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"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. 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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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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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>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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"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": "\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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"title": "This Halloween: What Does It Mean to Call Something \"Spooky\"?",
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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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"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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"content": "\u003cp>Writer and director James Toback has become the latest Hollywood figure to be hit with allegations of sexual harassment. \u003cem>The Los Angeles Times\u003c/em> reports that 38 women have claimed sexual harassment by Toback, who was Oscar-nominated for writing the 1991 film \u003cem>Bugsy\u003c/em>, starring Warren Beatty.\u003c/p>\n\u003cp>The \u003cem>Times\u003c/em> \u003ca href=\"http://beta.latimes.com/entertainment/la-et-mn-james-toback-sexual-harassment-allegations-20171018-story.html#nt=oft12aH-1gp2\">reports\u003c/a>: “He prowled the streets of Manhattan looking for attractive young women, usually in their early 20s, sometimes college students, on occasion a high schooler. He approached them in Central Park, standing in line at a bank or drug store or at a copy center while they worked on their resumes.”\u003c/p>\n\u003cp>He would drop names and titles of movies he’d worked on, according to the newspaper, which adds: “Then, in a hotel room, a movie trailer, a public park, meetings framed as interviews or auditions quickly turned sexual, according to 38 women who, in separate interviews told the Los Angeles Times of similar encounters they had with Toback.”\u003c/p>\n\u003cp>Toback, 72, has denied the allegations, saying he never met any of the women who have accused him, or if he did, it “was for five minutes and (I) have no recollection,” according to the \u003cem>Times\u003c/em>.\u003c/p>\n\u003cp>The newspaper\u003cem> \u003c/em>says 31 of the 38 women who made accusations against Toback agreed to do so on the record. They include Louise Post, guitarist and vocalist for the band \u003ca href=\"http://www.npr.org/2015/07/02/418654442/first-listen-veruca-salt-ghost-notes\">Veruca Salt\u003c/a> and Terri Conn from the television soap opera \u003cem>As the World Turns.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The latest allegations come close on the heels of those against producer Harvey Weinstein, who is accused of sexually assaulting and harassing at least three dozen women.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As The Associated Press notes: “Though less widely known than Weinstein, Toback has had a successful four-decade career in Hollywood and has a devoted following who have praised him for his originality and outsized, deeply flawed characters.” \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=Hollywood+Director+James+Toback+Accused+Of+Harassment+By+Dozens+Of+Women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Writer and director James Toback has become the latest Hollywood figure to be hit with allegations of sexual harassment. \u003cem>The Los Angeles Times\u003c/em> reports that 38 women have claimed sexual harassment by Toback, who was Oscar-nominated for writing the 1991 film \u003cem>Bugsy\u003c/em>, starring Warren Beatty.\u003c/p>\n\u003cp>The \u003cem>Times\u003c/em> \u003ca href=\"http://beta.latimes.com/entertainment/la-et-mn-james-toback-sexual-harassment-allegations-20171018-story.html#nt=oft12aH-1gp2\">reports\u003c/a>: “He prowled the streets of Manhattan looking for attractive young women, usually in their early 20s, sometimes college students, on occasion a high schooler. He approached them in Central Park, standing in line at a bank or drug store or at a copy center while they worked on their resumes.”\u003c/p>\n\u003cp>He would drop names and titles of movies he’d worked on, according to the newspaper, which adds: “Then, in a hotel room, a movie trailer, a public park, meetings framed as interviews or auditions quickly turned sexual, according to 38 women who, in separate interviews told the Los Angeles Times of similar encounters they had with Toback.”\u003c/p>\n\u003cp>Toback, 72, has denied the allegations, saying he never met any of the women who have accused him, or if he did, it “was for five minutes and (I) have no recollection,” according to the \u003cem>Times\u003c/em>.\u003c/p>\n\u003cp>The newspaper\u003cem> \u003c/em>says 31 of the 38 women who made accusations against Toback agreed to do so on the record. They include Louise Post, guitarist and vocalist for the band \u003ca href=\"http://www.npr.org/2015/07/02/418654442/first-listen-veruca-salt-ghost-notes\">Veruca Salt\u003c/a> and Terri Conn from the television soap opera \u003cem>As the World Turns.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The latest allegations come close on the heels of those against producer Harvey Weinstein, who is accused of sexually assaulting and harassing at least three dozen women.