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"content": "\u003cp>\u003cstrong>Updated at 2:30 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Roy Price, the head of Amazon Studios, has been put on leave following allegations published in \u003ca href=\"http://www.hollywoodreporter.com/news/amazon-tv-producer-goes-public-harassment-claim-top-exec-roy-price-1048060\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a> that he sexually harassed a female producer for the series \u003cem>The Man in the High Castle.\u003c/em>\u003c/p>\n\u003cp>[contextly_sidebar id=”3mOZu7REu8Hnb2yRwpwnP9Q6YkX60Hmi”]\u003c/p>\n\u003cp>The incident allegedly occurred in July 2015 at a Comic-Con in San Diego, according to the trade paper, which says that in a taxi, Price “repeatedly and insistently propositioned” producer Isa Hackett using explicit language.\u003c/p>\n\u003cp>In a brief statement, Amazon confirmed late Thursday that: “Roy Price is on leave of absence effective immediately.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hackett, who is the daughter of Philip K. Dick, the author of the book \u003cem>The Man in the High Castle\u003c/em> says that Michael Paull, then-Amazon executive and now CEO of the digital media company BAMTech, was also in the taxi with Hackett and Price at the time of the incident.\u003c/p>\n\u003cp>According to \u003cem>Hollywood Reporter\u003c/em>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Hackett says she reported the incident to Amazon executives immediately. An outside investigator, Christine Farrell of Public Interest Investigations Inc., was brought in and spoke to Hackett and executives at Amazon. Hackett says she was never told the outcome of that inquiry, but notes that she hasn’t seen Price at any events involving her shows.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The allegation against Price follows a series of similar ones directed at film executive Harvey Weinstein. On Sunday, The Weinstein Co., which Weinstein co-founded, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\" target=\"_blank\" rel=\"noopener\">fired him\u003c/a> after dozens of women, including actors Angelina Jolie and Gwyneth Paltrow, went public with allegations of sexual misconduct and assault.\u003c/p>\n\u003cp>In Thursday’s statement from Amazon, the company said it was also reviewing its options for projects with The Weinstein Co. Those projects include \u003cem>The Romanoffs\u003c/em> and an untitled drama from filmmaker David O. Russell starring Robert De Niro and Julianne Moore, according to The Associated Press.\u003c/p>\n\u003cp>That review also follows \u003ca href=\"http://www.hollywoodreporter.com/news/rose-mcgowan-confirms-claim-harvey-weinstein-raped-me-1048343\" target=\"_blank\" rel=\"noopener\">a series of tweets\u003c/a> by actor, director and producer Rose McGowan on Thursday in which she confirmed that Weinstein is the Hollywood executive she claims raped her. In the tweets, directed at Amazon CEO Jeff Bezos, McGowan says “I told the head of your studio that HW raped me. Over & over I said it.” McGowan also says that a script she had written that was in development was abruptly pulled by Amazon after she raised the allegations.\u003c/p>\n\u003cp>The AP, quoting Hackett’s attorney, Christopher Tricarico, says Hollywood Reporter’s account is accurate. Tricarico says his client does not intend to pursue legal action against Amazon or Price.\u003c/p>\n\u003cp>Hackett, who initially was publicly reticent about the incident, told Hollywood Reporter that “It was shocking and surreal,” and that she believed it was important to speak up now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I didn’t want the details to come out previously because I didn’t want to distract or deflate the energies of all the people who are so invested in these shows, and all of that positivity,” she told the trade paper. “You don’t want to bring this into it. It feels demoralizing.” \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=Top+Exec+At+Amazon+Studios+Put+On+Leave+After+Harassment+Allegations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 2:30 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Roy Price, the head of Amazon Studios, has been put on leave following allegations published in \u003ca href=\"http://www.hollywoodreporter.com/news/amazon-tv-producer-goes-public-harassment-claim-top-exec-roy-price-1048060\" target=\"_blank\" rel=\"noopener\">The Hollywood Reporter\u003c/a> that he sexually harassed a female producer for the series \u003cem>The Man in the High Castle.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>The incident allegedly occurred in July 2015 at a Comic-Con in San Diego, according to the trade paper, which says that in a taxi, Price “repeatedly and insistently propositioned” producer Isa Hackett using explicit language.\u003c/p>\n\u003cp>In a brief statement, Amazon confirmed late Thursday that: “Roy Price is on leave of absence effective immediately.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hackett, who is the daughter of Philip K. Dick, the author of the book \u003cem>The Man in the High Castle\u003c/em> says that Michael Paull, then-Amazon executive and now CEO of the digital media company BAMTech, was also in the taxi with Hackett and Price at the time of the incident.\u003c/p>\n\u003cp>According to \u003cem>Hollywood Reporter\u003c/em>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Hackett says she reported the incident to Amazon executives immediately. An outside investigator, Christine Farrell of Public Interest Investigations Inc., was brought in and spoke to Hackett and executives at Amazon. Hackett says she was never told the outcome of that inquiry, but notes that she hasn’t seen Price at any events involving her shows.