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"content": "\u003cp>A portrait of Christ by Renaissance artist Leonardo da Vinci has shattered all previous records for artworks sold at auction or privately, fetching a whopping $450.3 million on Wednesday at Christie’s in New York.\u003c/p>\n\u003cp>\u003cem>Salvator Mundi\u003c/em> (\u003cem>Savior of the World\u003c/em>), is one of only a score of da Vinci’s still in existence and the only one held privately.\u003c/p>\n\u003cp>[contextly_sidebar id=”fNi0Bgcu0nVaXgRmz0qKZFGZ57y4dhr8″]\u003c/p>\n\u003cp>The bidding opened at $75 million and ran for 19 minutes.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/11/15/arts/design/leonardo-da-vinci-salvator-mundi-christies-auction.html?_r=0\" target=\"_blank\" rel=\"noopener\">The New York Times reports\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“There were gasps throughout the sale, as the bids climbed by tens of millions up to $225 million, by fives up to $260 million, and then by twos. As the bidding slowed, and a buyer pondered the next multi-million-dollar increment, Jussi Pylkkanen, the auctioneer, said, ‘It’s an historic moment; we’ll wait.’\u003c/p>\n\u003cp>Toward the end, Alex Rotter, Christie’s co-chairman of postwar and contemporary art, who represented a buyer on the phone, made two big jumps to shake off one last rival bid from Francis de Poortere, Christie’s head of old master paintings.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The name of the buyer was not immediately released. The final bid was $400 million, but the sale price includes a premium paid to Christie’s.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d7omwQLuGJQ\u003c/p>\n\u003cp>“\u003cem>Salvator Mundi\u003c/em> is a painting of the most iconic figure in the world by the most important artist of all time,” said Loic Gouzer, co-chairman of post-war and contemporary art at Christie’s was quoted by \u003ca href=\"https://www.yahoo.com/news/rare-painting-leonardo-da-vinci-auctioned-york-051045114.html?soc_trk=gcm&soc_src=c841dd90-2f8b-350f-8e65-f02648ba998b&.tsrc=notification-brknews\" target=\"_blank\" rel=\"noopener\">The Associated Press\u003c/a> as saying. “The opportunity to bring this masterpiece to the market is an honor that comes around once in a lifetime.”\u003c/p>\n\u003cp>The 26-inch-tall painting has had an intriguing history. It dates to about 1500 and depicts a figure of Christ dressed in Renaissance-style attire, with the right hand raised in benediction and the left holding a crystal orb.\u003c/p>\n\u003cp>It was recorded in the collection of King Charles I of England in 1649 but was auctioned to the Duke of Buckingham in 1763. It then disappeared until 1900, over which time it was assumed to have been lost or destroyed.\u003c/p>\n\u003cp>When it finally resurfaced, it was damaged from restoration attempts and was purchased by British collector Sir Frederick Cook. At the time it wasn’t seen as an authentic da Vinci, but instead attributed to one of his disciples.\u003c/p>\n\u003cp>In 2011, \u003cem>Salvator Mundi\u003c/em> went on public display. At the time, the BBC wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Cook’s descendants sold it at auction in 1958 for £45 and it was acquired by a US consortium of art dealers in 2005.\u003c/p>\n\u003cp>“After undergoing extensive conservation treatment [completed in 2011], it was determined to be an original Da Vinci work.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It was put on the block for Wednesday’s auction by Russian billionaire Dmitry Rybolovlev, who had purchased it for $127.5 million in a private sale in 2013.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The previous record for a painting sold at auction was set in 2015 when Pablo Picasso’s \u003cem>Women of Algiers (Version O)\u003c/em> \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/05/11/406036959/photos-sculpture-sells-for-141m-picasso-painting-for-179m-both-records\" target=\"_blank\" rel=\"noopener\">went for $179 million\u003c/a> to an anonymous buyer. A private sale of Willem de Koonig’s \u003cem>Interchange\u003c/em>, also in 2015, fetched $300 million. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Da+Vinci+Portrait+Of+Christ+Sells+For+Record-Shattering+%24450+Million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A portrait of Christ by Renaissance artist Leonardo da Vinci has shattered all previous records for artworks sold at auction or privately, fetching a whopping $450.3 million on Wednesday at Christie’s in New York.\u003c/p>\n\u003cp>\u003cem>Salvator Mundi\u003c/em> (\u003cem>Savior of the World\u003c/em>), is one of only a score of da Vinci’s still in existence and the only one held privately.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The bidding opened at $75 million and ran for 19 minutes.\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/11/15/arts/design/leonardo-da-vinci-salvator-mundi-christies-auction.html?_r=0\" target=\"_blank\" rel=\"noopener\">The New York Times reports\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“There were gasps throughout the sale, as the bids climbed by tens of millions up to $225 million, by fives up to $260 million, and then by twos. As the bidding slowed, and a buyer pondered the next multi-million-dollar increment, Jussi Pylkkanen, the auctioneer, said, ‘It’s an historic moment; we’ll wait.’\u003c/p>\n\u003cp>Toward the end, Alex Rotter, Christie’s co-chairman of postwar and contemporary art, who represented a buyer on the phone, made two big jumps to shake off one last rival bid from Francis de Poortere, Christie’s head of old master paintings.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The name of the buyer was not immediately released. The final bid was $400 million, but the sale price includes a premium paid to Christie’s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d7omwQLuGJQ'\n title='//www.youtube.com/embed/d7omwQLuGJQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“\u003cem>Salvator Mundi\u003c/em> is a painting of the most iconic figure in the world by the most important artist of all time,” said Loic Gouzer, co-chairman of post-war and contemporary art at Christie’s was quoted by \u003ca href=\"https://www.yahoo.com/news/rare-painting-leonardo-da-vinci-auctioned-york-051045114.html?soc_trk=gcm&soc_src=c841dd90-2f8b-350f-8e65-f02648ba998b&.tsrc=notification-brknews\" target=\"_blank\" rel=\"noopener\">The Associated Press\u003c/a> as saying. “The opportunity to bring this masterpiece to the market is an honor that comes around once in a lifetime.”\u003c/p>\n\u003cp>The 26-inch-tall painting has had an intriguing history. It dates to about 1500 and depicts a figure of Christ dressed in Renaissance-style attire, with the right hand raised in benediction and the left holding a crystal orb.\u003c/p>\n\u003cp>It was recorded in the collection of King Charles I of England in 1649 but was auctioned to the Duke of Buckingham in 1763. It then disappeared until 1900, over which time it was assumed to have been lost or destroyed.\u003c/p>\n\u003cp>When it finally resurfaced, it was damaged from restoration attempts and was purchased by British collector Sir Frederick Cook. At the time it wasn’t seen as an authentic da Vinci, but instead attributed to one of his disciples.\u003c/p>\n\u003cp>In 2011, \u003cem>Salvator Mundi\u003c/em> went on public display. At the time, the BBC wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“Cook’s descendants sold it at auction in 1958 for £45 and it was acquired by a US consortium of art dealers in 2005.\u003c/p>\n\u003cp>“After undergoing extensive conservation treatment [completed in 2011], it was determined to be an original Da Vinci work.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It was put on the block for Wednesday’s auction by Russian billionaire Dmitry Rybolovlev, who had purchased it for $127.5 million in a private sale in 2013.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The previous record for a painting sold at auction was set in 2015 when Pablo Picasso’s \u003cem>Women of Algiers (Version O)\u003c/em> \u003ca href=\"https://www.npr.org/sections/thetwo-way/2015/05/11/406036959/photos-sculpture-sells-for-141m-picasso-painting-for-179m-both-records\" target=\"_blank\" rel=\"noopener\">went for $179 million\u003c/a> to an anonymous buyer. A private sale of Willem de Koonig’s \u003cem>Interchange\u003c/em>, also in 2015, fetched $300 million. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Da+Vinci+Portrait+Of+Christ+Sells+For+Record-Shattering+%24450+Million&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Mattel unveiled its first hijab-wearing Barbie doll on Monday, modeled after fencer Ibtihaj Muhammad, who has broken ground herself as the first U.S. Olympic athlete to compete in the head scarf.\u003c/p>\n\u003cp>“Perfect hijab moment right here, this is amazing,” Muhammad said as she beheld the doll for the first time at the Glamour Women of the Year Summit, her likeness clad in a white fencing uniform and clutching a sword and helmet.\u003c/p>\n\u003cp>Muhammad said she played with Barbies until she was a teenager, but none of the dolls looked like her, so she resorted to sewing mini hijabs onto them. Now she is hoping the new doll inspires other girls “to embrace what makes them unique.”\u003c/p>\n\u003cp>In an interview with \u003ca href=\"http://www.espn.com/espnw/culture/article/21405704/ibtihaj-muhammad-getting-own-barbie-doll-power-inclusion\" target=\"_blank\" rel=\"noopener\">ESPNW\u003c/a>, Muhammad, 31, said, “I feel like I’ve always embraced being ‘different’ in respect to breaking boundaries, being an African-American Muslim woman in the sport of fencing.”\u003c/p>\n\u003cp>It was more than figurine’s hijab that mattered to Muhammad. “Growing up I was always told that my legs were big,” the New Jersey native told ESPN. “(I)t was important to me that my doll has an athletic build and toned legs, which I have. Those legs helped me win my medal at the Olympic Games.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Muhammad won bronze at the 2016 Games in Rio de Janeiro, which also gave her the distinction of becoming the first Muslim American woman to take home an Olympic title.\u003c/p>\n\u003cp>The doll, which won’t be available for purchase until 2018, is part of Mattel’s “\u003ca href=\"http://barbie.mattel.com/shop/en-us/ba/sheroes\">Sheroes\u003c/a>” line, modeled after real-life women who are “breaking boundaries.” In May, Olympic gold medal-winning gymnast \u003ca href=\"http://barbie.mattel.com/shop/en-us/ba/buzz/gabby-douglas-barbie-doll-barbie-shero\" target=\"_blank\" rel=\"noopener\">Gabby Douglas was recognized\u003c/a> with her own “Shero” doll.\u003c/p>\n\u003cp>Mattel has been working to move Barbie’s image away from the blonde-haired, blue-eyed and \u003ca href=\"https://www.huffingtonpost.com/galia-slayen/the-scary-reality-of-a-re_b_845239.html\" target=\"_blank\" rel=\"noopener\">unattainably proportioned \u003c/a>clone. In 2016, it rolled out its \u003ca href=\"http://www.barbie.com/en-gb/promo/barbie-fashionistas\" target=\"_blank\" rel=\"noopener\">Barbie Fashionista’s line\u003c/a>, with dolls of four body types, seven skin tones and 24 hairstyles. The new dolls \u003ca href=\"https://news.mattel.com/news/mattel-reports-second-quarter-2017-financial-results\" target=\"_blank\" rel=\"noopener\">have been credited\u003c/a> with helping revive sales.\u003c/p>\n\u003cp>Even Barbie’s \u003ca href=\"http://barbie.mattel.com/shop/en-us/ba/ken-fashionistas#facet:&productBeginIndex:0&orderBy:&pageView:grid&minPrice:&maxPrice:&pageSize:&contentPageSize:&\">boyfriend Ken\u003c/a> got a makeover earlier this year, with more than a dozen new dolls of varying shapes, shades and hairdos — man-bun included.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than just toys, Muhammad tells ESPN the dolls can be tools to “show children how to embrace what makes them different and to remind them that they’re beautiful and they can be whatever they want. We can help push that narrative through role play, through dolls and through using your imagination.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Barbie+Heads+Into+New+Ground+With+Hijab-Sporting+Doll&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Mattel unveiled its first hijab-wearing Barbie doll on Monday, modeled after fencer Ibtihaj Muhammad, who has broken ground herself as the first U.S. Olympic athlete to compete in the head scarf.\u003c/p>\n\u003cp>“Perfect hijab moment right here, this is amazing,” Muhammad said as she beheld the doll for the first time at the Glamour Women of the Year Summit, her likeness clad in a white fencing uniform and clutching a sword and helmet.\u003c/p>\n\u003cp>Muhammad said she played with Barbies until she was a teenager, but none of the dolls looked like her, so she resorted to sewing mini hijabs onto them. Now she is hoping the new doll inspires other girls “to embrace what makes them unique.”\u003c/p>\n\u003cp>In an interview with \u003ca href=\"http://www.espn.com/espnw/culture/article/21405704/ibtihaj-muhammad-getting-own-barbie-doll-power-inclusion\" target=\"_blank\" rel=\"noopener\">ESPNW\u003c/a>, Muhammad, 31, said, “I feel like I’ve always embraced being ‘different’ in respect to breaking boundaries, being an African-American Muslim woman in the sport of fencing.”\u003c/p>\n\u003cp>It was more than figurine’s hijab that mattered to Muhammad. “Growing up I was always told that my legs were big,” the New Jersey native told ESPN. “(I)t was important to me that my doll has an athletic build and toned legs, which I have. Those legs helped me win my medal at the Olympic Games.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Muhammad won bronze at the 2016 Games in Rio de Janeiro, which also gave her the distinction of becoming the first Muslim American woman to take home an Olympic title.\u003c/p>\n\u003cp>The doll, which won’t be available for purchase until 2018, is part of Mattel’s “\u003ca href=\"http://barbie.mattel.com/shop/en-us/ba/sheroes\">Sheroes\u003c/a>” line, modeled after real-life women who are “breaking boundaries.” In May, Olympic gold medal-winning gymnast \u003ca href=\"http://barbie.mattel.com/shop/en-us/ba/buzz/gabby-douglas-barbie-doll-barbie-shero\" target=\"_blank\" rel=\"noopener\">Gabby Douglas was recognized\u003c/a> with her own “Shero” doll.\u003c/p>\n\u003cp>Mattel has been working to move Barbie’s image away from the blonde-haired, blue-eyed and \u003ca href=\"https://www.huffingtonpost.com/galia-slayen/the-scary-reality-of-a-re_b_845239.html\" target=\"_blank\" rel=\"noopener\">unattainably proportioned \u003c/a>clone. In 2016, it rolled out its \u003ca href=\"http://www.barbie.com/en-gb/promo/barbie-fashionistas\" target=\"_blank\" rel=\"noopener\">Barbie Fashionista’s line\u003c/a>, with dolls of four body types, seven skin tones and 24 hairstyles. The new dolls \u003ca href=\"https://news.mattel.com/news/mattel-reports-second-quarter-2017-financial-results\" target=\"_blank\" rel=\"noopener\">have been credited\u003c/a> with helping revive sales.\u003c/p>\n\u003cp>Even Barbie’s \u003ca href=\"http://barbie.mattel.com/shop/en-us/ba/ken-fashionistas#facet:&productBeginIndex:0&orderBy:&pageView:grid&minPrice:&maxPrice:&pageSize:&contentPageSize:&\">boyfriend Ken\u003c/a> got a makeover earlier this year, with more than a dozen new dolls of varying shapes, shades and hairdos — man-bun included.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than just toys, Muhammad tells ESPN the dolls can be tools to “show children how to embrace what makes them different and to remind them that they’re beautiful and they can be whatever they want. We can help push that narrative through role play, through dolls and through using your imagination.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Barbie+Heads+Into+New+Ground+With+Hijab-Sporting+Doll&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Brand New Frontman Apologizes for Sexual Misconduct, Postpones Tour",