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As The Associated Press notes: “Though less widely known than Weinstein, Toback has had a successful four-decade career in Hollywood and has a devoted following who have praised him for his originality and outsized, deeply flawed characters.” \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=Hollywood+Director+James+Toback+Accused+Of+Harassment+By+Dozens+Of+Women&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Actress Gabrielle Union started off playing teenagers on TV in the 1990s. Now, she stars in the BET show \u003cem>Being Mary Jane\u003c/em>, as a powerful cable news anchor who’s equally fierce in her personal life. She’s also an advocate for rape survivors and an outspoken voice on many issues. And she’s just written her first book, a collection of essays called \u003cem>We’re Going to Need More Wine\u003c/em>.\u003c/p>\n\u003cp>Union says she’s always loved regaling her friends about her adventures and misadventures — hence the title of her book. “I’ll be like, ‘Girl, you don’t have enough wine,'” she says. “A lot of these stories are helpful with a cocktail, for sure.”\u003c/p>\n\u003cp>She’s never been a fan of celebrity tell-alls. “To narc on your costars, I think is kinda tacky,” she says. But in her book, Union does dish about how dreamy it was to work with actor Heath Ledger. She reminisces about parties Prince used to throw. And she calls out her ex-husband, retired NFL running back Chris Howard, talking about her regret that after they divorced, she paid his rent, cosigned for a Porsche he later abandoned, and invested in a company he started that failed.\u003c/p>\n\u003cp>“Had he paid up, perhaps I would have been kinder. Or omitted some of his truth, or our truth,” she sighs. “But, alas, his bill is outstanding, and — sorry.”\u003c/p>\n\u003cp>Union’s memoir is funny and frank about many things. Mostly, herself: She details losing her virginity, sexual encounters, cheating, infertility, miscarriages. In one essay, she describes being raped at gunpoint by a stranger in the back room of a shoe store where she worked. She was 19.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nA lot of these stories are helpful with a cocktail, for sure.\u003cbr>\n\u003ccite>Gabrielle Union\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>“It’s weird to say, and it’s awful to have to say that I had the luxury of being raped in an affluent community with an underworked police department and an underutilized rape crisis center, counselors who had gone through the sensitivity training,” she says. “And to be immediately afforded the sympathy that accompanies stranger rape, to be immediately supported, and immediately put on the path to healing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Union credits the Santa Monica-UCLA rape treatment center for saving her life. But the incident still affects her. “I talk about the sense of rape energy that has continued to swirl around me, things happening to me that are out of my control,” she says. “And then in the microcosm of Hollywood, being put in the situation where you’re not supposed to have any boundaries. You’re supposed to be grateful if your fans want to be around you or touch you or grope you or yank you around, and all of that is supposed to just be par for the course.”\u003c/p>\n\u003cp>Union says her goal has never hearing the words “me too” again, but sexual assault is far too common. Her experience motivated her to take on a role in the film \u003cem>Birth of a Nation\u003c/em>, about the 1831 slave rebellion led by Nat Turner. She plays Esther, a slave who’s raped by a drunken dinner party guest at a plantation. While the character was silent, the actress who portrayed her was not — especially after it was revealed that the film’s director and actor Nate Parker had been charged with rape while he was a college student.\u003c/p>\n\u003cp>Although he was acquitted, Union says she could not take the allegations against him lightly. \u003ca href=\"http://www.latimes.com/opinion/op-ed/la-oe-union-nate-parker-birth-nation-rape-allegation-20160902-snap-story.html\">She wrote about it in an op-ed piece for the L.A. Times\u003c/a>, adding that she had conflicting feelings about promoting Parker’s film, “because there were so many women and so many people associated with the film that were sexual assault survivors, I thought it was important to highlight those stories,” she says. “It just became an impossible situation. And also offering understanding for people who did not want to support the film — I absolutely understand that. I hope as someone who was in the film, as well as other survivors that our art could be recognized as well.”\u003c/p>\n\u003cp>Union doesn’t go into the Nate Parker controversy in her book, but she has many things to say about racism. She born into one of the largest and oldest black families in Nebraska, then grew up in Pleasanton, a white, liberal suburb in the San Francisco Bay Area. “As the chip in the cookie, what I found over and over and over again is that the more I assimilated, the more they forgot my blackness, and they just got very comfortable in their racism,” she recalls.\u003c/p>\n\u003cp>Union says growing up, she was constantly called the n-word. Years later, she worries about what her two stepsons in Florida face. “Raising teenage black boys, and watching them going from being regarded as “‘Oh my god, they’re so cute’ to [she gasps] ‘They’re a threat just by breathing,'” Union says. “And it’s terrifying in Florida, where not only do you have to worry about the police, you have to worry about how your neighbors are regarding you.”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n… what I found over and over and over again is that the more I assimilated, the more they forgot my blackness, and they just got very comfortable in their racism.