall’s work — particularly in their period between 1980-1982 — is steeped in references to the grotesque and the weird,” wrote the late critic Mark Fisher in his book \u003cem>The Weird and the Eerie\u003c/em>. The group’s methodology at this time is vividly captured in the cover image for the 1980 single, “City Hobgoblins,” in which we see an urban scene invaded by “’emigres from old green glades’: a leering, malevolent cobold looms over a dilapidated tenement …. A group like The Fall — working class and experimental, popular and modernist — could not and should not exist, and The Fall are remarkable for the way in which they draw out a cultural politics of the weird and the grotesque.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The Fall proudly showed off that flair for the bizarre and monstrous, titling its 1980 album \u003cem>Grotesque (After the Gramme.)\u003c/em> By this time, the original founding members of The Fall — Bramah on guitar, Tony Friel on bass, Karl Burns on drums, Una Baines on keyboards and Smith on vocals — had dissolved, leaving Smith as the sole original member. It was a theme that would continue apace throughout Smith’s long career in The Fall — the members of the group shifted constantly and erratically from album to album, or even from month to month, with Smith as the only constant presence. Nearly 70 people have been members of The Fall over the course of the past four decades — an eye-popping number. “If it’s me and your granny on bongos, it’s The Fall,” Smith once famously quipped — less a joke than a statement of fact.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_3upVG_Bj3A\u003c/p>\n\u003cp>Smith’s group garnered many prominent fans — the legendary British DJ John Peel was a constant champion — but The Fall never quite hit the mainstream in the United States. In the 1980s, Smith’s marriage and creative partnership with Brix Smith (now Brix Smith Start) helped lead to some of the catchiest, most upbeat music of their career — most notably on 1985’s \u003cem>This Nation’s Saving Grace\u003c/em> — but the band remained oblique and abstruse, even in its poppiest days. “He never once compromised,” Brix Smith Start wrote of Smith in \u003ca href=\"https://twitter.com/Brixsmithstart/status/956481944547725312\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> released after his death, “how many others can leave this live with such a singularity of vision?”\u003c/p>\n\u003cp>Mark E. Smith led The Fall through over 30 studio albums, along with a flood of EPs, singles, and collaborations, amounting to dizzying discography that could bewilder even the most die-hard record collector. Some of these records were absurdly brilliant — like \u003cem>Hex Enduction Hour\u003c/em> (1982) and \u003cem>The Wonderful and Frightening World Of…\u003c/em> (1984); others were a mixed bag, and a few were absolute failures. The same could be said for The Fall’s live performances, which could be as transcendent as they were unhinged. It didn’t help that Smith picked fights with band mates and girlfriends, or that his behavior could be prickly, to say the least.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Smith kept creating, and kept touring, up until almost the end. As the guiding force of The Fall — and the only member of The Fall who never quit the band — Smith and The Fall became synonymous with each other. And while many bands were inspired by The Fall — Pavement, Sonic Youth and the Pixies among them — no one sounded exactly like the group. Without Smith, there can be no Fall, and the wonderful and frightening world of music he ferociously hurled forth is now a bit less wonderful and frightening as a result. “When I’m dead and gone / my vibrations will live on / In vibes on vinyl through the years,” he howled on the song “Psykick Dancehall,” released in 1979. The Fall’s music will, indeed, live on.\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=Mark+E.+Smith+Was+An+Uncompromising+And+Essential+Voice+From+Music%27s+Fringe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It is safe to say that there was no one else like Mark E. Smith. The irascible leader of the legendary Manchester post-punk group The Fall — who died yesterday at the age of 60 — was a true artist and eccentric. An acerbic British icon with working-class roots, his words were like cryptic incantations, layered with bone-dry wit and an interest in horror, fantasy and the surreal. Smith was a stubborn contrarian who broke new ground both sonically and lyrically with the band he founded, and then owned that territory for over 40 years and dozens of albums.