"headTitle": "Brand New Frontman Apologizes for Sexual Misconduct, Postpones Tour | KQED",
"content": "\u003cp>The band Brand New is \u003ca href=\"https://www.facebook.com/BrandNew/?hc_ref=ARQmpnFNCPaZSiliAGgJ0YRkM9fqCWwOb633l8f9ZwHoSlgbDcohOmof27G7MoQXgXQ&fref=nf\" target=\"_blank\" rel=\"noopener\">postponing\u003c/a> its comeback tour of the U.K. following accusations of sexual misconduct against its singer, Jesse Lacey, made public last week on social media.\u003c/p>\n\u003cp>In a since-deleted thread on Facebook (a request for comment from that poster wasn’t immediately returned) — accurate excerpts from which were posted \u003ca href=\"http://uproxx.com/music/brand-new-jesse-lacey-sexual-misconduct-allegations/2/\" target=\"_blank\" rel=\"noopener\">by culture blog \u003cem>Uproxx\u003c/em>\u003c/a> — a woman accused Brand New singer Jesse Lacey of soliciting nude photographs from her when she was 15 years old, and of having masturbated while on a Skype video call with her (she did not clarify her age at the time of the Skype conversation).\u003c/p>\n\u003cp>Lacey responded over the weekend with a blanket apology for his behavior, without admitting to any specific allegations. “I was selfish, narcissistic, and insensitive in my past, and there are a number of people who have had to shoulder the burden of my failures. I apologize for the hurt I have caused, and hope to be able to take the correct actions to earn forgiveness and trust,” he \u003ca href=\"https://www.facebook.com/BrandNew/posts/10155923794753023\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>. “I am sorry for how I have hurt people, mistreated them, lied, and cheated. I am sorry for ignoring the way in which my position, status, and power as a member of a band affected the way people viewed me or their approach to their interactions with me. And I am sorry for how often I have not afforded women the respect, support, or honesty that they deserved.”\u003c/p>\n\u003cp>Lacey’s statement arrives on the heels of comedian Louis C.K.’s \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener\">admission of guilt\u003c/a> and statement of contrition over his own history of sexual assaults. “There is nothing about this that I forgive myself for,” C.K. wrote in a statement. “And I have to reconcile it with who I am. Which is nothing compared to the task I left them with.” C.K.’s confirmation of \u003cem>The New York Times\u003c/em>‘ investigation was part of a broad wave of sexual misconduct allegations against many, \u003ca href=\"https://www.npr.org/sections/ombudsman/2017/11/06/561834350/npr-looks-inward-as-it-covers-its-own-sexual-harassment-allegations\" target=\"_blank\" rel=\"noopener\">including\u003c/a> former NPR news executive Mike Oreskes, in what is being commonly referred to as a “post-Weinstein” moment, in reference to the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\" target=\"_blank\" rel=\"noopener\">disgraced\u003c/a> Hollywood mogul.\u003c/p>\n\u003cp>Kevin Devine, a former touring guitarist for Brand New, posted a statement of his own, writing that he had “not heard the story prior to it being made public yesterday. I’m heartbroken for her and for every person who absorbs and subsequently has to figure out how to live with this type of trauma. We all need to do a lot better, myself very much included.” Devine went on to cite his own struggles with addiction, and long-term sobriety, as offering a possible path to similar rehabilitation for Lacey.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The accusations and Lacey’s statement also prompted the group Martha to recuse itself from Brand New’s tour: “We have decided to pull out of the brand new shows. Support survivors always,” the band \u003ca href=\"https://twitter.com/MarthaDIY/status/929315515855790080\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on Twitter.\u003c/p>\n\u003cp>Brand New emerged from Long Island, N.Y. in 2001 with \u003cem>Your Favorite Weapon\u003c/em>, and broke an eight-year hiatus this past August with the release of \u003cem>Science Fiction\u003c/em>. That latest record propelled the group to No. 1 on the Billboard 200 album chart, one of just three guitar-reliant bands this year to do so, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7942129/brand-new-first-number-1-album-billboard-200-chart-science-fiction\" target=\"_blank\" rel=\"noopener\">according to \u003cem>Billboard\u003c/em>\u003c/a>, and drew glowing reviews from music critics — including \u003ca href=\"https://www.npr.org/sections/allsongs/2017/08/26/545558097/brand-new-again-science-fiction-is-a-self-revival\">one published by NPR Music\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Requests for further comment from Brand New’s publicist were not returned. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Brand+New+Frontman+Jesse+Lacey+Apologizes+For+Sexual+Misconduct%2C+Postpones+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The band Brand New is \u003ca href=\"https://www.facebook.com/BrandNew/?hc_ref=ARQmpnFNCPaZSiliAGgJ0YRkM9fqCWwOb633l8f9ZwHoSlgbDcohOmof27G7MoQXgXQ&fref=nf\" target=\"_blank\" rel=\"noopener\">postponing\u003c/a> its comeback tour of the U.K. following accusations of sexual misconduct against its singer, Jesse Lacey, made public last week on social media.\u003c/p>\n\u003cp>In a since-deleted thread on Facebook (a request for comment from that poster wasn’t immediately returned) — accurate excerpts from which were posted \u003ca href=\"http://uproxx.com/music/brand-new-jesse-lacey-sexual-misconduct-allegations/2/\" target=\"_blank\" rel=\"noopener\">by culture blog \u003cem>Uproxx\u003c/em>\u003c/a> — a woman accused Brand New singer Jesse Lacey of soliciting nude photographs from her when she was 15 years old, and of having masturbated while on a Skype video call with her (she did not clarify her age at the time of the Skype conversation).\u003c/p>\n\u003cp>Lacey responded over the weekend with a blanket apology for his behavior, without admitting to any specific allegations. “I was selfish, narcissistic, and insensitive in my past, and there are a number of people who have had to shoulder the burden of my failures. I apologize for the hurt I have caused, and hope to be able to take the correct actions to earn forgiveness and trust,” he \u003ca href=\"https://www.facebook.com/BrandNew/posts/10155923794753023\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>. “I am sorry for how I have hurt people, mistreated them, lied, and cheated. I am sorry for ignoring the way in which my position, status, and power as a member of a band affected the way people viewed me or their approach to their interactions with me. And I am sorry for how often I have not afforded women the respect, support, or honesty that they deserved.”\u003c/p>\n\u003cp>Lacey’s statement arrives on the heels of comedian Louis C.K.’s \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/10/563316860/louis-c-k-admits-to-sexual-harassment-of-multiple-female-comedians\" target=\"_blank\" rel=\"noopener\">admission of guilt\u003c/a> and statement of contrition over his own history of sexual assaults. “There is nothing about this that I forgive myself for,” C.K. wrote in a statement. “And I have to reconcile it with who I am. Which is nothing compared to the task I left them with.” C.K.’s confirmation of \u003cem>The New York Times\u003c/em>‘ investigation was part of a broad wave of sexual misconduct allegations against many, \u003ca href=\"https://www.npr.org/sections/ombudsman/2017/11/06/561834350/npr-looks-inward-as-it-covers-its-own-sexual-harassment-allegations\" target=\"_blank\" rel=\"noopener\">including\u003c/a> former NPR news executive Mike Oreskes, in what is being commonly referred to as a “post-Weinstein” moment, in reference to the \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/14/557790894/weinstein-expelled-from-the-academy-of-motion-pictures-arts-and-sciences\" target=\"_blank\" rel=\"noopener\">disgraced\u003c/a> Hollywood mogul.\u003c/p>\n\u003cp>Kevin Devine, a former touring guitarist for Brand New, posted a statement of his own, writing that he had “not heard the story prior to it being made public yesterday. I’m heartbroken for her and for every person who absorbs and subsequently has to figure out how to live with this type of trauma. We all need to do a lot better, myself very much included.” Devine went on to cite his own struggles with addiction, and long-term sobriety, as offering a possible path to similar rehabilitation for Lacey.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The accusations and Lacey’s statement also prompted the group Martha to recuse itself from Brand New’s tour: “We have decided to pull out of the brand new shows. Support survivors always,” the band \u003ca href=\"https://twitter.com/MarthaDIY/status/929315515855790080\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on Twitter.\u003c/p>\n\u003cp>Brand New emerged from Long Island, N.Y. in 2001 with \u003cem>Your Favorite Weapon\u003c/em>, and broke an eight-year hiatus this past August with the release of \u003cem>Science Fiction\u003c/em>. That latest record propelled the group to No. 1 on the Billboard 200 album chart, one of just three guitar-reliant bands this year to do so, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7942129/brand-new-first-number-1-album-billboard-200-chart-science-fiction\" target=\"_blank\" rel=\"noopener\">according to \u003cem>Billboard\u003c/em>\u003c/a>, and drew glowing reviews from music critics — including \u003ca href=\"https://www.npr.org/sections/allsongs/2017/08/26/545558097/brand-new-again-science-fiction-is-a-self-revival\">one published by NPR Music\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Requests for further comment from Brand New’s publicist were not returned. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Brand+New+Frontman+Jesse+Lacey+Apologizes+For+Sexual+Misconduct%2C+Postpones+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“Can we please stop with the remakes of \u003cem>Murder on the Orient Express\u003c/em>?” I ask upon exiting Kenneth Branagh’s fatally tepid new reading of the Agatha Christie classic.\u003c/p>\n\u003cp>For my money, David Suchet already nailed the most satisfying Hercule Poirot we’re ever likely to know. In the British television series \u003cem>Agatha Christie’s Poirot\u003c/em> (which aired on PBS in the States), if not the wholly unnecessary 2010 movie, Suchet’s Belgian detective came to us as his own complicated loner — sly, prissy, compulsive, sexually ambiguous and with a thoroughly earned tragic vision of humankind, yet full of compassion for its individual membership. When Suchet’s Poirot insisted he was happiest when alone, we believed him. But coming from Branagh’s Poirot, there is room for doubt — and not only because his lips can barely move beneath a mustache so humongous it curls around corners, possibly in an attempt at a getaway.\u003c/p>\n\u003cp>That hairy party favor — with Branagh behind it, incessantly cracking wise and foolish — leads the action. We meet Poirot at the Western Wall in Jerusalem, a scenic locale that may or may not connect to later events. For now it’s an excuse for the smirky private eye to launch into a lame gag about rabbis, imams and priests.\u003c/p>\n\u003cp>https://youtu.be/z68frP9Q7XA\u003c/p>\n\u003cp>Then it’s on to Istanbul, where the self-professed “greatest detective in the world” boards the famously deluxe locomotive for a hard-earned break among bejeweled toffs moping about in richly varnished wooden carriages with to-die-for light fixtures.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The mustache wears a coat in bed, where we dally with Poirot until Johnny Depp shows up as an iffy-looking “businessman” who, after trying in vain to hire the sleuth as his bodyguard, turns up dead on schedule.\u003c/p>\n\u003cp>In deference to the six people on this planet who don’t know that his multiple stab wounds weren’t inflicted by the butler, in the library, with a poker, I must keep heroically mum about whodunit. Truthfully it’s hard to work up a head of suspense about the killer because once the train screeches to a halt on a box girder bridge, it’s all tedious talk by name actors looking shifty or inscrutable or insisting against all odds that they’re the guilty party.\u003c/p>\n\u003cp>When Agatha Christie maneuvered a large crowd of potential perps into a confined space, she was not just plot-thickening, but finding a way to explore human character in all its rainbow of delusion, rationalization and displaced guilt. For Branagh, it’s little more than a golden opportunity to make us “ooh” and “aah” over a clutch of majorly attired big Hollywood guns from Judi Dench and Derek Jacobi to Michelle Pfeiffer, Willem Dafoe and Penelope Cruz, plus a strategic sprinkling of young ‘uns and a weak stab at diverse casting.\u003c/p>\n\u003cp>The slight twist that Branagh and screenwriter Michael Green have placed on this crew’s shared tie to the deceased doesn’t compel, because they generate no interest as characters. They’re movie stars draped in tableaux, and we are left following them through the carriages in showy aerial shots and tracking shots, or gazing at the expensive furs and the splendid snow-covered mountains.\u003c/p>\n\u003cp>After a stream of gags about how Poirot likes his \u003cem>oeufs \u003c/em>cooked, we transition to unearned poignancy as the movie lumbers home to a denouement — one that, in all fairness to the filmmakers, was never one of Christie’s finest and that has going for it only a ham-fisted democratic impulse. Violins soar amid snow-covered mountains. Poirot stops his quipping and gazes mournfully into the middle distance for a bit. A very short bit.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Poirot follows this brief lunge into gravitas with a cheery wink and a nod that having sorted this lot out, he is off to try his luck on the Nile, nudge nudge. Peeps of Hollywood, I beg you, pitch that pitch straight into turnaround.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Latest+%27Murder+On+The+Orient+Express%27+Is+A+Classic+Whydoit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cp>Actor Kevin Spacey — one of the big-name Hollywood figures caught in a recent wave of accusations of sexual abuse – is reportedly being cut from an already finished film and his scenes re-shot with another actor. The move has been described as unprecedented.\u003c/p>\n\u003cp>Spacey had completed filming in the role of oil tycoon J. Paul Getty for Ridley Scott’s \u003cem>All the Money in the World\u003c/em>, set for release on Dec. 22. Scott will re-shoot Spacey’s scenes with the older actor Christopher Plummer, and the director expects to still make the release date. \u003ca href=\"https://www.nytimes.com/2017/11/08/arts/kevin-spacey-all-the-money-in-the-world.html?_r=0\">The New York Times\u003c/a> says spokesmen for Sony and the director have confirmed the swap.\u003c/p>\n\u003cp>The Associated Press reports: “All of Spacey’s scenes will be reshot,” people close to the production told the AP. “Co-stars Mark Wahlberg and Michelle Williams are expected to participate.”\u003c/p>\n\u003cp>Initially, Scott wanted to cast Plummer in the role but was pressured by the studio to bring on a bigger name, according to the news agency.