\u003cbr>\n\u003ccite>Gabrielle Union\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>In her book, the 44-year-old actress also reflects on her career, which began with the 1990s sitcom \u003cem>Saved By the Bell: The New Class\u003c/em>. “I started playing 14 and 15-year-olds when I was 23, finishing up at UCLA. And I continued to play 15-year-olds until I was 30. You know I’m dying my greys and reporting to high school.”\u003c/p>\n\u003cp>With her ever-youthful look and trademark dimples, Union got bit parts on TV shows like \u003cem>Moesha\u003c/em>, \u003cem>Friends\u003c/em>, and \u003cem>Star Trek: Deep Space Nine\u003c/em>. “My mom is and was a massive Trekkie,” she says.”So being a Klingon in my family was akin to winning the Oscars.”\u003c/p>\n\u003cp>Union also acted in such films as \u003cem>Ten Things I Hate About You\u003c/em>, \u003cem>Deliver Us From Eva\u003c/em> and \u003cem>Bad Boys II\u003c/em>. One of her best known roles was a high school cheerleader named Isis in the 2000 movie \u003cem>Bring it On\u003c/em>. For the championships, Isis goes up against Kirsten Dunst’s character and gets labelled a mean girl (unfairly, in Union’s opinion).\u003c/p>\n\u003cp>Years later, the actress had an “aha” moment about her own behavior. She made a startling confession while accepting the Essence Fierce and Fearless Award in 2013. “I lived for the negativity inflicted upon my sister actresses, or anyone who I felt whose shine diminished my own,” \u003ca href=\"https://www.essence.com/2013/06/25/must-see-gabrielle-unions-black-women-hollywood-speech\">she said from the podium\u003c/a>. Oprah Winfrey was in the audience, and was inspired by Union’s candor.\u003c/p>\n\u003cp>On a television special, Winfrey told her, “As you started to speak, my own mouth dropped and then got wider and wider, and by the time you finished we were all like, whoa. What was that?” Union says this was another moment in her evolution of becoming a better person.”That came on the heels of a lot of therapy, a lot of life coaching and just wanting to change the narrative about black women in Hollywood. And just being honest.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>That introspection, and a willingness to change, is central to Gabrielle Union’s memoir — and her life. \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=Gabrielle+Union+Gets+Real+In+%27We%27re+Going+To+Need+More+Wine%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Actress Gabrielle Union started off playing teenagers on TV in the 1990s. Now, she stars in the BET show \u003cem>Being Mary Jane\u003c/em>, as a powerful cable news anchor who’s equally fierce in her personal life. She’s also an advocate for rape survivors and an outspoken voice on many issues. And she’s just written her first book, a collection of essays called \u003cem>We’re Going to Need More Wine\u003c/em>.\u003c/p>\n\u003cp>Union says she’s always loved regaling her friends about her adventures and misadventures — hence the title of her book. “I’ll be like, ‘Girl, you don’t have enough wine,'” she says. “A lot of these stories are helpful with a cocktail, for sure.”\u003c/p>\n\u003cp>She’s never been a fan of celebrity tell-alls. “To narc on your costars, I think is kinda tacky,” she says. But in her book, Union does dish about how dreamy it was to work with actor Heath Ledger. She reminisces about parties Prince used to throw. And she calls out her ex-husband, retired NFL running back Chris Howard, talking about her regret that after they divorced, she paid his rent, cosigned for a Porsche he later abandoned, and invested in a company he started that failed.\u003c/p>\n\u003cp>“Had he paid up, perhaps I would have been kinder. Or omitted some of his truth, or our truth,” she sighs. “But, alas, his bill is outstanding, and — sorry.”\u003c/p>\n\u003cp>Union’s memoir is funny and frank about many things. Mostly, herself: She details losing her virginity, sexual encounters, cheating, infertility, miscarriages. In one essay, she describes being raped at gunpoint by a stranger in the back room of a shoe store where she worked. She was 19.\u003c/p>\n\u003caside class=\"pullquote alignright\">\nA lot of these stories are helpful with a cocktail, for sure.\u003cbr>\n\u003ccite>Gabrielle Union\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>“It’s weird to say, and it’s awful to have to say that I had the luxury of being raped in an affluent community with an underworked police department and an underutilized rape crisis center, counselors who had gone through the sensitivity training,” she says. “And to be immediately afforded the sympathy that accompanies stranger rape, to be immediately supported, and immediately put on the path to healing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Union credits the Santa Monica-UCLA rape treatment center for saving her life. But the incident still affects her. “I talk about the sense of rape energy that has continued to swirl around me, things happening to me that are out of my control,” she says. “And then in the microcosm of Hollywood, being put in the situation where you’re not supposed to have any boundaries. You’re supposed to be grateful if your fans want to be around you or touch you or grope you or yank you around, and all of that is supposed to just be par for the course.”\u003c/p>\n\u003cp>Union says her goal has never hearing the words “me too” again, but sexual assault is far too common. Her experience motivated her to take on a role in the film \u003cem>Birth of a Nation\u003c/em>, about the 1831 slave rebellion led by Nat Turner. She plays Esther, a slave who’s raped by a drunken dinner party guest at a plantation. While the character was silent, the actress who portrayed her was not — especially after it was revealed that the film’s director and actor Nate Parker had been charged with rape while he was a college student.