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The allegation against Price follows a series of similar ones directed at film executive Harvey Weinstein. On Sunday, The Weinstein Co., which Weinstein co-founded, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/08/556559288/harvey-weinstein-out-at-the-weinstein-company\" target=\"_blank\" rel=\"noopener\">fired him\u003c/a> after dozens of women, including actors Angelina Jolie and Gwyneth Paltrow, went public with allegations of sexual misconduct and assault.\u003c/p>\n\u003cp>In Thursday’s statement from Amazon, the company said it was also reviewing its options for projects with The Weinstein Co. Those projects include \u003cem>The Romanoffs\u003c/em> and an untitled drama from filmmaker David O. Russell starring Robert De Niro and Julianne Moore, according to The Associated Press.\u003c/p>\n\u003cp>That review also follows \u003ca href=\"http://www.hollywoodreporter.com/news/rose-mcgowan-confirms-claim-harvey-weinstein-raped-me-1048343\" target=\"_blank\" rel=\"noopener\">a series of tweets\u003c/a> by actor, director and producer Rose McGowan on Thursday in which she confirmed that Weinstein is the Hollywood executive she claims raped her. In the tweets, directed at Amazon CEO Jeff Bezos, McGowan says “I told the head of your studio that HW raped me. Over & over I said it.” McGowan also says that a script she had written that was in development was abruptly pulled by Amazon after she raised the allegations.\u003c/p>\n\u003cp>The AP, quoting Hackett’s attorney, Christopher Tricarico, says Hollywood Reporter’s account is accurate. Tricarico says his client does not intend to pursue legal action against Amazon or Price.\u003c/p>\n\u003cp>Hackett, who initially was publicly reticent about the incident, told Hollywood Reporter that “It was shocking and surreal,” and that she believed it was important to speak up now.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I didn’t want the details to come out previously because I didn’t want to distract or deflate the energies of all the people who are so invested in these shows, and all of that positivity,” she told the trade paper. “You don’t want to bring this into it. It feels demoralizing.” \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=Top+Exec+At+Amazon+Studios+Put+On+Leave+After+Harassment+Allegations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>You had to wonder how director Sean Baker would follow up his shot-on-an-iPhone, transgender-prostitute comedy \u003ca href=\"http://www.npr.org/2015/07/11/421452904/a-big-hearted-tangerine-vision-of-l-a-s-crime-riddled-streets\" target=\"_blank\" rel=\"noopener\">Tangerine\u003c/a> if he ever got a hold of enough cash to pay for a star and a Steadicam. His extraordinary, almost-homeless-family dramedy, \u003cem>The Florida Project\u003c/em>, provides the exhilarating answer.\u003c/p>\n\u003cp>It’s set in a pastel Orlando that feels spiritually far removed from all things Disney — call it a “less magical kingdom.” This sun-baked, off-ramp wasteland boasts brightly colored motels with knock-off mouse house names like Futureland Inn and Magic Castle. Built decades ago for budget-minded tourists, they’re now filled with itinerant families who pay $35 a night to live in purple-stuccoed splendor.\u003c/p>\n\u003cp>These surroundings may be dreary for the adults who live there, but for 6-year-old Moonee (Brooklynn Prince) and her buddies Scooty (Christopher Rivera) and Jancey (Valeria Cotto), they’re just the place to run wild — really, wild — without the benefit of Mickey, Goofy and other theme park mascots. Who needs organized attractions when you have sunshine, pals and all the time in the world?\u003c/p>\n\u003cp>https://youtu.be/WwQ-NH1rRT4\u003c/p>\n\u003cp>Moonee is their little gang’s irrepressible ringleader — champion windshield spitter, ice cream grifter extraordinaire, leader of expeditions to bring dead fish back to life in the motel pool. She’s adorably unstoppable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moonee’s mom, Halley (Bria Vinaite), seems barely more mature than her daughter. She has green-streaked hair and is unable to hold a job even at the local strip club. She’s not really cut out to be a mother, though she makes a general stab at being responsible by selling perfume (and sometimes her body) to tourists so she can pay their rent.\u003c/p>\n\u003cp>Halley means well, even if she can’t follow through. That’s enough to bring out the parental side of the Magic Castle’s curmudgeonly, long-suffering resident manager (Willem Dafoe), who rides herd over unruly tenants — and the occasional wayward egret — with almost alarming finesse.\u003c/p>\n\u003cp>This is Vinaite’s acting debut, and a striking one at that. Director Sean Baker found her on Instagram — he was following her account to show actors the qualities he wanted in the character. When he couldn’t find those qualities with established actors, he asked if Vinaite wanted to audition. She turned out to be a fascinating find — a fine complement to Prince’s tiny dynamo, who has the whole film riding on her tiny shoulders for quite a while.\u003c/p>\n\u003cp>\u003cem>The Florida Project\u003c/em> takes its title from the Disney organization’s in-house name for Disney World when it was still just a stack of blueprints on Uncle Walt’s desk in California. But there’s an unspoken irony in calling the film \u003cem>The Florida Project,\u003c/em> since the motels Moonee plays in have themselves devolved into housing projects.\u003c/p>\n\u003cp>That makes them fertile ground for Baker, whose reputation-making \u003cem>Tangerine\u003c/em> took place in an equally down-at-heels neighborhood in Los Angeles two years ago. Happily, the director’s aesthetic hasn’t been wrecked by his now having the money to pay for 35 mm cameras. Everything that was wonderful last time is even better here, from first-time performers who light up the screen to dialogue that is profane and \u003cem>very\u003c/em> funny for a while, then turns resonant and wrenching.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Baker has imbued this whole terrific movie with a child’s sense of discovery — the sort that can turn a decrepit, pastel corner of Orlando into a vibrant cinematic playground.