\u003c/p>\n\u003cp>Last week, the accusations against Spacey prompted Netflix to \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/04/562035100/netflix-dumps-kevin-spacey-from-house-of-cards-amid-harassment-complaints\" target=\"_blank\" rel=\"noopener\">end production\u003c/a> of its popular political drama \u003cem>House of Cards\u003c/em>, which features the actor as a ruthlessly ambitious politician. The Netflix news came just days after 46-year-old actor Anthony Rapp — who plays in the new \u003cem>Star Trek: Discovery\u003c/em> series on CBS — \u003ca href=\"https://www.buzzfeed.com/adambvary/anthony-rapp-kevin-spacey-made-sexual-advance-when-i-was-14?utm_term=.dyY8znBam#.piqAojGdJ\" target=\"_blank\" rel=\"noopener\">told Buzzfeed\u003c/a> that when he was 14 and Spacey 26, the elder actor made a sexual advance on him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Even before Rapp’s accusation, Boston television news anchor Heather Unruh tweeted that Spacey had groped her son’s genitals at a restaurant in Nantucket last year.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/30/560779174/kevin-spacey-apologizes-to-anthony-rapp-over-alleged-sexual-misconduct\" target=\"_blank\" rel=\"noopener\">NPR’s Bill Chappell reported\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Spacey has apologized; he also says he can’t remember the incident. Spacey is also being criticized for using his statement of contrition as a platform for coming out as a gay man.\u003c/p>\n\u003cp>… In a much-debated pivot, Spacey … devoted the second (and longer) half of his statement to say that Rapp’s story ‘has encouraged me to address other things about my life.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>Since then, others – both men and women — have come forward with similar accusations against Spacey.\u003c/p>\n\u003cp>The actor is one of several film and television figures to have had accusations of sexual misconduct leveled against them in the wake of the \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=a-lede-package-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein scandal\u003c/a> that broke last month. Weinstein denies the charges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>However, the accusations go wider, with NPR’s Vice President for News Michael Oreskes \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/01/561363158/nprs-head-of-news-resigns-following-harassment-allegations\" target=\"_blank\" rel=\"noopener\">being forced to resign\u003c/a> over accusations of inappropriate behavior toward subordinates, both at NPR and when he worked for previous employers. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Spacey+Cut+From+Film%3B+Scenes+To+Be+Re-Shot+With+Actor+Christopher+Plummer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actor Kevin Spacey — one of the big-name Hollywood figures caught in a recent wave of accusations of sexual abuse – is reportedly being cut from an already finished film and his scenes re-shot with another actor. The move has been described as unprecedented.\u003c/p>\n\u003cp>Spacey had completed filming in the role of oil tycoon J. Paul Getty for Ridley Scott’s \u003cem>All the Money in the World\u003c/em>, set for release on Dec. 22. Scott will re-shoot Spacey’s scenes with the older actor Christopher Plummer, and the director expects to still make the release date. \u003ca href=\"https://www.nytimes.com/2017/11/08/arts/kevin-spacey-all-the-money-in-the-world.html?_r=0\">The New York Times\u003c/a> says spokesmen for Sony and the director have confirmed the swap.\u003c/p>\n\u003cp>The Associated Press reports: “All of Spacey’s scenes will be reshot,” people close to the production told the AP. “Co-stars Mark Wahlberg and Michelle Williams are expected to participate.”\u003c/p>\n\u003cp>Initially, Scott wanted to cast Plummer in the role but was pressured by the studio to bring on a bigger name, according to the news agency.\u003c/p>\n\u003cp>Last week, the accusations against Spacey prompted Netflix to \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/04/562035100/netflix-dumps-kevin-spacey-from-house-of-cards-amid-harassment-complaints\" target=\"_blank\" rel=\"noopener\">end production\u003c/a> of its popular political drama \u003cem>House of Cards\u003c/em>, which features the actor as a ruthlessly ambitious politician. The Netflix news came just days after 46-year-old actor Anthony Rapp — who plays in the new \u003cem>Star Trek: Discovery\u003c/em> series on CBS — \u003ca href=\"https://www.buzzfeed.com/adambvary/anthony-rapp-kevin-spacey-made-sexual-advance-when-i-was-14?utm_term=.dyY8znBam#.piqAojGdJ\" target=\"_blank\" rel=\"noopener\">told Buzzfeed\u003c/a> that when he was 14 and Spacey 26, the elder actor made a sexual advance on him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Even before Rapp’s accusation, Boston television news anchor Heather Unruh tweeted that Spacey had groped her son’s genitals at a restaurant in Nantucket last year.\u003c/p>\n\u003cp>As \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/10/30/560779174/kevin-spacey-apologizes-to-anthony-rapp-over-alleged-sexual-misconduct\" target=\"_blank\" rel=\"noopener\">NPR’s Bill Chappell reported\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Spacey has apologized; he also says he can’t remember the incident. Spacey is also being criticized for using his statement of contrition as a platform for coming out as a gay man.\u003c/p>\n\u003cp>… In a much-debated pivot, Spacey … devoted the second (and longer) half of his statement to say that Rapp’s story ‘has encouraged me to address other things about my life.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>Since then, others – both men and women — have come forward with similar accusations against Spacey.\u003c/p>\n\u003cp>The actor is one of several film and television figures to have had accusations of sexual misconduct leveled against them in the wake of the \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=a-lede-package-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">Harvey Weinstein scandal\u003c/a> that broke last month. Weinstein denies the charges.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>However, the accusations go wider, with NPR’s Vice President for News Michael Oreskes \u003ca href=\"https://www.npr.org/sections/thetwo-way/2017/11/01/561363158/nprs-head-of-news-resigns-following-harassment-allegations\" target=\"_blank\" rel=\"noopener\">being forced to resign\u003c/a> over accusations of inappropriate behavior toward subordinates, both at NPR and when he worked for previous employers. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Spacey+Cut+From+Film%3B+Scenes+To+Be+Re-Shot+With+Actor+Christopher+Plummer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In The Deft, Insightful 'Lady Bird,' A Girl Grows Up — And Grows Wiser",
"headTitle": "In The Deft, Insightful ‘Lady Bird,’ A Girl Grows Up — And Grows Wiser | KQED",
"content": "\u003cp>The title of Greta Gerwig’s semi-autobiographical \u003cem>Lady Bird\u003c/em> refers to the name— not the nickname, the \u003cem>name \u003c/em>— a mildly rebellious senior gives to herself, part of the comprehensive array of quirks meant to separate her from the pleated drones of an all-girls Catholic high school. She insists that everyone call her “Lady Bird,” including her parents, who grudgingly oblige, though they prefer the name they gave her, Christine, and it stings a little to see it rejected so casually. They put up with it because they know it’s a phase she’ll eventually outgrow — yet it’s also a phase that lasts the longest in children, who have trouble seeing beyond their own needs and feelings, whether they’re toddlers refusing to share their toys or adolescents who slouch into resentment and self-absorption.\u003c/p>\n\u003cp>\u003cem>Lady Bird\u003c/em> recalls coming-of-age films like \u003cem>Pretty in Pink\u003c/em> or \u003cem>The Slums of Beverly Hills\u003c/em>, in that it’s about a teenage girl growing up with fewer advantages than their peers, who don’t think twice about their limitless credit cards or the luxury cars they’re entitled to own on their 16th birthday. What separates it from its predecessors, beyond the wondrous particulars of Gerwig’s observations, is that the film is about achieving a specific form of enlightenment, when a young person finally gains insight into the lives of those closest to her. It may be about the selfishness and growing pains of its confused and embattled heroine, but it’s made from the perspective of an artist who sees the world more clearly now than she did then.\u003c/p>\n\u003cp>Two outside-the-box casting choices make a big difference, starting with the Irish actress Saoirse Ronan stepping confidently into the role of Gerwig’s surrogate, an outcast who so resents her life in early 2000s Sacramento that she’s dead set on heading to an elite East Coast college after graduation. (Never mind that she stinks at math. She’s the type of student to whom teachers hand tests back face-down.) Laurie Metcalf is equally revelatory as her mother Marion, who works double-shifts just to afford tuition at Lady Bird’s current school and has to play the budget-minded taskmaster who forces her to wear thrift clothes and haggles over the grocery bill. Lady Bird’s father (Tracy Letts) is a pushover but his Cool Dad routine masks the anxiety and depression of a man barely making ends meet.\u003c/p>\n\u003cp>As the school year marches on, Lady Bird gets involved in the theater program, falls into relationships with two boyfriends (Lucas Hedges and Timothée Chalamet) who are wrong for her in vastly different ways, goes status-seeking with the popular kids, and generally makes a mess of things at home. None of these developments are unfamiliar to coming-of-age dramas and comedies past, but \u003cem>Lady Bird\u003c/em> thrives on the accumulation of memories that Gerwig has cataloged and reproduced with such exuberance, insight, and feeling. Vivid little moments keep piling up: Mother and daughter crying together over the book-on-tape version of \u003cem>The Grapes of Wrath\u003c/em>, then immediately fighting for control of the radio; gifts like socks and novelty pillows on a lean Christmas morning; or a tacky Dave Matthews ballad that gains in resonance.\u003c/p>\n\u003cp>Gerwig previously cataloged her young adulthood in the excellent \u003cem>Frances Ha\u003c/em>, which she co-wrote with her partner, Noah Baumbach, and starred in as a 27-year-old dancer trying to find direction and stability in New York City. \u003cem>Lady Bird\u003c/em> could be considered a spiritual prequel to \u003cem>Frances Ha\u003c/em>, but having Gerwig behind the camera make a difference, in that the film is not an affectionate tribute to her, but an unmediated reflection on her formative years. Gerwig isn’t a particularly showy director — though she makes the big moments count — but her one devastatingly effective touch is to sketch the film through deft little mini-montages that capture the essence of a location or a situation without dwelling for too long. It’s like she has a notebook full of vivid anecdotes to share and a larger picture emerges from them, like pointillist filmmaking.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At its heart, though, \u003cem>Lady Bird\u003c/em> is about feeling the tug of home and finally being able to articulate how much it means. Early in the film, one of the nuns responds to one of Lady Bird’s short stories by saying that she obviously loves Sacramento, which doesn’t seem to sync with the litany of complaint she registers about it. The nun likens the “attention” she pays to the city to love, which turns into a prevailing metaphor for the whole film. Based on the evidence, Gerwig didn’t miss anything. Only now she views it from a wiser and more empathetic lens.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+The+Deft%2C+Insightful+%27Lady+Bird%2C%27+A+Girl+Grows+Up+%E2%80%94+And+Grows+Wiser+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The title of Greta Gerwig’s semi-autobiographical \u003cem>Lady Bird\u003c/em> refers to the name— not the nickname, the \u003cem>name \u003c/em>— a mildly rebellious senior gives to herself, part of the comprehensive array of quirks meant to separate her from the pleated drones of an all-girls Catholic high school. She insists that everyone call her “Lady Bird,” including her parents, who grudgingly oblige, though they prefer the name they gave her, Christine, and it stings a little to see it rejected so casually. They put up with it because they know it’s a phase she’ll eventually outgrow — yet it’s also a phase that lasts the longest in children, who have trouble seeing beyond their own needs and feelings, whether they’re toddlers refusing to share their toys or adolescents who slouch into resentment and self-absorption.\u003c/p>\n\u003cp>\u003cem>Lady Bird\u003c/em> recalls coming-of-age films like \u003cem>Pretty in Pink\u003c/em> or \u003cem>The Slums of Beverly Hills\u003c/em>, in that it’s about a teenage girl growing up with fewer advantages than their peers, who don’t think twice about their limitless credit cards or the luxury cars they’re entitled to own on their 16th birthday. What separates it from its predecessors, beyond the wondrous particulars of Gerwig’s observations, is that the film is about achieving a specific form of enlightenment, when a young person finally gains insight into the lives of those closest to her. It may be about the selfishness and growing pains of its confused and embattled heroine, but it’s made from the perspective of an artist who sees the world more clearly now than she did then.\u003c/p>\n\u003cp>Two outside-the-box casting choices make a big difference, starting with the Irish actress Saoirse Ronan stepping confidently into the role of Gerwig’s surrogate, an outcast who so resents her life in early 2000s Sacramento that she’s dead set on heading to an elite East Coast college after graduation. (Never mind that she stinks at math. She’s the type of student to whom teachers hand tests back face-down.) Laurie Metcalf is equally revelatory as her mother Marion, who works double-shifts just to afford tuition at Lady Bird’s current school and has to play the budget-minded taskmaster who forces her to wear thrift clothes and haggles over the grocery bill. Lady Bird’s father (Tracy Letts) is a pushover but his Cool Dad routine masks the anxiety and depression of a man barely making ends meet.\u003c/p>\n\u003cp>As the school year marches on, Lady Bird gets involved in the theater program, falls into relationships with two boyfriends (Lucas Hedges and Timothée Chalamet) who are wrong for her in vastly different ways, goes status-seeking with the popular kids, and generally makes a mess of things at home. None of these developments are unfamiliar to coming-of-age dramas and comedies past, but \u003cem>Lady Bird\u003c/em> thrives on the accumulation of memories that Gerwig has cataloged and reproduced with such exuberance, insight, and feeling. Vivid little moments keep piling up: Mother and daughter crying together over the book-on-tape version of \u003cem>The Grapes of Wrath\u003c/em>, then immediately fighting for control of the radio; gifts like socks and novelty pillows on a lean Christmas morning; or a tacky Dave Matthews ballad that gains in resonance.\u003c/p>\n\u003cp>Gerwig previously cataloged her young adulthood in the excellent \u003cem>Frances Ha\u003c/em>, which she co-wrote with her partner, Noah Baumbach, and starred in as a 27-year-old dancer trying to find direction and stability in New York City. \u003cem>Lady Bird\u003c/em> could be considered a spiritual prequel to \u003cem>Frances Ha\u003c/em>, but having Gerwig behind the camera make a difference, in that the film is not an affectionate tribute to her, but an unmediated reflection on her formative years. Gerwig isn’t a particularly showy director — though she makes the big moments count — but her one devastatingly effective touch is to sketch the film through deft little mini-montages that capture the essence of a location or a situation without dwelling for too long. It’s like she has a notebook full of vivid anecdotes to share and a larger picture emerges from them, like pointillist filmmaking.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Muhal Richard Abrams, Sweepingly Influential Jazz Artist, Dead at 87",