\u003c/p>\n\u003cp>Although he was acquitted, Union says she could not take the allegations against him lightly. \u003ca href=\"http://www.latimes.com/opinion/op-ed/la-oe-union-nate-parker-birth-nation-rape-allegation-20160902-snap-story.html\">She wrote about it in an op-ed piece for the L.A. Times\u003c/a>, adding that she had conflicting feelings about promoting Parker’s film, “because there were so many women and so many people associated with the film that were sexual assault survivors, I thought it was important to highlight those stories,” she says. “It just became an impossible situation. And also offering understanding for people who did not want to support the film — I absolutely understand that. I hope as someone who was in the film, as well as other survivors that our art could be recognized as well.”\u003c/p>\n\u003cp>Union doesn’t go into the Nate Parker controversy in her book, but she has many things to say about racism. She born into one of the largest and oldest black families in Nebraska, then grew up in Pleasanton, a white, liberal suburb in the San Francisco Bay Area. “As the chip in the cookie, what I found over and over and over again is that the more I assimilated, the more they forgot my blackness, and they just got very comfortable in their racism,” she recalls.\u003c/p>\n\u003cp>Union says growing up, she was constantly called the n-word. Years later, she worries about what her two stepsons in Florida face. “Raising teenage black boys, and watching them going from being regarded as “‘Oh my god, they’re so cute’ to [she gasps] ‘They’re a threat just by breathing,'” Union says. “And it’s terrifying in Florida, where not only do you have to worry about the police, you have to worry about how your neighbors are regarding you.”\u003c/p>\n\u003caside class=\"pullquote alignright\">\n… what I found over and over and over again is that the more I assimilated, the more they forgot my blackness, and they just got very comfortable in their racism.\u003cbr>\n\u003ccite>Gabrielle Union\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>In her book, the 44-year-old actress also reflects on her career, which began with the 1990s sitcom \u003cem>Saved By the Bell: The New Class\u003c/em>. “I started playing 14 and 15-year-olds when I was 23, finishing up at UCLA. And I continued to play 15-year-olds until I was 30. You know I’m dying my greys and reporting to high school.”\u003c/p>\n\u003cp>With her ever-youthful look and trademark dimples, Union got bit parts on TV shows like \u003cem>Moesha\u003c/em>, \u003cem>Friends\u003c/em>, and \u003cem>Star Trek: Deep Space Nine\u003c/em>. “My mom is and was a massive Trekkie,” she says.”So being a Klingon in my family was akin to winning the Oscars.”\u003c/p>\n\u003cp>Union also acted in such films as \u003cem>Ten Things I Hate About You\u003c/em>, \u003cem>Deliver Us From Eva\u003c/em> and \u003cem>Bad Boys II\u003c/em>. One of her best known roles was a high school cheerleader named Isis in the 2000 movie \u003cem>Bring it On\u003c/em>. For the championships, Isis goes up against Kirsten Dunst’s character and gets labelled a mean girl (unfairly, in Union’s opinion).\u003c/p>\n\u003cp>Years later, the actress had an “aha” moment about her own behavior. She made a startling confession while accepting the Essence Fierce and Fearless Award in 2013. “I lived for the negativity inflicted upon my sister actresses, or anyone who I felt whose shine diminished my own,” \u003ca href=\"https://www.essence.com/2013/06/25/must-see-gabrielle-unions-black-women-hollywood-speech\">she said from the podium\u003c/a>. Oprah Winfrey was in the audience, and was inspired by Union’s candor.\u003c/p>\n\u003cp>On a television special, Winfrey told her, “As you started to speak, my own mouth dropped and then got wider and wider, and by the time you finished we were all like, whoa. What was that?” Union says this was another moment in her evolution of becoming a better person.”That came on the heels of a lot of therapy, a lot of life coaching and just wanting to change the narrative about black women in Hollywood. And just being honest.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "LAPD Investigating Accusation of 2013 Rape by Harvey Weinstein",
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"content": "\u003cp>The Los Angeles Police Department is investigating Hollywood movie mogul Harvey Weinstein after an Italian model-actress alleged that he raped her at her hotel in 2013.\u003c/p>\n\u003cp>As NPR’s Mandalit Del Barco reports, “A spokesman for the LAPD says the department is interviewing a ‘potential victim’ of sexual assault by Harvey Weinstein in 2013.”\u003c/p>\n\u003cp>The allegations of sexual assault are the first reported in Los Angeles. Police in New York and London are investigating allegations that Weinstein sexually assaulted five women in those cities.\u003c/p>\n\u003cp>The Los Angeles allegations are significant because the case falls within the 10-year statute of limitations for criminal prosecution.\u003c/p>\n\u003cp>“It could ‘open the door to a prosecution if the evidence exists,’ said defense attorney Dmitry Gorin, a former L.A. sex crimes prosecutor. Until now, most of the allegations against Weinstein that could lead to criminal charges concerned incidents that are more than a decade old,” \u003ca href=\"http://www.latimes.com/local/lanow/la-fi-ct-weinstein-lapd-victim-20171019-story.html\">reported\u003c/a> the \u003cem>Los Angeles Times\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Weinstein “unequivocally denied the allegations of non-consensual sex,” wrote his spokeswoman Sallie Hofmeister in a statement quoted by the \u003ca href=\"https://www.apnews.com/1766c485965d4924a3e9a25c474cc552/Los-Angeles-police-open-Weinstein-sex-assault-investigation\">Associated Press\u003c/a>.