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You had to wonder how director Sean Baker would follow up his shot-on-an-iPhone, transgender-prostitute comedy \u003ca href=\"http://www.npr.org/2015/07/11/421452904/a-big-hearted-tangerine-vision-of-l-a-s-crime-riddled-streets\" target=\"_blank\" rel=\"noopener\">Tangerine\u003c/a> if he ever got a hold of enough cash to pay for a star and a Steadicam. His extraordinary, almost-homeless-family dramedy, \u003cem>The Florida Project\u003c/em>, provides the exhilarating answer.\u003c/p>\n\u003cp>It’s set in a pastel Orlando that feels spiritually far removed from all things Disney — call it a “less magical kingdom.” This sun-baked, off-ramp wasteland boasts brightly colored motels with knock-off mouse house names like Futureland Inn and Magic Castle. Built decades ago for budget-minded tourists, they’re now filled with itinerant families who pay $35 a night to live in purple-stuccoed splendor.\u003c/p>\n\u003cp>These surroundings may be dreary for the adults who live there, but for 6-year-old Moonee (Brooklynn Prince) and her buddies Scooty (Christopher Rivera) and Jancey (Valeria Cotto), they’re just the place to run wild — really, wild — without the benefit of Mickey, Goofy and other theme park mascots. Who needs organized attractions when you have sunshine, pals and all the time in the world?\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/WwQ-NH1rRT4'\n title='//www.youtube.com/embed/WwQ-NH1rRT4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Moonee is their little gang’s irrepressible ringleader — champion windshield spitter, ice cream grifter extraordinaire, leader of expeditions to bring dead fish back to life in the motel pool. She’s adorably unstoppable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The receipts from \u003ca href=\"http://www.npr.org/artists/14837922/bruce-springsteen\" target=\"_blank\" rel=\"noopener\">Bruce Springsteen\u003c/a>‘s \u003ca href=\"http://www.npr.org/sections/therecord/2017/08/09/533227031/bruce-springsteen-is-headed-to-broadway-for-an-intimate-series-of-performances\" target=\"_blank\" rel=\"noopener\">first week on Broadway\u003c/a> are in. The Boss, over five sold-out performances, grossed $2.33 million — or about $466,000 per night. The sum beat out every production other than \u003cem>Hamilton\u003c/em> (with $2.92 million in gross earnings) and \u003cem>Hello, Dolly!\u003c/em> (with $2.34 million in gross earnings), \u003ca href=\"https://www.broadwayleague.com/research/grosses-broadway-nyc/\" target=\"_blank\" rel=\"noopener\">according\u003c/a> to The Broadway League.\u003c/p>\n\u003cp>\u003cem>Springsteen On Broadway\u003c/em>, which sold out immediately, had its initial run at the Walter Kerr Theatre extended into February, for a total of 79 performances. (It was originally scheduled to end in November.) It “is probably the smallest venue I’ve played in the last 40 years,” Springsteen wrote in the initial announcement. “My show is just me, the guitar, the piano and the words and music.”\u003c/p>\n\u003cp>The show is an intimate, stripped-down tour through Springsteen’s work and history from a script he penned himself. Despite the bare-bones production — the show has no director — he enlisted two of Broadway’s best: the Tony Award-winning lighting designer Natasha Katz and sound designer Brian Ronan.\u003c/p>\n\u003cp>“It’s going to feel like a garage workshop basically, and I’m going to play my songs and tell my stories. So it wasn’t something that called for a whole lot more than that,” Springsteen \u003ca href=\"https://www.nytimes.com/2017/09/27/arts/music/bruce-springsteen-broadway.html\">told \u003cem>The New York Times\u003c/em>\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=%27Springsteen+On+Broadway%27+Makes+A+Tidy+Sum+Its+First+Week&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The receipts from \u003ca href=\"http://www.npr.org/artists/14837922/bruce-springsteen\" target=\"_blank\" rel=\"noopener\">Bruce Springsteen\u003c/a>‘s \u003ca href=\"http://www.npr.org/sections/therecord/2017/08/09/533227031/bruce-springsteen-is-headed-to-broadway-for-an-intimate-series-of-performances\" target=\"_blank\" rel=\"noopener\">first week on Broadway\u003c/a> are in. The Boss, over five sold-out performances, grossed $2.33 million — or about $466,000 per night. The sum beat out every production other than \u003cem>Hamilton\u003c/em> (with $2.92 million in gross earnings) and \u003cem>Hello, Dolly!\u003c/em> (with $2.34 million in gross earnings), \u003ca href=\"https://www.broadwayleague.com/research/grosses-broadway-nyc/\" target=\"_blank\" rel=\"noopener\">according\u003c/a> to The Broadway League.\u003c/p>\n\u003cp>\u003cem>Springsteen On Broadway\u003c/em>, which sold out immediately, had its initial run at the Walter Kerr Theatre extended into February, for a total of 79 performances. (It was originally scheduled to end in November.) It “is probably the smallest venue I’ve played in the last 40 years,” Springsteen wrote in the initial announcement. “My show is just me, the guitar, the piano and the words and music.”\u003c/p>\n\u003cp>The show is an intimate, stripped-down tour through Springsteen’s work and history from a script he penned himself. Despite the bare-bones production — the show has no director — he enlisted two of Broadway’s best: the Tony Award-winning lighting designer Natasha Katz and sound designer Brian Ronan.\u003c/p>\n\u003cp>“It’s going to feel like a garage workshop basically, and I’m going to play my songs and tell my stories. So it wasn’t something that called for a whole lot more than that,” Springsteen \u003ca href=\"https://www.nytimes.com/2017/09/27/arts/music/bruce-springsteen-broadway.html\">told \u003cem>The New York Times\u003c/em>\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=%27Springsteen+On+Broadway%27+Makes+A+Tidy+Sum+Its+First+Week&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Homages and Tributes for the Thelonious Monk Centennial, But No Competition (For Now)",