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"content": "\u003cp>Muhal Richard Abrams, a pianist and composer of staunch independence and sweeping influence, inseparable from his role as a founding father of the Association for the Advancement of Creative Musicians [AACM], died on Sunday at his home in New York City. He was 87.\u003c/p>\n\u003cp>His daughter, Richarda Abrams, confirmed his death. No cause was given.\u003c/p>\n\u003cp>Abrams was a brilliant, mostly self-taught pianist who combined a strong foundation in the blues with keen attunement to the shadow art of vibration and overtone. While he came up in a hard-swinging jazz context, and created some of his early work in that style, he was serious about a non-idiomatic approach to improvisation. He is regarded as a paragon by some of the most acclaimed pianists now in circulation, including \u003ca href=\"http://www.npr.org/artists/15340491/jason-moran\" target=\"_blank\" rel=\"noopener\">Jason Moran\u003c/a>, \u003ca href=\"http://www.npr.org/artists/127899386/craig-taborn\" target=\"_blank\" rel=\"noopener\">Craig Taborn\u003c/a> and \u003ca href=\"http://www.npr.org/artists/92749291/vijay-iyer\" target=\"_blank\" rel=\"noopener\">Vijay Iyer\u003c/a>.\u003c/p>\n\u003cp>Among the roughly two dozen albums that Abrams released over the last 50 years are several that feature him in a solo piano setting, illuminating both the percussive rumble of his touch and the oblique yet holistic logic of his improvisations. You can hear this signature as clearly on an early effort like \u003cem>\u003ca href=\"https://youtu.be/0NxYq4FKaiI\">Afrisong\u003c/a>\u003c/em>, released on the India Navigation label in 1975, as on a late work like \u003cem>Vision Toward Essence\u003c/em>, recorded in 1998 and released on Pi Recordings in 2007.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1043886023/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Abrams’ piano can be heard on an array of albums by members of the AACM, including 1977’s \u003cem>Nonaah\u003c/em>,\u003cem> \u003c/em>by the saxophonist Roscoe Mitchell, and \u003cem>3 Compositions Of New Jazz\u003c/em>, the 1968 debut by saxophonist \u003ca href=\"http://www.npr.org/artists/15292667/anthony-braxton\" target=\"_blank\" rel=\"noopener\">Anthony Braxton\u003c/a>. To hear an excellent example of Abrams’ catalytic genius as a sideman, seek out a live Braxton album on the hatOLOGY label, \u003cem>Quintet (Basel) 1977\u003c/em>.\u003c/p>\n\u003cp>As a composer, Abrams worked in a billowing sprawl of settings, from solo to quartet to big band and beyond. His large-canvas works have been performed by the Brooklyn Philharmonic, the Detroit Symphony Orchestra and the American Composers Orchestra, among others. He also wrote chamber pieces for ensembles like The String Trio of New York, \u003ca href=\"http://www.npr.org/artists/96329278/bang-on-a-can\" target=\"_blank\" rel=\"noopener\">Bang on a Can\u003c/a> and \u003ca href=\"http://www.npr.org/artists/14983141/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, which premiered his String Quartet No. 2 in 1985 at Carnegie Hall’s intimate space now known as Weill Recital Hall.\u003c/p>\n\u003cp>Some of the standout titles in the Abrams discography are large-ensemble works loosely in the jazz continuum, including two back-to-back releases, \u003cem>The Hearinga Suite\u003c/em> (1989) and \u003cem>Blu Blu Blu \u003c/em>(1991). “On the basis of these thoroughly engaging works alone,” writes the critic Gary Giddins in his book \u003cem>Visions Of Jazz\u003c/em>, “he must be accounted a preeminent figure in the development of big band music in the period since the ’60s.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Mbh7BVm1nDg\u003c/p>\n\u003cp>\u003ca href=\"https://youtu.be/Mbh7BVm1nDg\">\u003c/a>But Abrams will probably be best remembered for his co-founding and stewardship of the AACM, which has been a stalwart presence in the American avant-garde for more than 50 years. Established on the South Side of Chicago, it began in part as an extension of Abrams’ Experimental Band, which he first convened in the early 1960s.\u003c/p>\n\u003cp>“I needed a place to experiment with the things I wanted to do with music,” Abrams told me in 2008. “So I organized the Experimental Band, the forerunner of the AACM. And I fortunately attracted musicians who were interested in that. It included quite a few of the musicians that you know today that are very accomplished in what they do. The reason they could accomplish what they did is that they found a workshop where they could experiment and learn and test themselves as to what could be done with things they find out, in terms of research and study.”\u003c/p>\n\u003cp>In a recent conversation, Roscoe Mitchell recalled the Experimental Band as a workshop of sorts. “Because you were invited to write pieces for the big band,” he said. “Or bring your existing pieces in, have them played. And then if there was something you wanted to change about the piece, something you weren’t happy with, you could bring that back the next week, have it played, and so on and so forth.”\u003c/p>\n\u003cp>The AACM, which was formally established in 1965, mobilized around a handful of core principles, including an independence from the commercial apparatus of the music business and a stated commitment to original music. From early on, the organization flew a banner of Great Black Music, but under that banner, a diversity of voices and perspectives was welcomed, and even insisted upon.\u003c/p>\n\u003cp>“We believe that in general, in terms of humanity, we are first given individual rights to self-realize, which was part of our focus in terms of philosophy,” Abrams told me. “The AACM is basically a group of individuals who agree to agree, and sometimes not to agree. Our cohesiveness has been intact because we respect each other’s individualism.”\u003c/p>\n\u003cp>Richard Lewis Abrams was born in Chicago on Sept. 19, 1930, to Milton and Edna Abrams, the second of nine children. He attended DuSable High School, but was compelled early on by his own interests.\u003c/p>\n\u003cp>Columbia University professor George Lewis, in his 2008 book \u003cem>A Power Stronger Than Itself: The AACM and American Experimental Music\u003c/em> (University of Chicago Press), notes that Abrams had an early mentor in the trumpeter Will Jackson, a Jimmie Lunceford band alumnus who lived down the street and taught Abrams some of the fundamentals of orchestration. Jackson also introduced Abrams to the pianist Walter “King” Fleming, who became an early influence, and incorporated some of the young musician’s arrangements in his band.\u003c/p>\n\u003cp>Abrams became a fixture in jam sessions at the Cotton Club, on the South Side. He made his first appearance on record in 1957 with the MJT+3, led by the drummer Walter Perkins. But he also became engrossed by the theories of Joseph Schillinger, whose mathematical and relational approach to music theory struck a deep chord. (Like many musicians in his orbit, Abrams was introduced to Schillinger’s theories by Charles Stepney, a house arranger and producer for Chess Records.)\u003c/p>\n\u003cp>As the Experimental Band branched into the early AACM, Abrams maintained his role as a center of gravity and a source of counsel. “Muhal was the inspiration,” the drummer \u003ca href=\"http://www.npr.org/artists/15124740/jack-dejohnette\" target=\"_blank\" rel=\"noopener\">Jack DeJohnette\u003c/a> told me in 2015. “He helped us to be ourselves. He was curious about everything: numerology, orchestration. He taught himself everything, and listened to all kinds of music. All the pianists. He studied all of them. And he found something in there which gave him the freedom to explore the music and write and compose the music he’s been doing all these many years.”\u003c/p>\n\u003cp>Abrams moved to New York in 1976. That move, writes Gary Giddins, “hastened the internationalization of a music that had received little more than token support in the United States (outside of Chicago), despite having already scored high marks in Europe.” Abrams created a New York chapter of the AACM and served as its president.\u003c/p>\n\u003cp>In time, a cascade of accolades found its way to Abrams. In 1990, Copenhagen’s Danish Jazz Center created the JazzPar prize, a prestigious award, and selected Abrams as the first recipient. He was also a 2008 USA Prudential Fellow; a 2012 Living Legacy Awardee, bestowed by the Mid-Atlantic Arts Foundation; and the recipient of two awards from the Doris Duke Foundation.\u003c/p>\n\u003cp>In 2010, when Abrams was named an NEA Jazz Master, he performed a solo piano improvisation at the induction ceremony and then conducted a performance of “2000 Plus The Twelfth Step,” a piece originally commissioned and premiered by the Carnegie Hall Jazz Orchestra.\u003c/p>\n\u003cp>In addition to his daughter, Abrams is survived by his wife, Peggy Abrams; four brothers, Milton, Jr., John, Michael and Mott Christopher; two sisters, Dolorez Abrams and Alice Rollins. His son, Richard, Jr., is deceased, but left him three grandchildren and five great-grandchildren.\u003c/p>\n\u003cp>Abrams made his most recent notable appearance on record in the company of DeJohnette, Mitchell and the multi-reedist \u003ca href=\"http://www.npr.org/artists/15509387/henry-threadgill\" target=\"_blank\" rel=\"noopener\">Henry Threadgill\u003c/a> as well as the bassist Larry Gray. That album, \u003cem>Made in Chicago\u003c/em>, was recorded at the 2013 Chicago Jazz Festival and released on ECM in 2015. Its release preceded another round of performances, including a momentous stand at the Newport Jazz Festival.\u003c/p>\n\u003cp>But the breadth of Abrams’ reach may best be characterized not by a discography, a list of awards or a tally of performances, but rather by the widespread adoption of an attitude. I recently considered this legacy while attending the 2017 Ojai Music Festival, \u003ca href=\"http://www.npr.org/2017/10/18/558549535/at-ojai-music-festival-vijay-iyer-showcases-improvisation\">which was programmed by Vijay Iyer\u003c/a>. The intensity of creative exchange at that event, across the usual boundaries of “jazz” and “classical” and “new music,” stood as a testament to the durability of Abrams’ vision.\u003c/p>\n\u003cp>And as if that weren’t enough, Abrams performed on the festival as well, creating a mesmerizing hour-long improvisation with Mitchell and Lewis, as The Trio. It was my last hour in Abrams’ company, musically, and I’m grateful that it was documented. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Bp9MoWVWkjo\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Muhal+Richard+Abrams%2C+A+Sweepingly+Influential+Jazz+Artist%2C+Has+Died+At+Age+87&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Muhal Richard Abrams, a pianist and composer of staunch independence and sweeping influence, inseparable from his role as a founding father of the Association for the Advancement of Creative Musicians [AACM], died on Sunday at his home in New York City. He was 87.\u003c/p>\n\u003cp>His daughter, Richarda Abrams, confirmed his death. No cause was given.\u003c/p>\n\u003cp>Abrams was a brilliant, mostly self-taught pianist who combined a strong foundation in the blues with keen attunement to the shadow art of vibration and overtone. While he came up in a hard-swinging jazz context, and created some of his early work in that style, he was serious about a non-idiomatic approach to improvisation. He is regarded as a paragon by some of the most acclaimed pianists now in circulation, including \u003ca href=\"http://www.npr.org/artists/15340491/jason-moran\" target=\"_blank\" rel=\"noopener\">Jason Moran\u003c/a>, \u003ca href=\"http://www.npr.org/artists/127899386/craig-taborn\" target=\"_blank\" rel=\"noopener\">Craig Taborn\u003c/a> and \u003ca href=\"http://www.npr.org/artists/92749291/vijay-iyer\" target=\"_blank\" rel=\"noopener\">Vijay Iyer\u003c/a>.\u003c/p>\n\u003cp>Among the roughly two dozen albums that Abrams released over the last 50 years are several that feature him in a solo piano setting, illuminating both the percussive rumble of his touch and the oblique yet holistic logic of his improvisations. You can hear this signature as clearly on an early effort like \u003cem>\u003ca href=\"https://youtu.be/0NxYq4FKaiI\">Afrisong\u003c/a>\u003c/em>, released on the India Navigation label in 1975, as on a late work like \u003cem>Vision Toward Essence\u003c/em>, recorded in 1998 and released on Pi Recordings in 2007.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1043886023/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Abrams’ piano can be heard on an array of albums by members of the AACM, including 1977’s \u003cem>Nonaah\u003c/em>,\u003cem> \u003c/em>by the saxophonist Roscoe Mitchell, and \u003cem>3 Compositions Of New Jazz\u003c/em>, the 1968 debut by saxophonist \u003ca href=\"http://www.npr.org/artists/15292667/anthony-braxton\" target=\"_blank\" rel=\"noopener\">Anthony Braxton\u003c/a>. To hear an excellent example of Abrams’ catalytic genius as a sideman, seek out a live Braxton album on the hatOLOGY label, \u003cem>Quintet (Basel) 1977\u003c/em>.\u003c/p>\n\u003cp>As a composer, Abrams worked in a billowing sprawl of settings, from solo to quartet to big band and beyond. His large-canvas works have been performed by the Brooklyn Philharmonic, the Detroit Symphony Orchestra and the American Composers Orchestra, among others. He also wrote chamber pieces for ensembles like The String Trio of New York, \u003ca href=\"http://www.npr.org/artists/96329278/bang-on-a-can\" target=\"_blank\" rel=\"noopener\">Bang on a Can\u003c/a> and \u003ca href=\"http://www.npr.org/artists/14983141/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a>, which premiered his String Quartet No. 2 in 1985 at Carnegie Hall’s intimate space now known as Weill Recital Hall.\u003c/p>\n\u003cp>Some of the standout titles in the Abrams discography are large-ensemble works loosely in the jazz continuum, including two back-to-back releases, \u003cem>The Hearinga Suite\u003c/em> (1989) and \u003cem>Blu Blu Blu \u003c/em>(1991). “On the basis of these thoroughly engaging works alone,” writes the critic Gary Giddins in his book \u003cem>Visions Of Jazz\u003c/em>, “he must be accounted a preeminent figure in the development of big band music in the period since the ’60s.”\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/Mbh7BVm1nDg'\n title='//www.youtube.com/embed/Mbh7BVm1nDg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003ca href=\"https://youtu.be/Mbh7BVm1nDg\">\u003c/a>But Abrams will probably be best remembered for his co-founding and stewardship of the AACM, which has been a stalwart presence in the American avant-garde for more than 50 years. Established on the South Side of Chicago, it began in part as an extension of Abrams’ Experimental Band, which he first convened in the early 1960s.