\u003c/p>\n\u003cp>The accusations were brought by a 38-year-old woman who asked not to be identified for privacy reasons, according to the \u003cem>Times\u003c/em>.\u003c/p>\n\u003cp>The incident is alleged to have occurred in February 2013 at a Beverly Hills hotel. Weinstein “bullied his way into my hotel room … became very aggressive and demanding … He then dragged me to the bathroom and forcibly raped me,” she told the \u003cem>Times\u003c/em>.\u003c/p>\n\u003cp>Rumors of sexual misconduct by Weinstein have circulated through Hollywood for decades. But the allegations came to wider attention through a \u003cem>New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?_r=0\">article\u003c/a> published earlier this month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since then more than \u003ca href=\"http://www.latimes.com/entertainment/la-et-weinstein-accusers-list-20171011-htmlstory.html\">40 women\u003c/a> have accused the movie producer of sexually harassing or raping them. \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=LAPD+Investigating+Accusation+Of+2013+Rape+By+Harvey+Weinstein&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Los Angeles Police Department is investigating Hollywood movie mogul Harvey Weinstein after an Italian model-actress alleged that he raped her at her hotel in 2013.\u003c/p>\n\u003cp>As NPR’s Mandalit Del Barco reports, “A spokesman for the LAPD says the department is interviewing a ‘potential victim’ of sexual assault by Harvey Weinstein in 2013.”\u003c/p>\n\u003cp>The allegations of sexual assault are the first reported in Los Angeles. Police in New York and London are investigating allegations that Weinstein sexually assaulted five women in those cities.\u003c/p>\n\u003cp>The Los Angeles allegations are significant because the case falls within the 10-year statute of limitations for criminal prosecution.\u003c/p>\n\u003cp>“It could ‘open the door to a prosecution if the evidence exists,’ said defense attorney Dmitry Gorin, a former L.A. sex crimes prosecutor. Until now, most of the allegations against Weinstein that could lead to criminal charges concerned incidents that are more than a decade old,” \u003ca href=\"http://www.latimes.com/local/lanow/la-fi-ct-weinstein-lapd-victim-20171019-story.html\">reported\u003c/a> the \u003cem>Los Angeles Times\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Weinstein “unequivocally denied the allegations of non-consensual sex,” wrote his spokeswoman Sallie Hofmeister in a statement quoted by the \u003ca href=\"https://www.apnews.com/1766c485965d4924a3e9a25c474cc552/Los-Angeles-police-open-Weinstein-sex-assault-investigation\">Associated Press\u003c/a>.\u003c/p>\n\u003cp>The accusations were brought by a 38-year-old woman who asked not to be identified for privacy reasons, according to the \u003cem>Times\u003c/em>.\u003c/p>\n\u003cp>The incident is alleged to have occurred in February 2013 at a Beverly Hills hotel. Weinstein “bullied his way into my hotel room … became very aggressive and demanding … He then dragged me to the bathroom and forcibly raped me,” she told the \u003cem>Times\u003c/em>.\u003c/p>\n\u003cp>Rumors of sexual misconduct by Weinstein have circulated through Hollywood for decades. But the allegations came to wider attention through a \u003cem>New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?_r=0\">article\u003c/a> published earlier this month.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Since then more than \u003ca href=\"http://www.latimes.com/entertainment/la-et-weinstein-accusers-list-20171011-htmlstory.html\">40 women\u003c/a> have accused the movie producer of sexually harassing or raping them. \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=LAPD+Investigating+Accusation+Of+2013+Rape+By+Harvey+Weinstein&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Man Behind All Those Behinds: 'Tom of Finland'",
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"content": "\u003cp>Near the midpoint of director Dome Karukoski’s \u003cem>Tom of Finland\u003c/em>, artist Touko Laaksonen (Pekka Strang) sits on a bench, catching up with the man who was once his superior officer when they served in the Finnish army during World War II, years before. \u003c/p>\n\u003cp>“We’ve started a motorcycle club,” he says. Pauses. “Without the motorcycles.”\u003c/p>\n\u003cp>Laaksonen would later gain international fame as Tom of Finland, producer of gleefully pornographic, if anatomically dubious, depictions of idealized men in (and, more often, out of) a variety of species of fervently fetishized, hypermasculine drag: burly construction workers, muscular soldiers, beefy cops and, especially, jacked leathermen — proud members of that aforementioned club who, lacking access to the seemingly requisite Harleys or Ducatis or Triumphs, ingeniously found other things to wrap their legs around.\u003c/p>\n\u003cp>The images Laaksonen produced carry a palpable electric charge that’s still felt today, even as much more potent stuff can be summoned from the ether with a screen-tap. There’s just something cheerfully smutty about them, a blithely innocent joy that offers a vision of a carefree (and pants-free) existence, far removed from both persecution and subcutaneous body fat. \u003c/p>\n\u003cp>https://youtu.be/TKFA4WrPlfo\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But back in post-war Helsinki, where Karukoski’s film begins, young Laaksonen’s existence is far from frolicsome. It consists of furtive midnight encounters in parks and bathrooms, where he uses his explicit drawings as a combination of sexual lure and kinky calling card. The mere existence of that artwork, to say nothing of the encounters they accompany, places him in a constant state of legal and physical jeopardy. Karukoski depicts a series of police raids to evoke a time and place where gay men went about their lives both hunted and haunted.