"headTitle": "Homages and Tributes for the Thelonious Monk Centennial, But No Competition (For Now) | KQED",
"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15130415/thelonious-monk\" target=\"_blank\" rel=\"noopener\">Thelonious Monk\u003c/a>, the incomparably influential jazz composer and pianist, would have turned 100 today, and across the country a healthy range of commemorative tributes is already underway. But the flagship event that bears his name has quietly been put on hold: the next Thelonious Monk International Jazz Competition, which at one point had been scheduled for this week at the Kennedy Center in Washington, will not happen in 2017.\u003c/p>\n\u003cp>Tom Carter — president and cofounder of the \u003ca href=\"http://monkinstitute.org/\">Thelonious Monk Institute of Jazz\u003c/a>, the nonprofit organization that runs the competition — cited a recent barrage of natural disasters, and the pursuant philanthropic strain, as factors in the decision.\u003c/p>\n\u003cp>“This is our only benefit each year,” he said. “We do all of our programs for free, year-round. So mixed with many other things is: This is not the time to be doing a benefit, with all of the money being raised around relief for these hurricanes and earthquakes, and so on.”\u003c/p>\n\u003cfigure id=\"attachment_13811092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-800x450.jpg\" alt=\"Tom Carter speaks at an International Jazz Day Artist press conference in Istanbul on April 29, 2013.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Carter speaks at an International Jazz Day Artist press conference in Istanbul on April 29, 2013. \u003ccite>(Mahmut Ceylan/Thelonious Monk Institute of Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Monk Institute operates a range of educational programs — the most visible of which is a two-year postgraduate program, the Thelonious Monk Institute of Jazz Performance, currently housed at the UCLA Herb Alpert School of Music. In partnership with UNESCO, the institute also plans and organizes International Jazz Day, held each April 30 as the culmination of Jazz Appreciation Month. Just yesterday, UNESCO \u003ca href=\"https://en.unesco.org/news/saint-petersburg-and-sydney-selected-international-jazz-day-global-host-cities\" target=\"_blank\" rel=\"noopener\">announced the next two global host cities\u003c/a> for International Jazz Day: Saint Petersburg, Russia (2018) and Sydney, Australia (2019).\u003c/p>\n\u003cp>Against this hum of organizational activity, the absence of a competition in 2017 is unfortunate for more than just the obvious reasons. In addition to being the centennial of Monk’s birth, 2017 marks the 30th anniversary of the Monk Competition, which has been the most prestigious and consequential event of its kind in jazz.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since 1987, when its inaugural first prize went to pianist Marcus Roberts, the Monk Competition has produced a head-turning succession of poised young winners — including now-marquee names like saxophonists \u003ca href=\"http://www.npr.org/artists/14996492/joshua-redman\" target=\"_blank\" rel=\"noopener\">Joshua Redman\u003c/a> and Melissa Aldana, pianists \u003ca href=\"http://www.npr.org/artists/90602627/jacky-terrasson\" target=\"_blank\" rel=\"noopener\">Jacky Terrasson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/113277821/tigran-hamasyan\" target=\"_blank\" rel=\"noopener\">Tigran Hamasyan\u003c/a>, trumpeters \u003ca href=\"http://www.npr.org/artists/114315329/ambrose-akinmusire\" target=\"_blank\" rel=\"noopener\">Ambrose Akinmusire\u003c/a> and Ryan Kisor, and singers \u003ca href=\"http://www.npr.org/artists/15171915/gretchen-parlato\" target=\"_blank\" rel=\"noopener\">Gretchen Parlato\u003c/a> and \u003ca href=\"http://www.npr.org/artists/453239708/cecile-mclorin-salvant\" target=\"_blank\" rel=\"noopener\">Cécile McLorin Salvant\u003c/a>. (The Monk Institute website has \u003ca href=\"http://monkinstitute.org/competition/past-winners-and-judges/\" target=\"_blank\" rel=\"noopener\">a comprehensive list\u003c/a> of past finalists and judges — one could build a deep bench by scanning who came in second and third each year.)\u003c/p>\n\u003cp>T.S. Monk, who describes himself as the gatekeeper of his father’s legacy, takes unabashed pride in the competition’s alumni circle. “Early on I said, ‘We want to really help develop the next generation of young jazz musicians,'” he noted. “I think I can say with a fair amount of confidence that we’ve probably put more actual stars in the marketplace than any other jazz organization.”\u003c/p>\n\u003cfigure id=\"attachment_13811093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-800x450.jpg\" alt=\"T.S. Monk, left, in 2014, when the Monk Competition included the presentation of an award to President Bill Clinton. Also onstage: Quincy Jones, Herbie Hancock, Dianne Reeves and Kevin Spacey.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">T.S. Monk, left, in 2014, when the Monk Competition included the presentation of an award to President Bill Clinton. Also onstage: Quincy Jones, Herbie Hancock, Dianne Reeves and Kevin Spacey. \u003ccite>(Imeh Akpanudosen/Getty Images for Thelonious Monk Institute of Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Monk Competition has a rotating instrumental focus, and this year’s spotlight was to fall on the piano, another missed opportunity in this centennial year. Roughly a dozen semifinalists had been selected and notified by a jury committee — and they’re still in the running, despite some chatter that the competition had been canceled. “I don’t know where that rumor circulated, but that is not accurate,” Carter responded. “It’s postponed; it is not canceled. I’m not sure exactly when we’re going to have it, but it will be sometime after the first of the year.”