\u003c/p>\n\u003cp>“I needed a place to experiment with the things I wanted to do with music,” Abrams told me in 2008. “So I organized the Experimental Band, the forerunner of the AACM. And I fortunately attracted musicians who were interested in that. It included quite a few of the musicians that you know today that are very accomplished in what they do. The reason they could accomplish what they did is that they found a workshop where they could experiment and learn and test themselves as to what could be done with things they find out, in terms of research and study.”\u003c/p>\n\u003cp>In a recent conversation, Roscoe Mitchell recalled the Experimental Band as a workshop of sorts. “Because you were invited to write pieces for the big band,” he said. “Or bring your existing pieces in, have them played. And then if there was something you wanted to change about the piece, something you weren’t happy with, you could bring that back the next week, have it played, and so on and so forth.”\u003c/p>\n\u003cp>The AACM, which was formally established in 1965, mobilized around a handful of core principles, including an independence from the commercial apparatus of the music business and a stated commitment to original music. From early on, the organization flew a banner of Great Black Music, but under that banner, a diversity of voices and perspectives was welcomed, and even insisted upon.\u003c/p>\n\u003cp>“We believe that in general, in terms of humanity, we are first given individual rights to self-realize, which was part of our focus in terms of philosophy,” Abrams told me. “The AACM is basically a group of individuals who agree to agree, and sometimes not to agree. Our cohesiveness has been intact because we respect each other’s individualism.”\u003c/p>\n\u003cp>Richard Lewis Abrams was born in Chicago on Sept. 19, 1930, to Milton and Edna Abrams, the second of nine children. He attended DuSable High School, but was compelled early on by his own interests.\u003c/p>\n\u003cp>Columbia University professor George Lewis, in his 2008 book \u003cem>A Power Stronger Than Itself: The AACM and American Experimental Music\u003c/em> (University of Chicago Press), notes that Abrams had an early mentor in the trumpeter Will Jackson, a Jimmie Lunceford band alumnus who lived down the street and taught Abrams some of the fundamentals of orchestration. Jackson also introduced Abrams to the pianist Walter “King” Fleming, who became an early influence, and incorporated some of the young musician’s arrangements in his band.\u003c/p>\n\u003cp>Abrams became a fixture in jam sessions at the Cotton Club, on the South Side. He made his first appearance on record in 1957 with the MJT+3, led by the drummer Walter Perkins. But he also became engrossed by the theories of Joseph Schillinger, whose mathematical and relational approach to music theory struck a deep chord. (Like many musicians in his orbit, Abrams was introduced to Schillinger’s theories by Charles Stepney, a house arranger and producer for Chess Records.)\u003c/p>\n\u003cp>As the Experimental Band branched into the early AACM, Abrams maintained his role as a center of gravity and a source of counsel. “Muhal was the inspiration,” the drummer \u003ca href=\"http://www.npr.org/artists/15124740/jack-dejohnette\" target=\"_blank\" rel=\"noopener\">Jack DeJohnette\u003c/a> told me in 2015. “He helped us to be ourselves. He was curious about everything: numerology, orchestration. He taught himself everything, and listened to all kinds of music. All the pianists. He studied all of them. And he found something in there which gave him the freedom to explore the music and write and compose the music he’s been doing all these many years.”\u003c/p>\n\u003cp>Abrams moved to New York in 1976. That move, writes Gary Giddins, “hastened the internationalization of a music that had received little more than token support in the United States (outside of Chicago), despite having already scored high marks in Europe.” Abrams created a New York chapter of the AACM and served as its president.\u003c/p>\n\u003cp>In time, a cascade of accolades found its way to Abrams. In 1990, Copenhagen’s Danish Jazz Center created the JazzPar prize, a prestigious award, and selected Abrams as the first recipient. He was also a 2008 USA Prudential Fellow; a 2012 Living Legacy Awardee, bestowed by the Mid-Atlantic Arts Foundation; and the recipient of two awards from the Doris Duke Foundation.\u003c/p>\n\u003cp>In 2010, when Abrams was named an NEA Jazz Master, he performed a solo piano improvisation at the induction ceremony and then conducted a performance of “2000 Plus The Twelfth Step,” a piece originally commissioned and premiered by the Carnegie Hall Jazz Orchestra.\u003c/p>\n\u003cp>In addition to his daughter, Abrams is survived by his wife, Peggy Abrams; four brothers, Milton, Jr., John, Michael and Mott Christopher; two sisters, Dolorez Abrams and Alice Rollins. His son, Richard, Jr., is deceased, but left him three grandchildren and five great-grandchildren.\u003c/p>\n\u003cp>Abrams made his most recent notable appearance on record in the company of DeJohnette, Mitchell and the multi-reedist \u003ca href=\"http://www.npr.org/artists/15509387/henry-threadgill\" target=\"_blank\" rel=\"noopener\">Henry Threadgill\u003c/a> as well as the bassist Larry Gray. That album, \u003cem>Made in Chicago\u003c/em>, was recorded at the 2013 Chicago Jazz Festival and released on ECM in 2015. Its release preceded another round of performances, including a momentous stand at the Newport Jazz Festival.\u003c/p>\n\u003cp>But the breadth of Abrams’ reach may best be characterized not by a discography, a list of awards or a tally of performances, but rather by the widespread adoption of an attitude. I recently considered this legacy while attending the 2017 Ojai Music Festival, \u003ca href=\"http://www.npr.org/2017/10/18/558549535/at-ojai-music-festival-vijay-iyer-showcases-improvisation\">which was programmed by Vijay Iyer\u003c/a>. The intensity of creative exchange at that event, across the usual boundaries of “jazz” and “classical” and “new music,” stood as a testament to the durability of Abrams’ vision.\u003c/p>\n\u003cp>And as if that weren’t enough, Abrams performed on the festival as well, creating a mesmerizing hour-long improvisation with Mitchell and Lewis, as The Trio. It was my last hour in Abrams’ company, musically, and I’m grateful that it was documented. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Kevin Spacey Apologizes for Alleged Sexual Misconduct [UPDATED]",
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"content": "\u003cp>\u003cb>UPDATE:\u003c/b>\u003c/p>\n\u003cp>The fallout facing Kevin Spacey widened Monday following an accusation that he allegedly made sexual advances on a teen boy, with Netflix pulling the plug on his hit show \u003cem>House of Cards\u003c/em> and “deeply troubled” producers of the political thriller arriving on set to comfort cast mates.\u003c/p>\n\u003cp>Executives from Netflix and the show’s producer, Media Rights Capital, said they arrived in Baltimore, where the show is shot, on Monday afternoon to make sure actors and crew “continue to feel safe and supported.” Spacey was not scheduled to be on set on Monday.\u003c/p>\n\u003cp>Though the decision to end the series was announced on Monday, the decision to end the series was made several months ago, according to a person with knowledge of the situation who spoke on condition of anonymity because they were not authorized to discuss the decision.\u003c/p>\n\u003cp>\u003cb>Original Story:\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Rapp, 46, made the allegation against Spacey in an interview with Buzzfeed that was published Sunday night. In it, he said that when he was a teenage actor working in New York, Spacey invited him to his apartment for a party, after which the older actor, then in his mid-20s, carried Rapp to a bed and laid on top of him.\u003c/p>\n\u003cp>“He was trying to seduce me,” \u003ca href=\"https://www.buzzfeed.com/adambvary/anthony-rapp-kevin-spacey-made-sexual-advance-when-i-was-14\" target=\"_blank\" rel=\"noopener\">Rapp told Buzzfeed\u003c/a>. “I don’t know if I would have used that language. But I was aware that he was trying to get with me sexually.”\u003c/p>\n\u003cp>Rapp said that he was able to push Spacey away and soon left the apartment — but that the incident has stuck with him.\u003c/p>\n\u003cp>https://twitter.com/albinokid/status/924849990257823744\u003c/p>\n\u003cp>“The older I get, and the more I know, I feel very fortunate that something worse didn’t happen,” he said. “And at the same time, the older I get, the more I can’t believe it. I could never imagine [that] anyone else I know would do something like that to a 14-year-old boy.”\u003c/p>\n\u003cp>By going public with his story on the heels of earthshaking allegations of sexual assault and predatory behavior by Harvey Weinstein, James Toback, and other powerful Hollywood and media figures, \u003ca href=\"https://twitter.com/albinokid/status/924849990257823744\" target=\"_blank\" rel=\"noopener\">Rapp said he was\u003c/a> “standing on the shoulders of the many courageous women and men who have been speaking out to shine a light and hopefully make a difference, as they have done for me.”\u003c/p>\n\u003cp>https://twitter.com/KevinSpacey/status/924848412842971136\u003c/p>\n\u003cp>Within hours, \u003ca href=\"https://twitter.com/KevinSpacey/status/924848412842971136\" target=\"_blank\" rel=\"noopener\">Spacey had responded\u003c/a> to the Buzzfeed interview. In a tweet that was posted at midnight Eastern Time, the actor, 58, said of Rapp:\u003c/p>\n\u003cp>“I’m beyond horrified to hear his story. I honestly do not recall the encounter, it would have been over 30 years ago. But if I did behave then as he describes I owe him the sincerest apology for what would have been deeply inappropriate drunken behavior, and I am sorry for the feelings he describes having carried with him all these years.”\u003c/p>\n\u003cp>In a much-debated pivot, Spacey then devoted the second (and longer) half of his statement to say that Rapp’s story “has encouraged me to address other things about my life.”\u003c/p>\n\u003cp>He went on to confirm longstanding rumors about his sexuality, stating, “I choose now to live as a gay man.”\u003c/p>\n\u003cp>Spacey’s use of his first public statement about alleged inappropriate behavior toward a teenager to come out generated a second wave of discussion on Twitter and other social media outlets.\u003c/p>\n\u003cp>A top comment on Spacey’s tweeted statement comes from the conservative Columbia Bugle, which said, “Nobody cares if you’re gay, what we care about is that you allegedly sexually assaulted a young boy, you imbecile.”\u003c/p>\n\u003cp>Others accused the actor of using a coming-out story as a distraction from the damaging news about him.\u003c/p>\n\u003cp>“No no no no no!” actress and comedian Wanda Sykes wrote. “You do not get to ‘choose’ to hide under the rainbow! Kick rocks!”\u003c/p>\n\u003cp>Dan Savage, the advice columnist and activist, wrote, “Nope to Kevin Spacey’s statement. Nope. There’s no amount of drunk or closeted that excuses or explains away assaulting a 14-year-old child.”\u003c/p>\n\u003cp>Spacey, an Oscar winner who was made an honorary knight of the British empire last summer, concluded his statement by writing, “I want to deal with this honestly and openly and that starts with examining my own behavior.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was not clear whether Spacey was referring to dealing with his own sexuality, or with Rapp’s allegations against him.\u003cbr>\n\u003cem>\u003cbr>\nThe Associated Press contributed to this report.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Kevin+Spacey+Apologizes+To+Anthony+Rapp+Over+Alleged+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Rapp, 46, made the allegation against Spacey in an interview with Buzzfeed that was published Sunday night. In it, he said that when he was a teenage actor working in New York, Spacey invited him to his apartment for a party, after which the older actor, then in his mid-20s, carried Rapp to a bed and laid on top of him.\u003c/p>\n\u003cp>“He was trying to seduce me,” \u003ca href=\"https://www.buzzfeed.com/adambvary/anthony-rapp-kevin-spacey-made-sexual-advance-when-i-was-14\" target=\"_blank\" rel=\"noopener\">Rapp told Buzzfeed\u003c/a>. “I don’t know if I would have used that language. But I was aware that he was trying to get with me sexually.”\u003c/p>\n\u003cp>Rapp said that he was able to push Spacey away and soon left the apartment — but that the incident has stuck with him.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>“The older I get, and the more I know, I feel very fortunate that something worse didn’t happen,” he said. “And at the same time, the older I get, the more I can’t believe it. I could never imagine [that] anyone else I know would do something like that to a 14-year-old boy.”\u003c/p>\n\u003cp>By going public with his story on the heels of earthshaking allegations of sexual assault and predatory behavior by Harvey Weinstein, James Toback, and other powerful Hollywood and media figures, \u003ca href=\"https://twitter.com/albinokid/status/924849990257823744\" target=\"_blank\" rel=\"noopener\">Rapp said he was\u003c/a> “standing on the shoulders of the many courageous women and men who have been speaking out to shine a light and hopefully make a difference, as they have done for me.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Within hours, \u003ca href=\"https://twitter.com/KevinSpacey/status/924848412842971136\" target=\"_blank\" rel=\"noopener\">Spacey had responded\u003c/a> to the Buzzfeed interview. In a tweet that was posted at midnight Eastern Time, the actor, 58, said of Rapp:\u003c/p>\n\u003cp>“I’m beyond horrified to hear his story. I honestly do not recall the encounter, it would have been over 30 years ago. But if I did behave then as he describes I owe him the sincerest apology for what would have been deeply inappropriate drunken behavior, and I am sorry for the feelings he describes having carried with him all these years.”\u003c/p>\n\u003cp>In a much-debated pivot, Spacey then devoted the second (and longer) half of his statement to say that Rapp’s story “has encouraged me to address other things about my life.”\u003c/p>\n\u003cp>He went on to confirm longstanding rumors about his sexuality, stating, “I choose now to live as a gay man.”\u003c/p>\n\u003cp>Spacey’s use of his first public statement about alleged inappropriate behavior toward a teenager to come out generated a second wave of discussion on Twitter and other social media outlets.\u003c/p>\n\u003cp>A top comment on Spacey’s tweeted statement comes from the conservative Columbia Bugle, which said, “Nobody cares if you’re gay, what we care about is that you allegedly sexually assaulted a young boy, you imbecile.”\u003c/p>\n\u003cp>Others accused the actor of using a coming-out story as a distraction from the damaging news about him.\u003c/p>\n\u003cp>“No no no no no!” actress and comedian Wanda Sykes wrote. “You do not get to ‘choose’ to hide under the rainbow! Kick rocks!”\u003c/p>\n\u003cp>Dan Savage, the advice columnist and activist, wrote, “Nope to Kevin Spacey’s statement. Nope. There’s no amount of drunk or closeted that excuses or explains away assaulting a 14-year-old child.”\u003c/p>\n\u003cp>Spacey, an Oscar winner who was made an honorary knight of the British empire last summer, concluded his statement by writing, “I want to deal with this honestly and openly and that starts with examining my own behavior.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It was not clear whether Spacey was referring to dealing with his own sexuality, or with Rapp’s allegations against him.\u003cbr>\n\u003cem>\u003cbr>\nThe Associated Press contributed to this report.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Kevin+Spacey+Apologizes+To+Anthony+Rapp+Over+Alleged+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "‘Faces Places’: A New Wave Filmmaker And A Mural Artist Tear Through France | KQED",