\u003c/p>\n\u003cp>The Fall first formed in Prestwich, near Manchester, in 1976, taking its name from the title of a darkly philosophical novel by Albert Camus. The group bonded over a share interest in literature, bands like Can and the Velvet Underground and copious amounts of psychedelic drugs. (Smith even took acid before his high school O-level exams, according to an account by his friend Dave Haslam.)\u003c/p>\n\u003cfigure id=\"attachment_13820044\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85.jpg\" alt=\"The latest version of The Fall, featuring (left to right) Pete Greenway, Keiron Melling, Mark E. Smith and Dave Spurr\" width=\"400\" height=\"400\" class=\"size-full wp-image-13820044\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/the-fall-artist-credit-pamela-vander_custom-97b191e2abafbc3af080a4bf2957ece59c848087-s400-c85-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The latest version of The Fall, featuring (left to right) Pete Greenway, Keiron Melling, Mark E. Smith and Dave Spurr. \u003ccite>(Pamela Vander / Courtesy of the Artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith’s unique skill as a lyricist was evident from the band’s earliest days, his stream-of-consciousness style laced with sideways references, quirky humor, sharply honed imagery and trenchant observations on British society, culture and politics. “It was like a poetry group at first,” recalled Martin Bramah, The Fall’s first guitarist, to the critic Simon Reynolds in the anthology \u003cem>Totally Wired\u003c/em>. “We used to share our innermost feelings in words and play our favorite albums. Mark bought a guitar but couldn’t play it. I was already singing in another band, so the first lineup of The Fall was me singing and Mark playing guitar. It quickly switched because Mark was writing these mad, well-observed lyrics. Our early stuff sounded American, but Mark picked up on how to make Manchester interesting.”\u003c/p>\n\u003cp>Manchester occupies a legendary place in music lore; a huge number of bands were spawned within the city’s grim industrial confines during that era. The scene surrounding Joy Division and Factory Records captured the public’s imagination, but it was The Fall who held the crown as the strangest and most singular band to have ever come out of Manchester. The group’s debut album, 1979’s \u003cem>Live at the Witch Trials\u003c/em>, proved it to already be well on its way to developing a signature sound: a churning, propulsive rhythm section, an emphasis on extreme, almost trancelike repetition and pointed, cryptic lyrics that Smith scowled with a voice that sometimes sounded like he was gargling razorblades. With each successive album, The Fall honed its technique, with Smith reveling in all ideas that ran counter to social norms.\u003c/p>\n\u003cp>“The Fall’s work — particularly in their period between 1980-1982 — is steeped in references to the grotesque and the weird,” wrote the late critic Mark Fisher in his book \u003cem>The Weird and the Eerie\u003c/em>. The group’s methodology at this time is vividly captured in the cover image for the 1980 single, “City Hobgoblins,” in which we see an urban scene invaded by “’emigres from old green glades’: a leering, malevolent cobold looms over a dilapidated tenement …. A group like The Fall — working class and experimental, popular and modernist — could not and should not exist, and The Fall are remarkable for the way in which they draw out a cultural politics of the weird and the grotesque.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The Fall proudly showed off that flair for the bizarre and monstrous, titling its 1980 album \u003cem>Grotesque (After the Gramme.)\u003c/em> By this time, the original founding members of The Fall — Bramah on guitar, Tony Friel on bass, Karl Burns on drums, Una Baines on keyboards and Smith on vocals — had dissolved, leaving Smith as the sole original member. It was a theme that would continue apace throughout Smith’s long career in The Fall — the members of the group shifted constantly and erratically from album to album, or even from month to month, with Smith as the only constant presence. Nearly 70 people have been members of The Fall over the course of the past four decades — an eye-popping number. “If it’s me and your granny on bongos, it’s The Fall,” Smith once famously quipped — less a joke than a statement of fact.