\u003c/p>\n\u003cp>The most recent Monk Competition took place in November 2015, when Jazzmeia Horn won in the vocal category. One of the early signs that this year’s event might not proceed as planned was a conflicting engagement: several months ago, Jazz at Lincoln Center updated its schedule to show that T.S. Monk would be spending this week in New York, rather than Washington, D.C. The T.S. Monk Sextet appears on Tuesday and Wednesday at Dizzy’s Club Coca-Cola.\u003c/p>\n\u003cp>When asked directly whether he would be involved the Monk Competition going forward, he responded briskly: “I’m sure I will,” he said. “I’ve been involved in every competition we’ve ever had, and I don’t foresee that changing at all.”\u003c/p>\n\u003cp>While this year’s competition is on hold, there’s an abundance of Monk centennial activity to choose from. Pianist \u003ca href=\"http://www.npr.org/artists/17777248/dan-lo-perez\" target=\"_blank\" rel=\"noopener\">Danilo Pérez\u003c/a> is on tour with his fine project PanaMonk; John Beasley, another pianist and composer, has \u003ca href=\"http://wbgo.org/post/john-beasley-bearing-new-evidence-announces-his-monkestra-vol-2\" target=\"_blank\" rel=\"noopener\">a new album by his MONK’estra\u003c/a>, and will be at the Jazz Standard this Thursday through Saturday. The Institute of Jazz Studies at Rutgers in Newark has organized a monthlong series of events called Monktoberfest, including a conversation between T.S. Monk and Monk biographer Robin D.G. Kelley, moderated by WBGO’s Sheila Anderson. (That event is \u003ca href=\"https://www.eventbrite.com/e/in-conversation-robin-dg-kelley-and-ts-monk-with-sheila-anderson-tickets-38341682003?utm-medium=discovery&utm-campaign=social&utm-content=attendeeshare&aff=esfb&utm-source=fb&utm-term=listing\" target=\"_blank\" rel=\"noopener\">today at noon\u003c/a>, at Express Newark.)\u003c/p>\n\u003cfigure id=\"attachment_13811094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-800x450.png\" alt=\"Jason Moran performing 'In My Mind: Monk At Town Hall, 1959' at the Kennedy Center in 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-520x293.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e.png 1397w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jason Moran performing ‘In My Mind: Monk At Town Hall, 1959’ at the Kennedy Center in 2015. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Kennedy Center, where the competition was originally scheduled, a tribute was held this past Sunday by pianist Jason Moran, who will also present his project \u003ca href=\"http://www.npr.org/event/music/446866440/jason-moran-plays-thelonious-monks-town-hall-concert\">IN MY MIND: Monk at Town Hall 1959\u003c/a> on Saturday at SFJAZZ.\u003c/p>\n\u003cp>At Jazz at Lincoln Center, a free Thelonious Monk Symposium will be held on Thursday and Friday. Thursday’s program will include Unheard Thelonious Monk Tapes, a listening party featuring previously unheard material, and insight from panelists including Monk biographer Robin D.G. Kelley. On Friday, Zev Feldman and Greg Thomas will discuss Monk’s recently issued \u003ca href=\"http://wbgo.org/post/new-thelonious-monk-album-emerges-soundtrack-classic-french-film\">soundtrack to \u003cem>Les Liaisons Dangereuses\u003c/em>\u003c/a>, and screen the film.\u003c/p>\n\u003cp>And Duke Performances, in Monk’s original home state of North Carolina, is presenting \u003ca href=\"https://dukeperformances.duke.edu/residencies/monk100/\">Monk@100\u003c/a>, an ambitious and intriguing 10-day concert series curated by pianist Ethan Iverson. The series kicks off next week with a three-day residency by The \u003ca href=\"http://www.npr.org/artists/111775333/jd-allen\">J.D. Allen\u003c/a> Trio, featuring guitarist \u003ca href=\"http://www.npr.org/artists/14982703/bill-frisell\">Bill Frisell\u003c/a> (Oct. 17), trumpeter \u003ca href=\"http://www.npr.org/artists/17972185/dave-douglas\">Dave Douglas\u003c/a> (Oct. 18) and pianist Kris Davis (Oct. 19). Moran will perform in a duo with percussionist \u003ca href=\"http://www.npr.org/artists/113090823/tyshawn-sorey\">Tyshawn Sorey\u003c/a> (Oct. 20), and a program called Monk Songbook (Oct. 21-22) will feature Iverson with a handful of other pianists.\u003c/p>\n\u003cp>From Oct. 23 to 26, Iverson will be in residence with a trio, featuring bassist David Williams and drummer Victor Lewis, and a succession of prominent saxophonists — including a few with personal experience in the Monk Competition, like Melissa Aldana (Oct. 23), \u003ca href=\"http://www.npr.org/artists/17177145/chris-potter\">Chris Potter\u003c/a> (Oct. 24) and Joshua Redman (Oct. 25).\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>T.S. Monk characterized the outpouring of centennial tributes as a validation of sorts, and entirely separate from the issue of the competition. “When I was five years old, people would say to me: ‘Fifty years from now, your father will probably be more famous and his music will be more important than it is today,'” he said. “Today I’m 67 years old, and Thelonious is bigger, and his music is more important, than ever. So all of this attention on the centennial, for me, is confirmation of things that people told me when I was a little kid. It has certainly come to fruition. I’m amazed and very, very happy for him.” \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=Homages+and+Tributes+for+the+Thelonious+Monk+Centennial%2C+But+No+Competition+%28For+Now%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/15130415/thelonious-monk\" target=\"_blank\" rel=\"noopener\">Thelonious Monk\u003c/a>, the incomparably influential jazz composer and pianist, would have turned 100 today, and across the country a healthy range of commemorative tributes is already underway. But the flagship event that bears his name has quietly been put on hold: the next Thelonious Monk International Jazz Competition, which at one point had been scheduled for this week at the Kennedy Center in Washington, will not happen in 2017.\u003c/p>\n\u003cp>Tom Carter — president and cofounder of the \u003ca href=\"http://monkinstitute.org/\">Thelonious Monk Institute of Jazz\u003c/a>, the nonprofit organization that runs the competition — cited a recent barrage of natural disasters, and the pursuant philanthropic strain, as factors in the decision.