"content": "\u003cp>What a joy it is to have a movie like this in our broken lives right now. \u003cem>Faces Places \u003c/em>is the latest celebration of the creative spirit from Agnès Varda, who made her first film in 1954 and is now 89, with no signs of slowing down. Why should she? Films give her vitality, and she returns the favor to the medium.\u003c/p>\n\u003cp>When Varda started her career as a key director of the French New Wave with works like \u003cem>Le Bonheur\u003c/em> and \u003cem>Cleo From 5 to 7\u003c/em>, she helped redefine the public perception of films as more personal and idiosyncratic; subservient to the whims of their makers, instead of merely entertainment vessels. But if the \u003cem>nouvelle vague\u003c/em> artists once set out to make the world their plaything, Varda now allows the world to play with her. In her latest, she travels across rural France with the street artist JR, who serves as co-director and drives a truck that’s also a giant photo booth. The pair visit beaches and factory towns and semi-abandoned villages, turning everyday folks on the street into collaborators on a public art project: snapping photos of faces and putting them on places. “To ask people if we can express our imaginations on their turf,” as she puts it.\u003c/p>\n\u003cp>https://youtu.be/P7rFMO7ODBk\u003c/p>\n\u003cp>Those imaginations can seem twee sometimes, as when they “repopulate” an empty village. But looking closer reveals an air of melancholy. As a gift to Varda, JR pastes a photo of her long-deceased photographer friend Guy Bourdin onto the side of a fallen Nazi-era bunker on a Normandy beach; when his team returns a short while later, the tides have already washed this memorial away. Things and people are forever destined to fade, and it might take more than a few giant photos to preserve someone forever in memory.\u003c/p>\n\u003cp>With his lanky swagger, pork-pie hat and sunglasses permanently affixed to his face, the 34-year-old JR seems — in silhouette, anyway — a cartoonish complement to Varda’s short, stocky frame, red-and-white bowl cut and assortment of colorful sweaters. But their affection for each other as merry pranksters runs deep, and they feed off each other’s energy with a deadpan comic chemistry pitched somewhere between partners-in-crime and a more touching, maternal softness. JR resembles a young Jean-Luc Godard, and Varda evokes this facial memory of her longtime friend both in affection and frustration. The duo reenact the running-through-the-Louvre scene from Godard’s \u003cem>Band of Outsiders\u003c/em>, JR rocketing Varda through the gallery in a wheelchair full-throttle, an act of defiance against age that is also an admission of it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Varda and JR may be creating a subjective reality, and a stream-of-consciousness one. But within it, the duo craft a role for the artist as society’s connector, elevating the stories of everyday people in troubled times. Playing to a bemused and largely agreeable public, they solicit reactions from people, instead of hiding from them. Selfies abound. And there are other guiding forces within the project. Finding new ways to honor women is always on the forefront of Varda’s mind, so instead of putting the images of dockworkers on the sides of massive, colorful shipping crates in the port city of Le Havre, they honor the workers’ wives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But \u003cem>Faces Places\u003c/em> truly elevates itself during the closing segment, when Varda takes JR on a special train ride to visit a certain former colleague of hers. What happens there should not be spoiled, but it prompts a moment of deep pain and introspection for the filmmaker, a question of who her true friends and confidants might be once time has stripped away all pretensions. Varda has re-staged her own past onscreen many times in the personal documentaries of her career’s late period, upcycling distant memories in \u003cem>The Beaches of Agnes\u003c/em> and revisiting old friends and haunts in \u003cem>From Here to There\u003c/em>. When you’re thinking like a filmmaker, you can’t help but “stage” every dramatic thing that happens to you. Yet those techniques give a new freedom here, a washing away of past anxieties like the tide at Varda’s favorite beaches. A creative spirit gives herself over to the mercy of the world that gets to keep her creations, and faces the trials ahead with matter-of-fact grace.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>What a joy it is to have a movie like this in our broken lives right now. \u003cem>Faces Places \u003c/em>is the latest celebration of the creative spirit from Agnès Varda, who made her first film in 1954 and is now 89, with no signs of slowing down. Why should she? Films give her vitality, and she returns the favor to the medium.\u003c/p>\n\u003cp>When Varda started her career as a key director of the French New Wave with works like \u003cem>Le Bonheur\u003c/em> and \u003cem>Cleo From 5 to 7\u003c/em>, she helped redefine the public perception of films as more personal and idiosyncratic; subservient to the whims of their makers, instead of merely entertainment vessels. But if the \u003cem>nouvelle vague\u003c/em> artists once set out to make the world their plaything, Varda now allows the world to play with her. In her latest, she travels across rural France with the street artist JR, who serves as co-director and drives a truck that’s also a giant photo booth. The pair visit beaches and factory towns and semi-abandoned villages, turning everyday folks on the street into collaborators on a public art project: snapping photos of faces and putting them on places. “To ask people if we can express our imaginations on their turf,” as she puts it.\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/P7rFMO7ODBk'\n title='//www.youtube.com/embed/P7rFMO7ODBk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Those imaginations can seem twee sometimes, as when they “repopulate” an empty village. But looking closer reveals an air of melancholy. As a gift to Varda, JR pastes a photo of her long-deceased photographer friend Guy Bourdin onto the side of a fallen Nazi-era bunker on a Normandy beach; when his team returns a short while later, the tides have already washed this memorial away. Things and people are forever destined to fade, and it might take more than a few giant photos to preserve someone forever in memory.\u003c/p>\n\u003cp>With his lanky swagger, pork-pie hat and sunglasses permanently affixed to his face, the 34-year-old JR seems — in silhouette, anyway — a cartoonish complement to Varda’s short, stocky frame, red-and-white bowl cut and assortment of colorful sweaters. But their affection for each other as merry pranksters runs deep, and they feed off each other’s energy with a deadpan comic chemistry pitched somewhere between partners-in-crime and a more touching, maternal softness. JR resembles a young Jean-Luc Godard, and Varda evokes this facial memory of her longtime friend both in affection and frustration. The duo reenact the running-through-the-Louvre scene from Godard’s \u003cem>Band of Outsiders\u003c/em>, JR rocketing Varda through the gallery in a wheelchair full-throttle, an act of defiance against age that is also an admission of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Varda and JR may be creating a subjective reality, and a stream-of-consciousness one. But within it, the duo craft a role for the artist as society’s connector, elevating the stories of everyday people in troubled times. Playing to a bemused and largely agreeable public, they solicit reactions from people, instead of hiding from them. Selfies abound. And there are other guiding forces within the project. Finding new ways to honor women is always on the forefront of Varda’s mind, so instead of putting the images of dockworkers on the sides of massive, colorful shipping crates in the port city of Le Havre, they honor the workers’ wives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But \u003cem>Faces Places\u003c/em> truly elevates itself during the closing segment, when Varda takes JR on a special train ride to visit a certain former colleague of hers. What happens there should not be spoiled, but it prompts a moment of deep pain and introspection for the filmmaker, a question of who her true friends and confidants might be once time has stripped away all pretensions. Varda has re-staged her own past onscreen many times in the personal documentaries of her career’s late period, upcycling distant memories in \u003cem>The Beaches of Agnes\u003c/em> and revisiting old friends and haunts in \u003cem>From Here to There\u003c/em>. When you’re thinking like a filmmaker, you can’t help but “stage” every dramatic thing that happens to you. Yet those techniques give a new freedom here, a washing away of past anxieties like the tide at Varda’s favorite beaches. A creative spirit gives herself over to the mercy of the world that gets to keep her creations, and faces the trials ahead with matter-of-fact grace.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fats Domino, one of the architects of rock ‘n’ roll, died Tuesday at his daughter’s suburban New Orleans home. Haydee Ellis, a family friend, confirmed the news to NPR. Mark Bone, chief investigator for the Jefferson Parish coroner’s office, tells NPR that Domino, who was 89, died of natural causes.\u003c/p>\n\u003cp>In the 1940s, Antoine Domino Jr. was working at a mattress factory in New Orleans and playing piano at night. Both his waistline and his fan base were expanding. That’s when a bandleader began calling him “Fats.” From there, it was a cakewalk to his first million-selling record — “The Fat Man.” It was Domino’s first release for Imperial Records, which signed him right off the bandstand.\u003c/p>\n\u003cp>Producer, songwriter, arranger and bandleader \u003ca href=\"https://www.rockhall.com/inductees/dave-bartholomew\" target=\"_blank\" rel=\"noopener\">Dave Bartholomew\u003c/a> was there. He described the scene in a 1981 interview now housed at the \u003ca href=\"https://jazz.tulane.edu/\" target=\"_blank\" rel=\"noopener\">Hogan Jazz Archive\u003c/a> at Tulane University. “Fats was rocking the joint,” Bartholomew said. “And he was sweating and playing, he’d put his whole heart and soul in what he was doing, and the people was crazy about him — so that was it. We made our first record, ‘The Fat Man,’ and we never turned around.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=aIz1cPfTRW4\u003c/p>\n\u003cp>Between 1950 and 1963, Domino hit the R&B charts a reported 59 times, and the pop charts a rollicking 63 times. He outsold Little Richard, Chuck Berry and Buddy Holly — \u003cem>combined\u003c/em>. Only Elvis Presley moved more records during that stretch — and Presley cited Domino as the early master.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So how did a black man with a fourth-grade education in the Jim Crow South, the child of Haitian Creole plantation workers and the grandson of a slave, sell more than 65 million records?\u003c/p>\n\u003cp>Domino could “wah-wah-\u003cem>waaaaah\u003c/em>” and “woo-hooo!” like nobody else in the whole wide world — and he made piano triplets ubiquitous in rock ‘n’ roll. “Blueberry Hill,” for example, was not Domino’s own song — it was first published in 1940 and had already been recorded by the likes of Glenn Miller, Gene Autry and Louis Armstrong — but Domino’s version in 1956, complete with those right-hand triplets, was unforgettable.\u003c/p>\n\u003cp>Piano player \u003ca href=\"http://www.joncleary.com/\">Jon Cleary\u003c/a> has devoted most of his life to the New Orleans sound. “The triplets thing,” he says, “that was one of the building blocks of New Orleans R&B. And that’s really the famous Fats Domino groove. Everybody knows that.”\u003c/p>\n\u003cp>And then there was Bartholomew. He and engineer \u003ca href=\"http://www.nola.com/music/index.ssf/2014/09/cosimo_matassa_new_orleans_rec.html\">Cosimo Matassa\u003c/a> perfected a rhythm-heavy sound in Matassa’s studio that was the envy of rock ‘n’ roll. “Blueberry Hill” may have been Domino’s biggest hit, but Bartholomew wrote Domino’s favorite: “Blue Monday.”\u003c/p>\n\u003cp>“Blue Monday” had other levels of meaning in Domino’s career. In the 1950s, the birth of rock ‘n’ roll was hard labor. Social critics called the music vulgar. Jim Crow laws segregated Domino’s audiences, sometimes with only a rope. And the combination of racial tension and teenage hormones at concerts proved violent: bottle-throwing, tear gas, stabbings and arrests.\u003c/p>\n\u003cp>Domino’s biographer, \u003ca href=\"http://www.pbs.org/wnet/americanmasters/fats-domino-book-excerpt-blue-monday-fats-domino-lost-dawn-rock-n-roll/6599/\" target=\"_blank\" rel=\"noopener\">Rick Coleman\u003c/a>, says that there was a real disjunction between that era and the work that Domino was producing. “It was not an easy time period, even though the music was beautiful and joyful,” he observes. “It was a hard birth.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5qz94yveXgQ\u003c/p>\n\u003cp>By 1960, Domino’s audience was overwhelmingly white. In South Carolina, the Ku Klux Klan gave his band directions — by the light of a burning cross. The late saxophone player \u003ca href=\"https://www.nytimes.com/2016/12/09/arts/music/herbert-hardesty-dead-fats-domino-saxophonist.html\">Herbert Hardesty\u003c/a> was driving the Domino bus on that occasion.\u003c/p>\n\u003cp>“So I had to make it tight,” Hardesty recounted. “In about five minutes, I came to Ku Klux Klan. They said, ‘Well, where’s Fats Domino?’ I said, ‘He’s not here.’ They said, ‘What are you guys doing?’ I said, ‘I’m lost, I’m trying to get back to the highway.’ And they were very nice — the Ku Klux Klan treated us very nice!”\u003c/p>\n\u003cp>The British Invasion sent nearly every American performer tumbling down the charts. And yet longtime confidante Ellis says that Domino wouldn’t change a note. “He said, ‘When I play,’ ” she explains, ” ‘I want the people to hear exactly what they’re used to hearing on the record.’ And eventually, that was one of the things that made him reluctant to play, let’s say. He was afraid that he would, you know, mess up a word or whatever.”\u003c/p>\n\u003cp>Domino toured for many years but eventually settled into life at his compound in the Lower Ninth Ward, cooking loads of hog’s head cheese for his many friends. Then came \u003ca href=\"http://www.npr.org/tags/125938823/hurricane-katrina\" target=\"_blank\" rel=\"noopener\">Hurricane Katrina\u003c/a> — and everybody thought he was dead.\u003c/p>\n\u003cp>“When Katrina came,” Ellis gasps, “Oh, Lord! Fats would say he wanted to leave, but he said, ‘What kind of man would I be if I left my family? They don’t want to leave.’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The family survived. Domino lived out the post-Katrina years in a suburb of New Orleans with one of his eight children. But his house still stands on Caffin Avenue, in the Lower Ninth Ward, and has been \u003ca href=\"http://www.rollingstone.com/music/news/inside-rock-legend-fats-dominos-world-crawfish-cards-boogie-woogie-20160226\">restored\u003c/a> in recent years. It’s a reminder of the greatness that the neighborhood once produced, of the golden age of New Orleans music — and of what a fat man can do. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Fats+Domino%2C+Architect+Of+Rock+%27N%27+Roll%2C+Dead+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Fats Domino, one of the architects of rock ‘n’ roll, died Tuesday at his daughter’s suburban New Orleans home. Haydee Ellis, a family friend, confirmed the news to NPR. Mark Bone, chief investigator for the Jefferson Parish coroner’s office, tells NPR that Domino, who was 89, died of natural causes.\u003c/p>\n\u003cp>In the 1940s, Antoine Domino Jr. was working at a mattress factory in New Orleans and playing piano at night. Both his waistline and his fan base were expanding. That’s when a bandleader began calling him “Fats.” From there, it was a cakewalk to his first million-selling record — “The Fat Man.” It was Domino’s first release for Imperial Records, which signed him right off the bandstand.\u003c/p>\n\u003cp>Producer, songwriter, arranger and bandleader \u003ca href=\"https://www.rockhall.com/inductees/dave-bartholomew\" target=\"_blank\" rel=\"noopener\">Dave Bartholomew\u003c/a> was there. He described the scene in a 1981 interview now housed at the \u003ca href=\"https://jazz.tulane.edu/\" target=\"_blank\" rel=\"noopener\">Hogan Jazz Archive\u003c/a> at Tulane University. “Fats was rocking the joint,” Bartholomew said. “And he was sweating and playing, he’d put his whole heart and soul in what he was doing, and the people was crazy about him — so that was it. We made our first record, ‘The Fat Man,’ and we never turned around.”\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/aIz1cPfTRW4'\n title='//www.youtube.com/embed/aIz1cPfTRW4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Between 1950 and 1963, Domino hit the R&B charts a reported 59 times, and the pop charts a rollicking 63 times. He outsold Little Richard, Chuck Berry and Buddy Holly — \u003cem>combined\u003c/em>. Only Elvis Presley moved more records during that stretch — and Presley cited Domino as the early master.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So how did a black man with a fourth-grade education in the Jim Crow South, the child of Haitian Creole plantation workers and the grandson of a slave, sell more than 65 million records?\u003c/p>\n\u003cp>Domino could “wah-wah-\u003cem>waaaaah\u003c/em>” and “woo-hooo!” like nobody else in the whole wide world — and he made piano triplets ubiquitous in rock ‘n’ roll. “Blueberry Hill,” for example, was not Domino’s own song — it was first published in 1940 and had already been recorded by the likes of Glenn Miller, Gene Autry and Louis Armstrong — but Domino’s version in 1956, complete with those right-hand triplets, was unforgettable.\u003c/p>\n\u003cp>Piano player \u003ca href=\"http://www.joncleary.com/\">Jon Cleary\u003c/a> has devoted most of his life to the New Orleans sound. “The triplets thing,” he says, “that was one of the building blocks of New Orleans R&B. And that’s really the famous Fats Domino groove. Everybody knows that.”\u003c/p>\n\u003cp>And then there was Bartholomew. He and engineer \u003ca href=\"http://www.nola.com/music/index.ssf/2014/09/cosimo_matassa_new_orleans_rec.html\">Cosimo Matassa\u003c/a> perfected a rhythm-heavy sound in Matassa’s studio that was the envy of rock ‘n’ roll. “Blueberry Hill” may have been Domino’s biggest hit, but Bartholomew wrote Domino’s favorite: “Blue Monday.”\u003c/p>\n\u003cp>“Blue Monday” had other levels of meaning in Domino’s career. In the 1950s, the birth of rock ‘n’ roll was hard labor. Social critics called the music vulgar. Jim Crow laws segregated Domino’s audiences, sometimes with only a rope. And the combination of racial tension and teenage hormones at concerts proved violent: bottle-throwing, tear gas, stabbings and arrests.\u003c/p>\n\u003cp>Domino’s biographer, \u003ca href=\"http://www.pbs.org/wnet/americanmasters/fats-domino-book-excerpt-blue-monday-fats-domino-lost-dawn-rock-n-roll/6599/\" target=\"_blank\" rel=\"noopener\">Rick Coleman\u003c/a>, says that there was a real disjunction between that era and the work that Domino was producing. “It was not an easy time period, even though the music was beautiful and joyful,” he observes. “It was a hard birth.”\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/5qz94yveXgQ'\n title='//www.youtube.com/embed/5qz94yveXgQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>By 1960, Domino’s audience was overwhelmingly white. In South Carolina, the Ku Klux Klan gave his band directions — by the light of a burning cross. The late saxophone player \u003ca href=\"https://www.nytimes.com/2016/12/09/arts/music/herbert-hardesty-dead-fats-domino-saxophonist.html\">Herbert Hardesty\u003c/a> was driving the Domino bus on that occasion.\u003c/p>\n\u003cp>“So I had to make it tight,” Hardesty recounted. “In about five minutes, I came to Ku Klux Klan. They said, ‘Well, where’s Fats Domino?’ I said, ‘He’s not here.’ They said, ‘What are you guys doing?’ I said, ‘I’m lost, I’m trying to get back to the highway.’ And they were very nice — the Ku Klux Klan treated us very nice!”\u003c/p>\n\u003cp>The British Invasion sent nearly every American performer tumbling down the charts. And yet longtime confidante Ellis says that Domino wouldn’t change a note. “He said, ‘When I play,’ ” she explains, ” ‘I want the people to hear exactly what they’re used to hearing on the record.’ And eventually, that was one of the things that made him reluctant to play, let’s say. He was afraid that he would, you know, mess up a word or whatever.”\u003c/p>\n\u003cp>Domino toured for many years but eventually settled into life at his compound in the Lower Ninth Ward, cooking loads of hog’s head cheese for his many friends. Then came \u003ca href=\"http://www.npr.org/tags/125938823/hurricane-katrina\" target=\"_blank\" rel=\"noopener\">Hurricane Katrina\u003c/a> — and everybody thought he was dead.\u003c/p>\n\u003cp>“When Katrina came,” Ellis gasps, “Oh, Lord! Fats would say he wanted to leave, but he said, ‘What kind of man would I be if I left my family? They don’t want to leave.’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The family survived. Domino lived out the post-Katrina years in a suburb of New Orleans with one of his eight children. But his house still stands on Caffin Avenue, in the Lower Ninth Ward, and has been \u003ca href=\"http://www.rollingstone.com/music/news/inside-rock-legend-fats-dominos-world-crawfish-cards-boogie-woogie-20160226\">restored\u003c/a> in recent years. It’s a reminder of the greatness that the neighborhood once produced, of the golden age of New Orleans music — and of what a fat man can do. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=Fats+Domino%2C+Architect+Of+Rock+%27N%27+Roll%2C+Dead+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>So, you’re at your friend’s elaborately decorated Halloween party. There are cobwebs hanging from the ceiling, bloody handprints on the wall, a frothing potion brewing on the stove. It’s creepy! And scary! But is it … spooky?\u003c/p>\n\u003cp>Sure, “spook” can refer to a ghost. It can refer to a spy. But as many of us know, it’s also, sometimes, a racial slur for black people. One of our \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSeZeFoLpWq-HbUBxMpiYGczjsuZJtCbIv8uMiNOoRWTFGDzWg/viewform\" target=\"_blank\" rel=\"noopener\">Ask Code Switch\u003c/a> readers wrote in to ask about the etiquette of using words like spook and spooky.\u003c/p>\n\u003cp>During this, the season of murder mysteries and haunted hayrides, is it insensitive to say that you were spooked?\u003c/p>\n\u003cp>So here’s the deal: Spook comes from the Dutch word for apparition, or specter. The noun was first \u003ca href=\"http://www.etymonline.com/search?q=spook\" target=\"_blank\" rel=\"noopener\">used in English\u003c/a> around the turn of the nineteenth century. Over the next few decades, it developed other forms, like spooky, spookish, and of course, the verb, to spook.\u003c/p>\n\u003cp>From there, it seems, the word lived a relatively innocuous life for many years, existing in the liminal space between surprise and mild fear.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It wasn’t until World War II that spook \u003ca href=\"http://www.dictionary.com/browse/spook\" target=\"_blank\" rel=\"noopener\">started to refer to black people\u003c/a>. The black Army pilots who trained at the Tuskegee Institute were \u003ca href=\"http://www.oac.cdlib.org/view?docId=hb3779n9gv;NAAN=13030&doc.view=frames&chunk.id=div00046&toc.depth=1&toc.id=div00045&brand=oac4\">referred to as the “Spookwaffe”\u003c/a> — \u003cem>waffe \u003c/em>being the German word for weapon, or gun. (Luftwaffe was the name of the German air force).\u003c/p>\n\u003cp>Once the word “spook” was linked to blackness, it wasn’t long before it became a recognizable — if second-tier — slur.\u003c/p>\n\u003cp>But that wasn’t the end of the story for spook. The word had a bit of a renaissance in the 1970s, with the release of the novel and classic film, \u003ca href=\"https://www.youtube.com/watch?v=_BynXfREPG8\">The Spook Who Sat By The Door\u003c/a>, by \u003ca href=\"https://www.washingtonpost.com/entertainment/sam-greenlee-whose-movie-the-spook-who-sat-by-the-door-became-a-cult-classic-dies/2014/05/20/3d157e6c-e034-11e3-810f-764fe508b82d_story.html?utm_term=.aa20b36e90fb\" target=\"_blank\" rel=\"noopener\">Sam Greenlee\u003c/a>.\u003c/p>\n\u003cp>Both the book and movie tell the fictional story of the first black man recruited and trained by the CIA. That man goes through his training, works for a little while, and then quits his job and moves back to Chicago, where he secretly trains a group of young black “freedom fighters.”\u003c/p>\n\u003cp>The title of the movie, of course, both refers to spook meaning “black person” and spook meaning “spy.” And as a satirical piece of literature written by an African-American author in the years following the civil rights movement, the use of “spook” was infused with an extra dose of irony.\u003c/p>\n\u003cp>\u003ca href=\"http://as.nyu.edu/faculty/renee-blake.html\">Renee Blake\u003c/a> is a sociolinguist who studies the way language is used in society, “whether it’s based on race, class, gender or the like.” She says she doesn’t hear the word spook all that often, but she does have two salient reference points for it.\u003c/p>\n\u003cp>The first is \u003cem>The Spook Who Sat By The Door\u003c/em>, and the second is the 2000 book and 2003 movie \u003cem>The Human Stain, \u003c/em>by Phillip Roth. His novel tells the story of a professor at a New England college who is forced to resign after he calls two African-American students spooks.\u003c/p>\n\u003cp>The word spook hasn’t just gotten fictional people in trouble. In 2010, Target apologized for \u003ca href=\"http://blogs.berkeley.edu/2010/10/01/spook-drop-parachuters-racism-or-halloween-spirit/\" target=\"_blank\" rel=\"noopener\">selling a Halloween toy called “Spook Drop Parachuters”\u003c/a> — literally miniature black figurines with orange parachutes.\u003c/p>\n\u003cp>In light of all this baggage, I asked Blake what she thought about the use of words like spook and spooky during Halloween. She said that, while it’s clear that spook has multiple, distinct meanings, it’s still important to think about context.\u003c/p>\n\u003cp>The way that certain words get attached to particular racial groups is incredibly complicated. (\u003ca href=\"http://www.npr.org/2015/04/30/403362626/the-racially-charged-meaning-behind-the-word-thug\">Take thug\u003c/a>, \u003ca href=\"http://www.npr.org/sections/codeswitch/2013/11/18/245953619/what-a-thugs-life-looked-like-in-nineteenth-century-india\">for example\u003c/a>.)\u003c/p>\n\u003cp>“Be thoughtful about the fact that [spook] now might have the connotation of referring to a black person in a disparaging way,” Blake says. “If someone says, ‘Did you get spooked?’ and there are no black people there, then, OK, you mean ‘Did you get scared or frightened?’ That’s fine, I get it.”\u003c/p>\n\u003cp>But once you insert black people into the situation, Blake says, it’s important to be more tactful. “We know that the word ‘niggardly’ doesn’t mean a black person, but let’s be sensitive. Are you going to use the word niggardly in front of a group of young students in a classroom? No.”\u003c/p>\n\u003cp>So, this Halloween, be a little cautious when it comes to describing your surroundings. And don’t be afraid of creeping into the thesaurus for a spooky synonym.\u003c/p>\n\u003cp>To me, it’s more fun to be aghast, bloodcurdled, or spine-chilled than “spooked.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Got a race question for Code Switch? \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSeZeFoLpWq-HbUBxMpiYGczjsuZJtCbIv8uMiNOoRWTFGDzWg/viewform\">Ask us here\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=This+Halloween%3A+What+Does+It+Mean+To+Call+Something+%27Spooky%27%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Scared, fine. Frightened, sure. But spooked? This week, we dive into the racial history behind one of Halloween's most fraught descriptors.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So, you’re at your friend’s elaborately decorated Halloween party. There are cobwebs hanging from the ceiling, bloody handprints on the wall, a frothing potion brewing on the stove. It’s creepy! And scary! But is it … spooky?\u003c/p>\n\u003cp>Sure, “spook” can refer to a ghost. It can refer to a spy. But as many of us know, it’s also, sometimes, a racial slur for black people. One of our \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSeZeFoLpWq-HbUBxMpiYGczjsuZJtCbIv8uMiNOoRWTFGDzWg/viewform\" target=\"_blank\" rel=\"noopener\">Ask Code Switch\u003c/a> readers wrote in to ask about the etiquette of using words like spook and spooky.\u003c/p>\n\u003cp>During this, the season of murder mysteries and haunted hayrides, is it insensitive to say that you were spooked?\u003c/p>\n\u003cp>So here’s the deal: Spook comes from the Dutch word for apparition, or specter. The noun was first \u003ca href=\"http://www.etymonline.com/search?q=spook\" target=\"_blank\" rel=\"noopener\">used in English\u003c/a> around the turn of the nineteenth century. Over the next few decades, it developed other forms, like spooky, spookish, and of course, the verb, to spook.\u003c/p>\n\u003cp>From there, it seems, the word lived a relatively innocuous life for many years, existing in the liminal space between surprise and mild fear.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It wasn’t until World War II that spook \u003ca href=\"http://www.dictionary.com/browse/spook\" target=\"_blank\" rel=\"noopener\">started to refer to black people\u003c/a>. The black Army pilots who trained at the Tuskegee Institute were \u003ca href=\"http://www.oac.cdlib.org/view?docId=hb3779n9gv;NAAN=13030&doc.view=frames&chunk.id=div00046&toc.depth=1&toc.id=div00045&brand=oac4\">referred to as the “Spookwaffe”\u003c/a> — \u003cem>waffe \u003c/em>being the German word for weapon, or gun. (Luftwaffe was the name of the German air force).\u003c/p>\n\u003cp>Once the word “spook” was linked to blackness, it wasn’t long before it became a recognizable — if second-tier — slur.\u003c/p>\n\u003cp>But that wasn’t the end of the story for spook. The word had a bit of a renaissance in the 1970s, with the release of the novel and classic film, \u003ca href=\"https://www.youtube.com/watch?v=_BynXfREPG8\">The Spook Who Sat By The Door\u003c/a>, by \u003ca href=\"https://www.washingtonpost.com/entertainment/sam-greenlee-whose-movie-the-spook-who-sat-by-the-door-became-a-cult-classic-dies/2014/05/20/3d157e6c-e034-11e3-810f-764fe508b82d_story.html?utm_term=.aa20b36e90fb\" target=\"_blank\" rel=\"noopener\">Sam Greenlee\u003c/a>.