\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/_3upVG_Bj3A'\n title='//www.youtube.com/embed/_3upVG_Bj3A'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Smith’s group garnered many prominent fans — the legendary British DJ John Peel was a constant champion — but The Fall never quite hit the mainstream in the United States. In the 1980s, Smith’s marriage and creative partnership with Brix Smith (now Brix Smith Start) helped lead to some of the catchiest, most upbeat music of their career — most notably on 1985’s \u003cem>This Nation’s Saving Grace\u003c/em> — but the band remained oblique and abstruse, even in its poppiest days. “He never once compromised,” Brix Smith Start wrote of Smith in \u003ca href=\"https://twitter.com/Brixsmithstart/status/956481944547725312\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> released after his death, “how many others can leave this live with such a singularity of vision?”\u003c/p>\n\u003cp>Mark E. Smith led The Fall through over 30 studio albums, along with a flood of EPs, singles, and collaborations, amounting to dizzying discography that could bewilder even the most die-hard record collector. Some of these records were absurdly brilliant — like \u003cem>Hex Enduction Hour\u003c/em> (1982) and \u003cem>The Wonderful and Frightening World Of…\u003c/em> (1984); others were a mixed bag, and a few were absolute failures. The same could be said for The Fall’s live performances, which could be as transcendent as they were unhinged. It didn’t help that Smith picked fights with band mates and girlfriends, or that his behavior could be prickly, to say the least.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Smith kept creating, and kept touring, up until almost the end. As the guiding force of The Fall — and the only member of The Fall who never quit the band — Smith and The Fall became synonymous with each other. And while many bands were inspired by The Fall — Pavement, Sonic Youth and the Pixies among them — no one sounded exactly like the group. Without Smith, there can be no Fall, and the wonderful and frightening world of music he ferociously hurled forth is now a bit less wonderful and frightening as a result. “When I’m dead and gone / my vibrations will live on / In vibes on vinyl through the years,” he howled on the song “Psykick Dancehall,” released in 1979. The Fall’s music will, indeed, live on.\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=Mark+E.+Smith+Was+An+Uncompromising+And+Essential+Voice+From+Music%27s+Fringe&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Hugh Masekela, Father Of South African Jazz, Dies At 78",
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"content": "\u003cp>Hugh Masekela, the legendary South African jazz musician who recorded more than 40 solo albums and collaborated with artists ranging from Harry Belafonte to Paul Simon, has died at 78 after a protracted battle with prostate cancer, his family announced Tuesday.\u003c/p>\n\u003cp>“[Our] hearts beat with profound loss,” the Masekela family said in a statement. “Hugh’s global and activist contribution to and participation in the areas of music, theatre, and the arts in general is contained in the minds and memory of millions across 6 continents …”\u003c/p>\n\u003cp>The trumpeter, composer, flugelhorn player, bandleader, singer and political activist, was born in Witbank, South Africa, on April 4, 1939. He was given his first trumpet by anti-apartheid crusader Father Trevor Huddleston at age 14.\u003c/p>\n\u003cp>“I was always in trouble with the authorities in school,” he told NPR in 2004.\u003c/p>\n\u003cp>He had been inspired by the Kirk Douglas film \u003cem>Young Man with a Horn\u003c/em>. Huddleston, hoping to steer him away from delinquency, asked what it was that would make Masekela happy. “I said, ‘Father, if you can get me a trumpet I won’t bother anybody anymore.'”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Masekela soon became part of the Huddleston Jazz Band.\u003c/p>\n\u003cp>By the mid-1950s, he joined the Alfred Herbet’s African Jazz Revue and began creating his signature “Afro-Jazz” sound.\u003c/p>\n\u003cp>In 1960, at the age of 21, as he was coming under pressure from authorities for his anti-apartheid activities, he decided to leave his home country for England.\u003c/p>\n\u003cp>Once in London, his then-girlfriend and future wife, singer Miriam Makeba, encouraged him to come to the U.S., where she had arrived the previous year.\u003c/p>\n\u003cp>“We’d always dreamt of coming to the States, but she came a year earlier and blew the States away,” he told NPR.