\u003c/p>\n\u003cp>The film’s first half stops along several now-familiar stations of queer cinema’s narrative cross, driven by an overriding sense of dutiful box-checking: police persecution, gay-bashing, the first stirrings of love, a gathering impatience with a culture of repression. It is to the film’s credit, however, that while it slots its lone female character — Laaksonen’s sister Kaija (Jessica Grabowsky) — into the role of a woman pining for her brother’s secret lover, the gay dancer Veli (Lauri Tilkanen), it isn’t content to stop there. Instead, the film allots her enough time and attention to emerge as a real and rounded character. Grabowsky gets to show us several of Kaija’s facets — her rejection of her brother’s sexuality; her longing for Veli; her tacit, stone-faced acceptance; her career frustrations and, ultimately, her utter disdain for her brother’s work — in a way that builds to a raw and complicated characterization.\u003c/p>\n\u003cp>The film smartly switches perspective once Laaksonen’s artwork finds its way out of Finland and into the waiting laps of an American audience. Smartly, that is, because it’s at this point that Karukoski establishes his most compelling and revelatory theme. Tom of Finland’s art did more than titillate gay men: For many, it created a world, a persona — an entire lifestyle — to adopt and eagerly evince.\u003c/p>\n\u003cp>On a trip to Los Angeles, we watch as a bewildered Laaksonen encounters the hypersexualized world of his own creation — imagine L. Frank Baum stepping into a leathery, musk-scented Oz. The film’s at its best when exploring the stark contrast between this sun-dazzled erotic playground and Finland’s dour, grayscale backrooms. (A run-in with police, for example, ends far differently in Hollywood than it did in Helsinki.) \u003c/p>\n\u003cp>Even so, a decorous restraint pervades \u003cem>Tom of Finland — which, given its subject matter, can’t help but seem puzzling; Karukoski never manages to capture the hedonistic excess of Laaksonen’s art. A viewer unfamiliar with the source material might come away from this film with the impression that the artist largely devoted himself to lightly risque illustrations of shapely male physiques, when the truth is considerably, and exultantly, filthier. \u003c/em>\u003c/p>\n\u003cp>The film only glances at Laaksonen’s embrace of fascist imagery, pays lip service to his feelings of guilt over contributing to a culture of raw sexuality that factored in the AIDS epidemic, and only-too-happily ignores his role in advancing uniform (and uniformed) notions of hilariously unrealistic male beauty that gay culture continues to internalize. Karukoski’s determination to position Laaksonen as an inviolately noble culture warrior means there’s not much room left for him to be anything else. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then, \u003cem>Tom of Finland\u003c/em> is a film about a man who devoted himself to creating perfectly flawless physical specimens. So while it may be disappointing that it so studiously rejects a warts-and-all approach to its subject — you can’t really say it’s surprising.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But back in post-war Helsinki, where Karukoski’s film begins, young Laaksonen’s existence is far from frolicsome. It consists of furtive midnight encounters in parks and bathrooms, where he uses his explicit drawings as a combination of sexual lure and kinky calling card. The mere existence of that artwork, to say nothing of the encounters they accompany, places him in a constant state of legal and physical jeopardy. Karukoski depicts a series of police raids to evoke a time and place where gay men went about their lives both hunted and haunted.\u003c/p>\n\u003cp>The film’s first half stops along several now-familiar stations of queer cinema’s narrative cross, driven by an overriding sense of dutiful box-checking: police persecution, gay-bashing, the first stirrings of love, a gathering impatience with a culture of repression. It is to the film’s credit, however, that while it slots its lone female character — Laaksonen’s sister Kaija (Jessica Grabowsky) — into the role of a woman pining for her brother’s secret lover, the gay dancer Veli (Lauri Tilkanen), it isn’t content to stop there. Instead, the film allots her enough time and attention to emerge as a real and rounded character. Grabowsky gets to show us several of Kaija’s facets — her rejection of her brother’s sexuality; her longing for Veli; her tacit, stone-faced acceptance; her career frustrations and, ultimately, her utter disdain for her brother’s work — in a way that builds to a raw and complicated characterization.\u003c/p>\n\u003cp>The film smartly switches perspective once Laaksonen’s artwork finds its way out of Finland and into the waiting laps of an American audience. Smartly, that is, because it’s at this point that Karukoski establishes his most compelling and revelatory theme. Tom of Finland’s art did more than titillate gay men: For many, it created a world, a persona — an entire lifestyle — to adopt and eagerly evince.