\u003c/p>\n\u003cp>Both the book and movie tell the fictional story of the first black man recruited and trained by the CIA. That man goes through his training, works for a little while, and then quits his job and moves back to Chicago, where he secretly trains a group of young black “freedom fighters.”\u003c/p>\n\u003cp>The title of the movie, of course, both refers to spook meaning “black person” and spook meaning “spy.” And as a satirical piece of literature written by an African-American author in the years following the civil rights movement, the use of “spook” was infused with an extra dose of irony.\u003c/p>\n\u003cp>\u003ca href=\"http://as.nyu.edu/faculty/renee-blake.html\">Renee Blake\u003c/a> is a sociolinguist who studies the way language is used in society, “whether it’s based on race, class, gender or the like.” She says she doesn’t hear the word spook all that often, but she does have two salient reference points for it.\u003c/p>\n\u003cp>The first is \u003cem>The Spook Who Sat By The Door\u003c/em>, and the second is the 2000 book and 2003 movie \u003cem>The Human Stain, \u003c/em>by Phillip Roth. His novel tells the story of a professor at a New England college who is forced to resign after he calls two African-American students spooks.\u003c/p>\n\u003cp>The word spook hasn’t just gotten fictional people in trouble. In 2010, Target apologized for \u003ca href=\"http://blogs.berkeley.edu/2010/10/01/spook-drop-parachuters-racism-or-halloween-spirit/\" target=\"_blank\" rel=\"noopener\">selling a Halloween toy called “Spook Drop Parachuters”\u003c/a> — literally miniature black figurines with orange parachutes.\u003c/p>\n\u003cp>In light of all this baggage, I asked Blake what she thought about the use of words like spook and spooky during Halloween. She said that, while it’s clear that spook has multiple, distinct meanings, it’s still important to think about context.\u003c/p>\n\u003cp>The way that certain words get attached to particular racial groups is incredibly complicated. (\u003ca href=\"http://www.npr.org/2015/04/30/403362626/the-racially-charged-meaning-behind-the-word-thug\">Take thug\u003c/a>, \u003ca href=\"http://www.npr.org/sections/codeswitch/2013/11/18/245953619/what-a-thugs-life-looked-like-in-nineteenth-century-india\">for example\u003c/a>.)\u003c/p>\n\u003cp>“Be thoughtful about the fact that [spook] now might have the connotation of referring to a black person in a disparaging way,” Blake says. “If someone says, ‘Did you get spooked?’ and there are no black people there, then, OK, you mean ‘Did you get scared or frightened?’ That’s fine, I get it.”\u003c/p>\n\u003cp>But once you insert black people into the situation, Blake says, it’s important to be more tactful. “We know that the word ‘niggardly’ doesn’t mean a black person, but let’s be sensitive. Are you going to use the word niggardly in front of a group of young students in a classroom? No.”\u003c/p>\n\u003cp>So, this Halloween, be a little cautious when it comes to describing your surroundings. And don’t be afraid of creeping into the thesaurus for a spooky synonym.\u003c/p>\n\u003cp>To me, it’s more fun to be aghast, bloodcurdled, or spine-chilled than “spooked.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>Got a race question for Code Switch? \u003ca href=\"https://docs.google.com/forms/d/e/1FAIpQLSeZeFoLpWq-HbUBxMpiYGczjsuZJtCbIv8uMiNOoRWTFGDzWg/viewform\">Ask us here\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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=This+Halloween%3A+What+Does+It+Mean+To+Call+Something+%27Spooky%27%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“\u003ca href=\"https://www.nbc.com/the-good-place?nbc=1\" target=\"_blank\" rel=\"noopener\">The Good Place\u003c/a>,” an NBC comedy just beginning its second season, starts with a quirky premise.\u003c/p>\n\u003cp>Due to some celestial error, selfish and unpleasant Eleanor Shellstrop (Kristen Bell) has made it into heaven: the good place. She immediately recognizes the mistake, but she intends to earn her spot (or in any case, to “pass”) before any higher-ups are the wiser. Conveniently enough, her heavenly soul mate (played by William Jackson Harper) was a philosophy professor in his earthly life. He specialized in ethics — and he agrees to teach her how to be good.\u003c/p>\n\u003cp>It’s not everyday that philosophy makes it to a major television network. The show flirts with Kant and utilitarianism; Sartre makes an unannounced appearance. Where other shows consult lawyers or doctors or experts in forensics, “The Good Place” has \u003ca href=\"https://blog.apaonline.org/2017/06/21/philosophy-on-tv-the-good-place/\" target=\"_blank\" rel=\"noopener\">a philosophical advisor\u003c/a>.\u003c/p>\n\u003cp>So I was eager to watch the show for its engagement with philosophy in a popular medium. But, instead, I found myself gripped by the psychology — what initially struck me as very bad psychology.\u003c/p>\n\u003cp>You see, the idea behind Eleanor Shellstrop’s private tutoring in ethics is that learning about ethical theories is enough to become a good person, or at least to learn to behave like one. But human behavior isn’t so simple: There’s a big gap between knowing what’s right in the abstract and doing the right thing when it requires a very concrete sacrifice in the moment. (Knowing about nutrition, for example, is no guarantee that you’ll choose the kale salad over the pizza.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In fact, studies by University of California-Riverside philosopher \u003ca href=\"http://www.faculty.ucr.edu/~eschwitz/\" target=\"_blank\" rel=\"noopener\">Eric Schwitzgebel\u003c/a> and his colleagues reveal that philosophers who specialize in ethics and moral philosophy are no more likely to be good than other kinds of philosophers or academics. Their studies examine a variety of good and bad behaviors, from voting in public elections, calling one’s mother, and charitable donations to littering, attending conferences without paying registration fees, and joining the Nazi party in 1930s Germany.\u003c/p>\n\u003cp>In an \u003ca href=\"https://aeon.co/essays/how-often-do-ethics-professors-call-their-mothers\" target=\"_blank\" rel=\"noopener\">article\u003c/a> discussing his research, Schwitzgebel summarizes the findings like this: “Never once have we found ethicists as a whole behaving better than our comparison groups of other professors, by any of our main planned measures.”\u003c/p>\n\u003cp>So there’s not much reason to think that the ethics professor in “The Good Place” is unusually good just because he studied ethics, nor that teaching Eleanor ethics will teach her how to be good. That’s what had me raising an eyebrow as season one of “The Good Place” began. But long before the season’s \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/09/the-good-place-review-season-2/540336/\" target=\"_blank\" rel=\"noopener\">surprising finale\u003c/a>, I realized that the show’s creators were more subtle than their stated premise might suggest. Eleanor \u003cem>was\u003c/em> learning to become a better person, but it wasn’t because the ethics instruction was doing the trick. Instead, her behavior changed as she developed new relationships and became part of a community with different norms.\u003c/p>\n\u003cp>And that’s actually pretty good psychology.\u003c/p>\n\u003cp>A lot of \u003ca href=\"http://dx.doi.org/10.1111/sipr.12022\" target=\"_blank\" rel=\"noopener\">evidence\u003c/a> suggests that \u003ca href=\"https://www.newyorker.com/science/maria-konnikova/how-norms-change\">norms are crucial to behavior\u003c/a>. As one classic example, \u003ca href=\"http://dx.doi.org/10.1037/0022-3514.58.6.1015\" target=\"_blank\" rel=\"noopener\">people will litter more in an environment that is already littered\u003c/a> and that, thereby, conveys that littering is the norm. Elizabeth Levy Paluck, recent \u003ca href=\"https://www.princeton.edu/news/2017/10/11/social-psychologist-paluck-awarded-macarthur-fellowship\" target=\"_blank\" rel=\"noopener\">winner of a MacArthur “genius” award\u003c/a> and professor of psychology and public affairs at Princeton University, has shown in a variety of contexts how changing the perception of some norm can affect people’s behavior. For instance, one large-scale \u003ca href=\"http://dx.doi.org/10.7910/DVN/29199\" target=\"_blank\" rel=\"noopener\">study\u003c/a> across 56 schools found that student conflict could be reduced by having students with key roles in their social networks model and endorse a public stance against conflict, thereby shifting perceived norms.\u003c/p>\n\u003cp>So by the end of season one my raised eyebrow came down to meet its mate, and I silently applauded the show’s creators and writers. For a light and amusing sitcom, “The Good Place” does a pretty good job with philosophy, and a pretty good job with human psychology, too.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tania Lombrozo is a psychology professor at the University of California, Berkeley. She writes about psychology, cognitive science and philosophy, with occasional forays into parenting and veganism. You can keep up with more of what she is thinking on Twitter: \u003c/em>\u003ca href=\"https://twitter.com/tanialombrozo\" target=\"_blank\" rel=\"noopener\">@TaniaLombrozo\u003c/a> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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+Good+Psychology+In+%27The+Good+Place%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“\u003ca href=\"https://www.nbc.com/the-good-place?nbc=1\" target=\"_blank\" rel=\"noopener\">The Good Place\u003c/a>,” an NBC comedy just beginning its second season, starts with a quirky premise.\u003c/p>\n\u003cp>Due to some celestial error, selfish and unpleasant Eleanor Shellstrop (Kristen Bell) has made it into heaven: the good place. She immediately recognizes the mistake, but she intends to earn her spot (or in any case, to “pass”) before any higher-ups are the wiser. Conveniently enough, her heavenly soul mate (played by William Jackson Harper) was a philosophy professor in his earthly life. He specialized in ethics — and he agrees to teach her how to be good.\u003c/p>\n\u003cp>It’s not everyday that philosophy makes it to a major television network. The show flirts with Kant and utilitarianism; Sartre makes an unannounced appearance. Where other shows consult lawyers or doctors or experts in forensics, “The Good Place” has \u003ca href=\"https://blog.apaonline.org/2017/06/21/philosophy-on-tv-the-good-place/\" target=\"_blank\" rel=\"noopener\">a philosophical advisor\u003c/a>.\u003c/p>\n\u003cp>So I was eager to watch the show for its engagement with philosophy in a popular medium. But, instead, I found myself gripped by the psychology — what initially struck me as very bad psychology.\u003c/p>\n\u003cp>You see, the idea behind Eleanor Shellstrop’s private tutoring in ethics is that learning about ethical theories is enough to become a good person, or at least to learn to behave like one. But human behavior isn’t so simple: There’s a big gap between knowing what’s right in the abstract and doing the right thing when it requires a very concrete sacrifice in the moment. (Knowing about nutrition, for example, is no guarantee that you’ll choose the kale salad over the pizza.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In fact, studies by University of California-Riverside philosopher \u003ca href=\"http://www.faculty.ucr.edu/~eschwitz/\" target=\"_blank\" rel=\"noopener\">Eric Schwitzgebel\u003c/a> and his colleagues reveal that philosophers who specialize in ethics and moral philosophy are no more likely to be good than other kinds of philosophers or academics. Their studies examine a variety of good and bad behaviors, from voting in public elections, calling one’s mother, and charitable donations to littering, attending conferences without paying registration fees, and joining the Nazi party in 1930s Germany.\u003c/p>\n\u003cp>In an \u003ca href=\"https://aeon.co/essays/how-often-do-ethics-professors-call-their-mothers\" target=\"_blank\" rel=\"noopener\">article\u003c/a> discussing his research, Schwitzgebel summarizes the findings like this: “Never once have we found ethicists as a whole behaving better than our comparison groups of other professors, by any of our main planned measures.”\u003c/p>\n\u003cp>So there’s not much reason to think that the ethics professor in “The Good Place” is unusually good just because he studied ethics, nor that teaching Eleanor ethics will teach her how to be good. That’s what had me raising an eyebrow as season one of “The Good Place” began. But long before the season’s \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/09/the-good-place-review-season-2/540336/\" target=\"_blank\" rel=\"noopener\">surprising finale\u003c/a>, I realized that the show’s creators were more subtle than their stated premise might suggest. Eleanor \u003cem>was\u003c/em> learning to become a better person, but it wasn’t because the ethics instruction was doing the trick. Instead, her behavior changed as she developed new relationships and became part of a community with different norms.\u003c/p>\n\u003cp>And that’s actually pretty good psychology.\u003c/p>\n\u003cp>A lot of \u003ca href=\"http://dx.doi.org/10.1111/sipr.12022\" target=\"_blank\" rel=\"noopener\">evidence\u003c/a> suggests that \u003ca href=\"https://www.newyorker.com/science/maria-konnikova/how-norms-change\">norms are crucial to behavior\u003c/a>. As one classic example, \u003ca href=\"http://dx.doi.org/10.1037/0022-3514.58.6.1015\" target=\"_blank\" rel=\"noopener\">people will litter more in an environment that is already littered\u003c/a> and that, thereby, conveys that littering is the norm. Elizabeth Levy Paluck, recent \u003ca href=\"https://www.princeton.edu/news/2017/10/11/social-psychologist-paluck-awarded-macarthur-fellowship\" target=\"_blank\" rel=\"noopener\">winner of a MacArthur “genius” award\u003c/a> and professor of psychology and public affairs at Princeton University, has shown in a variety of contexts how changing the perception of some norm can affect people’s behavior. For instance, one large-scale \u003ca href=\"http://dx.doi.org/10.7910/DVN/29199\" target=\"_blank\" rel=\"noopener\">study\u003c/a> across 56 schools found that student conflict could be reduced by having students with key roles in their social networks model and endorse a public stance against conflict, thereby shifting perceived norms.\u003c/p>\n\u003cp>So by the end of season one my raised eyebrow came down to meet its mate, and I silently applauded the show’s creators and writers. For a light and amusing sitcom, “The Good Place” does a pretty good job with philosophy, and a pretty good job with human psychology, too.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Tania Lombrozo is a psychology professor at the University of California, Berkeley. She writes about psychology, cognitive science and philosophy, with occasional forays into parenting and veganism. You can keep up with more of what she is thinking on Twitter: \u003c/em>\u003ca href=\"https://twitter.com/tanialombrozo\" target=\"_blank\" rel=\"noopener\">@TaniaLombrozo\u003c/a> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 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+Good+Psychology+In+%27The+Good+Place%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
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"tagline": "Art is where you find it",
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"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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