\u003c/p>\n\u003cp>“So she said, ‘Hey, you got to come, forget about London, this is the place to be.’ And, she was on a first name basis with everybody. Then she and Harry Belafonte gave me a scholarship to Manhattan School of Music. I also had to work part-time in Harry Belafonte’s music publishing, because they ain’t going to give you no money,” Masekela said.\u003c/p>\n\u003cp>In addition to Belafonte, he also worked with legends Louis Armstrong and Miles Davis. Along with Miriam, they all encouraged him to develop his own style.\u003c/p>\n\u003cp>“[They] said, `Listen, if you’re going to play jazz, you’re just going to be a statistic like all of us. Why don’t you infuse some of the stuff from your home into your music, and then maybe you’ll come up with something that will interest everybody and that we can learn from.’ And I guess I came up with some kind of a hybrid,” Masekela told NPR.\u003c/p>\n\u003cp>In 1962, he released his first album, \u003cem>Trumpet Africaine.\u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=a60v-flk1OE\u003c/p>\n\u003cp>Makeba and Masekela wed in 1964, but their marriage lasted a scant two years. Even so, the two remained friends.\u003c/p>\n\u003cp>In 1967, the year of his hit \u003cem>Up, Up and Away\u003c/em>, he also performed alongside Janis Joplin, Otis Redding, Ravi Shankar, The Who and Jimi Hendrix at the Monterey Pop Festival. A year later, he performed on \u003cem>Grazing in the Grass\u003c/em>, which hit U.S. charts and went on to become a global hit.\u003c/p>\n\u003cp>In 1977, Masekela’s \u003cem>Soweto Blues\u003c/em>, about the anti-apartheid Soweto uprising, was recorded by Makeba, and it reached an international audience.\u003c/p>\n\u003cp>He penned the anti-apartheid anthem \u003cem>Bring Home Nelson Mandela\u003c/em> in 1986 and returned to his native South Africa following Mandela’s release.\u003c/p>\n\u003cp>In 1987, he appeared with Paul Simon on his \u003cem>Graceland\u003c/em> album tour alongside South African musicians Ladysmith Black Mambazo and again in 2012 on the 25th anniversary of the Grammy-award winning album’s release.\u003c/p>\n\u003cp>https://youtu.be/D4I_9OXtKUo\u003c/p>\n\u003cp>In 1997, he acknowledged that he had become addicted to alcohol and drugs, and checked himself into a recovery center in England.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Masekela performed at the opening ceremony of the FIFA World Cup and tournament in Soweto’s Soccer City in 2010.\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=Hugh+Masekela%2C+Father+Of+South+African+Jazz%2C+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003ch5 class=\"hdr\">Correction\u003cspan class=\"date\">Jan. 23, 2018\u003c/span>\u003c/h5>\n\u003cp>A previous version of this post incorrectly referred to a band as Ladyship Black Mambozo; the band’s name is Ladysmith Black Mambazo.\u003c/p>\n\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Masekela soon became part of the Huddleston Jazz Band.\u003c/p>\n\u003cp>By the mid-1950s, he joined the Alfred Herbet’s African Jazz Revue and began creating his signature “Afro-Jazz” sound.\u003c/p>\n\u003cp>In 1960, at the age of 21, as he was coming under pressure from authorities for his anti-apartheid activities, he decided to leave his home country for England.\u003c/p>\n\u003cp>Once in London, his then-girlfriend and future wife, singer Miriam Makeba, encouraged him to come to the U.S., where she had arrived the previous year.\u003c/p>\n\u003cp>“We’d always dreamt of coming to the States, but she came a year earlier and blew the States away,” he told NPR.\u003c/p>\n\u003cp>“So she said, ‘Hey, you got to come, forget about London, this is the place to be.’ And, she was on a first name basis with everybody. Then she and Harry Belafonte gave me a scholarship to Manhattan School of Music. I also had to work part-time in Harry Belafonte’s music publishing, because they ain’t going to give you no money,” Masekela said.\u003c/p>\n\u003cp>In addition to Belafonte, he also worked with legends Louis Armstrong and Miles Davis. Along with Miriam, they all encouraged him to develop his own style.\u003c/p>\n\u003cp>“[They] said, `Listen, if you’re going to play jazz, you’re just going to be a statistic like all of us. Why don’t you infuse some of the stuff from your home into your music, and then maybe you’ll come up with something that will interest everybody and that we can learn from.’ And I guess I came up with some kind of a hybrid,” Masekela told NPR.