\u003c/p>\n\u003cp>“This is our only benefit each year,” he said. “We do all of our programs for free, year-round. So mixed with many other things is: This is not the time to be doing a benefit, with all of the money being raised around relief for these hurricanes and earthquakes, and so on.”\u003c/p>\n\u003cfigure id=\"attachment_13811092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-800x450.jpg\" alt=\"Tom Carter speaks at an International Jazz Day Artist press conference in Istanbul on April 29, 2013.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/ijd_pressconference_mahmutceylan_21_wide-b3d454a7d1ee5d340033aff71526c434913feb94.jpg 1000w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Tom Carter speaks at an International Jazz Day Artist press conference in Istanbul on April 29, 2013. \u003ccite>(Mahmut Ceylan/Thelonious Monk Institute of Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Monk Institute operates a range of educational programs — the most visible of which is a two-year postgraduate program, the Thelonious Monk Institute of Jazz Performance, currently housed at the UCLA Herb Alpert School of Music. In partnership with UNESCO, the institute also plans and organizes International Jazz Day, held each April 30 as the culmination of Jazz Appreciation Month. Just yesterday, UNESCO \u003ca href=\"https://en.unesco.org/news/saint-petersburg-and-sydney-selected-international-jazz-day-global-host-cities\" target=\"_blank\" rel=\"noopener\">announced the next two global host cities\u003c/a> for International Jazz Day: Saint Petersburg, Russia (2018) and Sydney, Australia (2019).\u003c/p>\n\u003cp>Against this hum of organizational activity, the absence of a competition in 2017 is unfortunate for more than just the obvious reasons. In addition to being the centennial of Monk’s birth, 2017 marks the 30th anniversary of the Monk Competition, which has been the most prestigious and consequential event of its kind in jazz.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since 1987, when its inaugural first prize went to pianist Marcus Roberts, the Monk Competition has produced a head-turning succession of poised young winners — including now-marquee names like saxophonists \u003ca href=\"http://www.npr.org/artists/14996492/joshua-redman\" target=\"_blank\" rel=\"noopener\">Joshua Redman\u003c/a> and Melissa Aldana, pianists \u003ca href=\"http://www.npr.org/artists/90602627/jacky-terrasson\" target=\"_blank\" rel=\"noopener\">Jacky Terrasson\u003c/a> and \u003ca href=\"http://www.npr.org/artists/113277821/tigran-hamasyan\" target=\"_blank\" rel=\"noopener\">Tigran Hamasyan\u003c/a>, trumpeters \u003ca href=\"http://www.npr.org/artists/114315329/ambrose-akinmusire\" target=\"_blank\" rel=\"noopener\">Ambrose Akinmusire\u003c/a> and Ryan Kisor, and singers \u003ca href=\"http://www.npr.org/artists/15171915/gretchen-parlato\" target=\"_blank\" rel=\"noopener\">Gretchen Parlato\u003c/a> and \u003ca href=\"http://www.npr.org/artists/453239708/cecile-mclorin-salvant\" target=\"_blank\" rel=\"noopener\">Cécile McLorin Salvant\u003c/a>. (The Monk Institute website has \u003ca href=\"http://monkinstitute.org/competition/past-winners-and-judges/\" target=\"_blank\" rel=\"noopener\">a comprehensive list\u003c/a> of past finalists and judges — one could build a deep bench by scanning who came in second and third each year.)\u003c/p>\n\u003cp>T.S. Monk, who describes himself as the gatekeeper of his father’s legacy, takes unabashed pride in the competition’s alumni circle. “Early on I said, ‘We want to really help develop the next generation of young jazz musicians,'” he noted. “I think I can say with a fair amount of confidence that we’ve probably put more actual stars in the marketplace than any other jazz organization.”\u003c/p>\n\u003cfigure id=\"attachment_13811093\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-800x450.jpg\" alt=\"T.S. Monk, left, in 2014, when the Monk Competition included the presentation of an award to President Bill Clinton. Also onstage: Quincy Jones, Herbie Hancock, Dianne Reeves and Kevin Spacey.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811093\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/clinton_wide-35e49fc1149d482b94a08322d4e6ad8d790b1dff-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">T.S. Monk, left, in 2014, when the Monk Competition included the presentation of an award to President Bill Clinton. Also onstage: Quincy Jones, Herbie Hancock, Dianne Reeves and Kevin Spacey. \u003ccite>(Imeh Akpanudosen/Getty Images for Thelonious Monk Institute of Jazz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Monk Competition has a rotating instrumental focus, and this year’s spotlight was to fall on the piano, another missed opportunity in this centennial year. Roughly a dozen semifinalists had been selected and notified by a jury committee — and they’re still in the running, despite some chatter that the competition had been canceled. “I don’t know where that rumor circulated, but that is not accurate,” Carter responded. “It’s postponed; it is not canceled. I’m not sure exactly when we’re going to have it, but it will be sometime after the first of the year.”\u003c/p>\n\u003cp>The most recent Monk Competition took place in November 2015, when Jazzmeia Horn won in the vocal category. One of the early signs that this year’s event might not proceed as planned was a conflicting engagement: several months ago, Jazz at Lincoln Center updated its schedule to show that T.S. Monk would be spending this week in New York, rather than Washington, D.C. The T.S. Monk Sextet appears on Tuesday and Wednesday at Dizzy’s Club Coca-Cola.\u003c/p>\n\u003cp>When asked directly whether he would be involved the Monk Competition going forward, he responded briskly: “I’m sure I will,” he said. “I’ve been involved in every competition we’ve ever had, and I don’t foresee that changing at all.”