\u003c/p>\n\u003cp>On a trip to Los Angeles, we watch as a bewildered Laaksonen encounters the hypersexualized world of his own creation — imagine L. Frank Baum stepping into a leathery, musk-scented Oz. The film’s at its best when exploring the stark contrast between this sun-dazzled erotic playground and Finland’s dour, grayscale backrooms. (A run-in with police, for example, ends far differently in Hollywood than it did in Helsinki.) \u003c/p>\n\u003cp>Even so, a decorous restraint pervades \u003cem>Tom of Finland — which, given its subject matter, can’t help but seem puzzling; Karukoski never manages to capture the hedonistic excess of Laaksonen’s art. A viewer unfamiliar with the source material might come away from this film with the impression that the artist largely devoted himself to lightly risque illustrations of shapely male physiques, when the truth is considerably, and exultantly, filthier. \u003c/em>\u003c/p>\n\u003cp>The film only glances at Laaksonen’s embrace of fascist imagery, pays lip service to his feelings of guilt over contributing to a culture of raw sexuality that factored in the AIDS epidemic, and only-too-happily ignores his role in advancing uniform (and uniformed) notions of hilariously unrealistic male beauty that gay culture continues to internalize. Karukoski’s determination to position Laaksonen as an inviolately noble culture warrior means there’s not much room left for him to be anything else. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But then, \u003cem>Tom of Finland\u003c/em> is a film about a man who devoted himself to creating perfectly flawless physical specimens. So while it may be disappointing that it so studiously rejects a warts-and-all approach to its subject — you can’t really say it’s surprising.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Gord Downie, Singer of The Tragically Hip, Dies at 53",
"headTitle": "Gord Downie, Singer of The Tragically Hip, Dies at 53 | KQED",
"content": "\u003cp>\u003cstrong>Updated at 11:10 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Gord Downie, singer of The Tragically Hip, died of complications from brain cancer Tuesday night at the age of 53. His death was announced in \u003ca href=\"https://twitter.com/thehipdotcom/status/920628509369950208\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> from his family.\u003c/p>\n\u003cp>“Gordie said he had lived many lives,” his family writes. “As a musician, he lived ‘the life’ for over 30 years, lucky to do most of it with his high school buddies. At home, he worked just as tirelessly at being a good father, son, brother, husband and friend. No one worked harder on every part of life than Gord. No one.”\u003c/p>\n\u003cp>The Tragically Hip — Downie, bassist Gord Sinclair, guitarist Rob Baker and drummer Johnny Fay — was formed in a high school in the Canadian province of Ontario in 1984. Guitarist Paul Langlois joined in 1986 while the group was performing in small venues across Ontario. The Tragically Hip would go on to be one of Canada’s best-known bands, becoming indelible within the country’s pop landscape during its ascent in the 1990s.\u003c/p>\n\u003cp>In a statement on the news of Downie’s passing, Canadian Prime Minister Justin Trudeau \u003ca href=\"http://pm.gc.ca/eng/news/2017/10/18/statement-prime-minister-canada-death-gord-downie\" target=\"_blank\" rel=\"noopener\">writes\u003c/a> that the singer “painted landscapes with his words, elevating Canadian geography, historical figures, and myths. When he spoke, he gave us goosebumps and made us proud to be Canadian. Our identity and culture are richer because of his music, which was always raw and honest — like Gord himself.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While the band never broke into the upper 50 of the \u003cem>Billboard\u003c/em> 200 stateside, it placed seven No. 1 albums on \u003cem>Billboard\u003c/em>‘s Canadian Albums chart. Of its 13 studio albums, three have been certified diamond (more than 1 million copies sold) and eight certified platinum (more than 100,000 copies sold) in Canada.\u003c/p>\n\u003cp>While The Hip’s music was inescapable in its home country, Downie seemed to have a knack for recruiting fans from the most unlikely sources.\u003c/p>\n\u003cp>Damian Abraham, singer of the Canadian hardcore band F***** Up, \u003ca href=\"https://www.vice.com/en_us/article/gqkqnb/how-i-learned-its-ok-to-be-punk-and-still-love-the-tragically-hip\">wrote for \u003c/a>\u003cem>\u003ca href=\"https://www.vice.com/en_us/article/gqkqnb/how-i-learned-its-ok-to-be-punk-and-still-love-the-tragically-hip\">Vice\u003c/a> \u003c/em>that The Tragically Hip’s “songs are stitched into the collective subconscious of this country in a way that can only come from being played constantly on radio, television, and during breaks of play at sports events,” and that after deeper listening, “I was blown away by Gord’s ability to tell stories and convey emotion within the constraints of the song.”\u003c/p>\n\u003cp>Downie announced his illness \u003ca href=\"http://www.thehip.com/news/an-important-message-from-the-band/\">in May 2016\u003c/a>, after being diagnosed in December 2015. “It is my difficult duty today to tell you that Gord Downie’s brain tumour is incurable,” neuro-oncologist James Perry \u003ca href=\"http://www.cbc.ca/news/canada/toronto/gord-downie-cancer-doctor-1.3597361\">told a news conference\u003c/a> at the time of its announcement. In response to the news, Prime Minister Trudeau \u003ca href=\"https://twitter.com/justintrudeau/status/735119677542785025?lang=en\">tweeted\u003c/a>: “Downie is a true original who has been writing Canada’s soundtrack for more than 30 years.”\u003c/p>\n\u003cp>Shortly afterward, Downie also announced he would be joining The Tragically Hip for what would be its final tour, culminating in a performance in the band’s birthplace of Kingston, Ontario. The concert was streamed across Canada and watched by 11.7 million people, \u003ca href=\"http://www.hollywoodreporter.com/news/netflix-acquires-tragically-hip-doc-long-time-running-tiff-2017-1038124\">according\u003c/a> to \u003cem>The Hollywood Reporter\u003c/em>. The tour, and that final show, were documented for the documentary film \u003cem>Long Time Running\u003c/em>, which is scheduled to premiere on Netflix on Nov. 26.