\u003c/p>\n\u003cp>In 1962, he released his first album, \u003cem>Trumpet Africaine.\u003c/em>\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/a60v-flk1OE'\n title='//www.youtube.com/embed/a60v-flk1OE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Makeba and Masekela wed in 1964, but their marriage lasted a scant two years. Even so, the two remained friends.\u003c/p>\n\u003cp>In 1967, the year of his hit \u003cem>Up, Up and Away\u003c/em>, he also performed alongside Janis Joplin, Otis Redding, Ravi Shankar, The Who and Jimi Hendrix at the Monterey Pop Festival. A year later, he performed on \u003cem>Grazing in the Grass\u003c/em>, which hit U.S. charts and went on to become a global hit.\u003c/p>\n\u003cp>In 1977, Masekela’s \u003cem>Soweto Blues\u003c/em>, about the anti-apartheid Soweto uprising, was recorded by Makeba, and it reached an international audience.\u003c/p>\n\u003cp>He penned the anti-apartheid anthem \u003cem>Bring Home Nelson Mandela\u003c/em> in 1986 and returned to his native South Africa following Mandela’s release.\u003c/p>\n\u003cp>In 1987, he appeared with Paul Simon on his \u003cem>Graceland\u003c/em> album tour alongside South African musicians Ladysmith Black Mambazo and again in 2012 on the 25th anniversary of the Grammy-award winning album’s release.\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/D4I_9OXtKUo'\n title='//www.youtube.com/embed/D4I_9OXtKUo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In 1997, he acknowledged that he had become addicted to alcohol and drugs, and checked himself into a recovery center in England.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Masekela performed at the opening ceremony of the FIFA World Cup and tournament in Soweto’s Soccer City in 2010.\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=Hugh+Masekela%2C+Father+Of+South+African+Jazz%2C+Dies+At+78&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cdiv>\u003c/div>\n\u003cdiv>\n\u003ch5 class=\"hdr\">Correction\u003cspan class=\"date\">Jan. 23, 2018\u003c/span>\u003c/h5>\n\u003cp>A previous version of this post incorrectly referred to a band as Ladyship Black Mambozo; the band’s name is Ladysmith Black Mambazo.\u003c/p>\n\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Documentary 'The Final Year' Offers Behind-The-Scenes Look At Obama's Foreign Policy",
"headTitle": "Documentary ‘The Final Year’ Offers Behind-The-Scenes Look At Obama’s Foreign Policy | KQED",
"content": "\u003cp>The first half hour of \u003cem>The Final Year\u003c/em> is as pointlessly hectic as one of those action movies that’s all incidents and no plot. But gradually documentarian Greg Barker’s look at Barack Obama’s foreign policy team comes into focus, thanks in large part to the counterpoint played by the Trump campaign. \u003c/p>\n\u003cp>Shot over a bit more than a year in 2015-16, Barker’s film primarily follows Secretary of State John Kerry, United Nations Ambassador Samantha Power and Deputy National Security Advisor and speechwriter Ben Rhodes. National Security Advisor Susan Rice appears occasionally, although she has a smaller role than Obama himself. The president is glimpsed in the West Wing and other locations that are usually off-camera, but is seen mostly while making official appearances overseas.\u003c/p>\n\u003cp>The movie is neither an in-depth analysis of Obama’s foreign policy nor a candid depiction of the internal tensions of the policy makers. Viewers who didn’t follow world news at the time might not even be able to tell that the president favored a less aggressive approach to international crises than Kerry and especially Power.\u003c/p>\n\u003cfigure id=\"attachment_13819518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Rhodes_1200.jpg\" alt=\"Ben Rhodes in 'The Final Year.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13819518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ben Rhodes in ‘The Final Year.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somewhere toward the middle is Rhodes, said to have a “mind-meld” with Obama. Rhodes supported stronger U.S. intervention in Syria, but came to agree with his top boss that it would be a mistake, much like the 2003 invasion of Iraq. Frustratingly, viewers don’t get to see conversations that led Rhodes to change his mind, or even to hear if any Obama staffer drew the distinction between starting a war in Iraq and interceding in one the U.S. didn’t cause in Syria. \u003c/p>\n\u003cp>Rather than detail such complicated discussions, \u003cem>The Final Year\u003c/em> is keyed to emotional moments. The Irish-born Power extols the importance of immigration to the U.S. in a speech at her nanny’s naturalization ceremony, and in Nigeria sympathizes with families whose daughters were abducted by Boko Haram. Obama hugs an A-bomb survivor during his unprecedented visit to Hiroshima, and is the first American president to visit Laos, where unexploded U.S. bombs remain a constant hazard. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>American power’s potential to injure innocents is encapsulated by off-screen mishaps on a much smaller scale than the Iraq War: A young boy is hit by a car in Power’s motorcade, and a U.N. convoy carrying humanitarian aid in Syria is accidentally shelled by U.S. bombs. The staffers’ reactions to these incidents give a sense of the burden of making geopolitical strategy. \u003c/p>\n\u003cp>https://youtu.be/4UUpnqvIwF4 \u003c/p>\n\u003cp>Less telling are the movie’s occasional flashbacks, which include a section on Kerry’s opposition to the Vietnam War and a montage of Obama’s visits to ancient monuments in Britain, Greece, Egypt, and Jordan. The arc of history is long, but in these sequences it doesn’t bend toward anything in particular. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film’s most sobering element is not the Obama administration’s obligation to great bygone civilizations, but the historical fluke named Donald Trump. While the narrative doesn’t end until inauguration day, it climaxes with election-night TV-watching parties during which the Obama camp’s hope ebbs and finally crumbles. Barack Obama may have aspired to Olympian detachment, but \u003cem>The Final Year\u003c/em>‘s most compelling moments reveal chagrin, regret, and shock.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The first half hour of \u003cem>The Final Year\u003c/em> is as pointlessly hectic as one of those action movies that’s all incidents and no plot. But gradually documentarian Greg Barker’s look at Barack Obama’s foreign policy team comes into focus, thanks in large part to the counterpoint played by the Trump campaign. \u003c/p>\n\u003cp>Shot over a bit more than a year in 2015-16, Barker’s film primarily follows Secretary of State John Kerry, United Nations Ambassador Samantha Power and Deputy National Security Advisor and speechwriter Ben Rhodes. National Security Advisor Susan Rice appears occasionally, although she has a smaller role than Obama himself. The president is glimpsed in the West Wing and other locations that are usually off-camera, but is seen mostly while making official appearances overseas.\u003c/p>\n\u003cp>The movie is neither an in-depth analysis of Obama’s foreign policy nor a candid depiction of the internal tensions of the policy makers. Viewers who didn’t follow world news at the time might not even be able to tell that the president favored a less aggressive approach to international crises than Kerry and especially Power.\u003c/p>\n\u003cfigure id=\"attachment_13819518\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/01/Rhodes_1200.jpg\" alt=\"Ben Rhodes in 'The Final Year.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-13819518\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/01/Rhodes_1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Ben Rhodes in ‘The Final Year.’ \u003ccite>(Courtesy of Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Somewhere toward the middle is Rhodes, said to have a “mind-meld” with Obama. Rhodes supported stronger U.S. intervention in Syria, but came to agree with his top boss that it would be a mistake, much like the 2003 invasion of Iraq. Frustratingly, viewers don’t get to see conversations that led Rhodes to change his mind, or even to hear if any Obama staffer drew the distinction between starting a war in Iraq and interceding in one the U.S. didn’t cause in Syria. \u003c/p>\n\u003cp>Rather than detail such complicated discussions, \u003cem>The Final Year\u003c/em> is keyed to emotional moments. The Irish-born Power extols the importance of immigration to the U.S. in a speech at her nanny’s naturalization ceremony, and in Nigeria sympathizes with families whose daughters were abducted by Boko Haram. Obama hugs an A-bomb survivor during his unprecedented visit to Hiroshima, and is the first American president to visit Laos, where unexploded U.S. bombs remain a constant hazard. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>American power’s potential to injure innocents is encapsulated by off-screen mishaps on a much smaller scale than the Iraq War: A young boy is hit by a car in Power’s motorcade, and a U.N. convoy carrying humanitarian aid in Syria is accidentally shelled by U.S. bombs. The staffers’ reactions to these incidents give a sense of the burden of making geopolitical strategy. \u003c/p>\n\u003cp>https://youtu.be/4UUpnqvIwF4 \u003c/p>\n\u003cp>Less telling are the movie’s occasional flashbacks, which include a section on Kerry’s opposition to the Vietnam War and a montage of Obama’s visits to ancient monuments in Britain, Greece, Egypt, and Jordan. The arc of history is long, but in these sequences it doesn’t bend toward anything in particular. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The film’s most sobering element is not the Obama administration’s obligation to great bygone civilizations, but the historical fluke named Donald Trump. While the narrative doesn’t end until inauguration day, it climaxes with election-night TV-watching parties during which the Obama camp’s hope ebbs and finally crumbles. Barack Obama may have aspired to Olympian detachment, but \u003cem>The Final Year\u003c/em>‘s most compelling moments reveal chagrin, regret, and shock.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Grammy Award-winning singer Edwin Hawkins died on Monday at his home in Pleasanton, Calif.\u003c/p>\n\u003cp>His publicist Bill Carpenter told news organizations that the cause was pancreatic cancer. Hawkins was 74.\u003c/p>\n\u003cp>A native of Oakland, Hawkins had been performing with his family and in church groups since he was a boy. In the late 1960s, when Hawkins was in his 20s, he helped form the Northern California State Youth Choir. The group recorded its first album, \u003cem>Let Us Go Into the House of the Lord\u003c/em>.\u003c/p>\n\u003cp>The \u003ca href=\"https://www.nytimes.com/2018/01/15/obituaries/edwin-hawkins-dead-gospel-singer.html?_r=0\">New York Times reports\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“The record rendered songs of praise with a rhythm-and-blues sensibility. A disc jockey at the Bay Area FM station KSAN, Abe Kesh, began playing one particular track, “Oh Happy Day.”\u003c/p>\n\u003cp>“The catchy song spread, and, with the group renamed the Edwin Hawkins Singers, it was released as a single and eventually reached No. 4 on the Billboard pop chart and No. 2 on the R&B chart.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In 1970, “Oh Happy Day” won a Grammy for best soul gospel performance. The unusual pop hit was an inspiration to music historian Mitch Myers. He reflected on the song during a segment of \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=890702\">All Things Considered\u003c/a> on Christmas Day in 2002.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For its is simple message of hope, spirit and goodwill to mankind, Myers said he wished “Oh Happy Day” to Christians, Jews, Muslims, Buddhists and followers of every other religious persuasion, including agnostics and atheists as well.\u003c/p>\n\u003cp>The gospel song was an inspiration to other types of singers as well, The Associated Press reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“George Harrison would cite “Oh Happy Day” as inspiration for his hit “My Sweet Lord,” and Glen Campbell reached the adult contemporary charts with his own version of the Hawkins performance. Elvis Presley, Johnny Mathis and numerous others also would record it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Throughout his career, Edwin Hawkins won a total of four Grammys, and he was voted into the Christian Music Hall of Fame in 2007.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Hawkins’ younger brother \u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=128466057\">Walter died in 2010 \u003c/a>at the age of 61. Walter Hawkins — also a Grammy Award singer-songwriter and pastor of Love Center church in Oakland — died after a long bout with cancer. \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=Gospel+Star+Edwin+Hawkins%2C+Known+For+%27Oh+Happy+Day%2C%27+Dies+At+74&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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},
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"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
"site": "news",
"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
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"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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