\u003c/p>\n\u003cp>While this year’s competition is on hold, there’s an abundance of Monk centennial activity to choose from. Pianist \u003ca href=\"http://www.npr.org/artists/17777248/dan-lo-perez\" target=\"_blank\" rel=\"noopener\">Danilo Pérez\u003c/a> is on tour with his fine project PanaMonk; John Beasley, another pianist and composer, has \u003ca href=\"http://wbgo.org/post/john-beasley-bearing-new-evidence-announces-his-monkestra-vol-2\" target=\"_blank\" rel=\"noopener\">a new album by his MONK’estra\u003c/a>, and will be at the Jazz Standard this Thursday through Saturday. The Institute of Jazz Studies at Rutgers in Newark has organized a monthlong series of events called Monktoberfest, including a conversation between T.S. Monk and Monk biographer Robin D.G. Kelley, moderated by WBGO’s Sheila Anderson. (That event is \u003ca href=\"https://www.eventbrite.com/e/in-conversation-robin-dg-kelley-and-ts-monk-with-sheila-anderson-tickets-38341682003?utm-medium=discovery&utm-campaign=social&utm-content=attendeeshare&aff=esfb&utm-source=fb&utm-term=listing\" target=\"_blank\" rel=\"noopener\">today at noon\u003c/a>, at Express Newark.)\u003c/p>\n\u003cfigure id=\"attachment_13811094\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-800x450.png\" alt=\"Jason Moran performing 'In My Mind: Monk At Town Hall, 1959' at the Kennedy Center in 2015.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13811094\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-800x450.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-768x432.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-1020x574.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-1180x664.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-960x540.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e-520x293.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/10/202monkmoran1_wide-387963872ad741169d7739185214cb9d45a83490_wide-9c44a4edea68b08799247f8dc94fc4d3bd75ba8e.png 1397w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jason Moran performing ‘In My Mind: Monk At Town Hall, 1959’ at the Kennedy Center in 2015. \u003ccite>(NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the Kennedy Center, where the competition was originally scheduled, a tribute was held this past Sunday by pianist Jason Moran, who will also present his project \u003ca href=\"http://www.npr.org/event/music/446866440/jason-moran-plays-thelonious-monks-town-hall-concert\">IN MY MIND: Monk at Town Hall 1959\u003c/a> on Saturday at SFJAZZ.\u003c/p>\n\u003cp>At Jazz at Lincoln Center, a free Thelonious Monk Symposium will be held on Thursday and Friday. Thursday’s program will include Unheard Thelonious Monk Tapes, a listening party featuring previously unheard material, and insight from panelists including Monk biographer Robin D.G. Kelley. On Friday, Zev Feldman and Greg Thomas will discuss Monk’s recently issued \u003ca href=\"http://wbgo.org/post/new-thelonious-monk-album-emerges-soundtrack-classic-french-film\">soundtrack to \u003cem>Les Liaisons Dangereuses\u003c/em>\u003c/a>, and screen the film.\u003c/p>\n\u003cp>And Duke Performances, in Monk’s original home state of North Carolina, is presenting \u003ca href=\"https://dukeperformances.duke.edu/residencies/monk100/\">Monk@100\u003c/a>, an ambitious and intriguing 10-day concert series curated by pianist Ethan Iverson. The series kicks off next week with a three-day residency by The \u003ca href=\"http://www.npr.org/artists/111775333/jd-allen\">J.D. Allen\u003c/a> Trio, featuring guitarist \u003ca href=\"http://www.npr.org/artists/14982703/bill-frisell\">Bill Frisell\u003c/a> (Oct. 17), trumpeter \u003ca href=\"http://www.npr.org/artists/17972185/dave-douglas\">Dave Douglas\u003c/a> (Oct. 18) and pianist Kris Davis (Oct. 19). Moran will perform in a duo with percussionist \u003ca href=\"http://www.npr.org/artists/113090823/tyshawn-sorey\">Tyshawn Sorey\u003c/a> (Oct. 20), and a program called Monk Songbook (Oct. 21-22) will feature Iverson with a handful of other pianists.\u003c/p>\n\u003cp>From Oct. 23 to 26, Iverson will be in residence with a trio, featuring bassist David Williams and drummer Victor Lewis, and a succession of prominent saxophonists — including a few with personal experience in the Monk Competition, like Melissa Aldana (Oct. 23), \u003ca href=\"http://www.npr.org/artists/17177145/chris-potter\">Chris Potter\u003c/a> (Oct. 24) and Joshua Redman (Oct. 25).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>T.S. Monk characterized the outpouring of centennial tributes as a validation of sorts, and entirely separate from the issue of the competition. “When I was five years old, people would say to me: ‘Fifty years from now, your father will probably be more famous and his music will be more important than it is today,'” he said. “Today I’m 67 years old, and Thelonious is bigger, and his music is more important, than ever. So all of this attention on the centennial, for me, is confirmation of things that people told me when I was a little kid. It has certainly come to fruition. I’m amazed and very, very happy for him.” \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=Homages+and+Tributes+for+the+Thelonious+Monk+Centennial%2C+But+No+Competition+%28For+Now%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hollywood mogul Harvey Weinstein is taking a leave of absence from his company following a \u003cem>New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=a-lede-package-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">story\u003c/a> that he sexually harassed female assistants, executives and actresses for decades. The\u003cem> Times\u003c/em> report also says Weinstein settled complaints with at least eight women.\u003c/p>\n\u003cp>Weinstein is one of the most powerful men in Hollywood. He co-founded Miramax, which has produced such Academy Award-winning films as \u003cem>Pulp Fiction, Chicago, The English Patient\u003c/em> and \u003cem>Shakespeare in Love.