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Downie \u003ca href=\"http://www.cbcmusic.ca/posts/14490/gord-downie-peter-mansbridge-things-we-learned\">told the CBC\u003c/a> that the tour “was just heaven on Earth. And all these sorts of provisions were made for me. Just every fantasy I’ve ever had for a show was coming true.” \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=Gord+Downie%2C+Singer+Of+The+Tragically+Hip%2C+Dies+At+53&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 11:10 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Gord Downie, singer of The Tragically Hip, died of complications from brain cancer Tuesday night at the age of 53. His death was announced in \u003ca href=\"https://twitter.com/thehipdotcom/status/920628509369950208\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> from his family.\u003c/p>\n\u003cp>“Gordie said he had lived many lives,” his family writes. “As a musician, he lived ‘the life’ for over 30 years, lucky to do most of it with his high school buddies. At home, he worked just as tirelessly at being a good father, son, brother, husband and friend. No one worked harder on every part of life than Gord. No one.”\u003c/p>\n\u003cp>The Tragically Hip — Downie, bassist Gord Sinclair, guitarist Rob Baker and drummer Johnny Fay — was formed in a high school in the Canadian province of Ontario in 1984. Guitarist Paul Langlois joined in 1986 while the group was performing in small venues across Ontario. The Tragically Hip would go on to be one of Canada’s best-known bands, becoming indelible within the country’s pop landscape during its ascent in the 1990s.\u003c/p>\n\u003cp>In a statement on the news of Downie’s passing, Canadian Prime Minister Justin Trudeau \u003ca href=\"http://pm.gc.ca/eng/news/2017/10/18/statement-prime-minister-canada-death-gord-downie\" target=\"_blank\" rel=\"noopener\">writes\u003c/a> that the singer “painted landscapes with his words, elevating Canadian geography, historical figures, and myths. When he spoke, he gave us goosebumps and made us proud to be Canadian. Our identity and culture are richer because of his music, which was always raw and honest — like Gord himself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While the band never broke into the upper 50 of the \u003cem>Billboard\u003c/em> 200 stateside, it placed seven No. 1 albums on \u003cem>Billboard\u003c/em>‘s Canadian Albums chart. Of its 13 studio albums, three have been certified diamond (more than 1 million copies sold) and eight certified platinum (more than 100,000 copies sold) in Canada.\u003c/p>\n\u003cp>While The Hip’s music was inescapable in its home country, Downie seemed to have a knack for recruiting fans from the most unlikely sources.\u003c/p>\n\u003cp>Damian Abraham, singer of the Canadian hardcore band F***** Up, \u003ca href=\"https://www.vice.com/en_us/article/gqkqnb/how-i-learned-its-ok-to-be-punk-and-still-love-the-tragically-hip\">wrote for \u003c/a>\u003cem>\u003ca href=\"https://www.vice.com/en_us/article/gqkqnb/how-i-learned-its-ok-to-be-punk-and-still-love-the-tragically-hip\">Vice\u003c/a> \u003c/em>that The Tragically Hip’s “songs are stitched into the collective subconscious of this country in a way that can only come from being played constantly on radio, television, and during breaks of play at sports events,” and that after deeper listening, “I was blown away by Gord’s ability to tell stories and convey emotion within the constraints of the song.”\u003c/p>\n\u003cp>Downie announced his illness \u003ca href=\"http://www.thehip.com/news/an-important-message-from-the-band/\">in May 2016\u003c/a>, after being diagnosed in December 2015. “It is my difficult duty today to tell you that Gord Downie’s brain tumour is incurable,” neuro-oncologist James Perry \u003ca href=\"http://www.cbc.ca/news/canada/toronto/gord-downie-cancer-doctor-1.3597361\">told a news conference\u003c/a> at the time of its announcement. In response to the news, Prime Minister Trudeau \u003ca href=\"https://twitter.com/justintrudeau/status/735119677542785025?lang=en\">tweeted\u003c/a>: “Downie is a true original who has been writing Canada’s soundtrack for more than 30 years.”\u003c/p>\n\u003cp>Shortly afterward, Downie also announced he would be joining The Tragically Hip for what would be its final tour, culminating in a performance in the band’s birthplace of Kingston, Ontario. The concert was streamed across Canada and watched by 11.7 million people, \u003ca href=\"http://www.hollywoodreporter.com/news/netflix-acquires-tragically-hip-doc-long-time-running-tiff-2017-1038124\">according\u003c/a> to \u003cem>The Hollywood Reporter\u003c/em>. The tour, and that final show, were documented for the documentary film \u003cem>Long Time Running\u003c/em>, which is scheduled to premiere on Netflix on Nov. 26.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Downie \u003ca href=\"http://www.cbcmusic.ca/posts/14490/gord-downie-peter-mansbridge-things-we-learned\">told the CBC\u003c/a> that the tour “was just heaven on Earth. And all these sorts of provisions were made for me. Just every fantasy I’ve ever had for a show was coming true.” \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=Gord+Downie%2C+Singer+Of+The+Tragically+Hip%2C+Dies+At+53&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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"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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"title": "Rightnowish",
"tagline": "Art is where you find it",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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