\u003c/em> He and his brother, Bob, head The Weinstein Co. Along with movies, the Weinsteins have produced a number of Tony Award-winning shows on Broadway.\u003c/p>\n\u003cp>Harvey Weinstein is also known for his temper and, the \u003cem>Times\u003c/em> story says, his inappropriate behavior toward women has been discussed within his companies for years. The story begins with actress Ashley Judd being invited to what she thought was a business breakfast with Weinstein at the Peninsula Hotel in Los Angeles. Instead, she says, she was sent to his room where he asked her to give him a massage or watch him shower.\u003c/p>\n\u003cp>“How do I get out of the room as fast as possible without alienating Harvey Weinstein?” Judd is quoted as saying in the article.\u003c/p>\n\u003cp>Weinstein \u003ca href=\"https://www.nytimes.com/interactive/2017/10/05/us/statement-from-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> in response to the allegations. He apologizes for some of his behavior by saying that times have changed since he began in the movie business:\u003c/p>\n\u003cblockquote>\n\u003cp>“I came of age in the 60’s and 70’s, when all the rules about behavior and workplaces were different. That was the culture then.\u003c/p>\n\u003cp>I have since learned it’s not an excuse, in the office — or out of it. To anyone.\u003c/p>\n\u003cp>I realized some time ago that I needed to be a better person and my interactions with the people I work with have changed.\u003c/p>\n\u003cp>I appreciate the way I’ve behaved with colleagues in the past has caused a lot of pain, and I sincerely apologize for it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>At the same time, one of Weinstein’s lawyers, Lisa Bloom, released a statement saying “he denies many of the accusations as patently false.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Weinstein says he will take time to “conquer his demons.” He also says he will use the time to fight the National Rifle Association. Weinstein is a longtime donor to Democratic candidates and liberal causes. \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=Amid+Harassment+Reports%2C+Harvey+Weinstein+Takes+Leave+Of+Absence&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hollywood mogul Harvey Weinstein is taking a leave of absence from his company following a \u003cem>New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/10/05/us/harvey-weinstein-harassment-allegations.html?hp&action=click&pgtype=Homepage&clickSource=story-heading&module=a-lede-package-region®ion=top-news&WT.nav=top-news\" target=\"_blank\" rel=\"noopener\">story\u003c/a> that he sexually harassed female assistants, executives and actresses for decades. The\u003cem> Times\u003c/em> report also says Weinstein settled complaints with at least eight women.\u003c/p>\n\u003cp>Weinstein is one of the most powerful men in Hollywood. He co-founded Miramax, which has produced such Academy Award-winning films as \u003cem>Pulp Fiction, Chicago, The English Patient\u003c/em> and \u003cem>Shakespeare in Love.\u003c/em> He and his brother, Bob, head The Weinstein Co. Along with movies, the Weinsteins have produced a number of Tony Award-winning shows on Broadway.\u003c/p>\n\u003cp>Harvey Weinstein is also known for his temper and, the \u003cem>Times\u003c/em> story says, his inappropriate behavior toward women has been discussed within his companies for years. The story begins with actress Ashley Judd being invited to what she thought was a business breakfast with Weinstein at the Peninsula Hotel in Los Angeles. Instead, she says, she was sent to his room where he asked her to give him a massage or watch him shower.\u003c/p>\n\u003cp>“How do I get out of the room as fast as possible without alienating Harvey Weinstein?” Judd is quoted as saying in the article.\u003c/p>\n\u003cp>Weinstein \u003ca href=\"https://www.nytimes.com/interactive/2017/10/05/us/statement-from-harvey-weinstein.html\" target=\"_blank\" rel=\"noopener\">released a statement\u003c/a> in response to the allegations. He apologizes for some of his behavior by saying that times have changed since he began in the movie business:\u003c/p>\n\u003cblockquote>\n\u003cp>“I came of age in the 60’s and 70’s, when all the rules about behavior and workplaces were different. That was the culture then.\u003c/p>\n\u003cp>I have since learned it’s not an excuse, in the office — or out of it. To anyone.\u003c/p>\n\u003cp>I realized some time ago that I needed to be a better person and my interactions with the people I work with have changed.\u003c/p>\n\u003cp>I appreciate the way I’ve behaved with colleagues in the past has caused a lot of pain, and I sincerely apologize for it.”\u003c/p>\n\u003c/blockquote>\n\u003cp>At the same time, one of Weinstein’s lawyers, Lisa Bloom, released a statement saying “he denies many of the accusations as patently false.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "In 'Mark Felt: The Man Who Brought Down The White House,' Deep Throat Isn't So Deep",
"headTitle": "In ‘Mark Felt: The Man Who Brought Down The White House,’ Deep Throat Isn’t So Deep | KQED",
"content": "\u003cp>“The goddamn punks are running the country!”\u003c/p>\n\u003cp>That outraged remark, delivered by the upright protagonist of \u003cem>Mark Felt: The Man Who Brought Down the White House\u003c/em>, might suggest to some viewers that the movie was made with one eye on the current White House. But that is an interpretation supported by only a few moments in the film, which wrapped production before the 2016 Republican National Convention.\u003c/p>\n\u003cp>In fact, writer-director Peter Landesman draws barely any contemporary parallels and offers little help to less history-minded viewers. \u003cem>Mark Felt\u003c/em> is designed for people who already know something about the Watergate affair — or at least have seen the most prominent previous treatment of the subject.\u003c/p>\n\u003cp>https://youtu.be/MR1IjeAdevI\u003c/p>\n\u003cp>\u003cem>Mark Felt\u003c/em> flips the setup of 1976’s \u003cem>All the President’s Men\u003c/em> by pulling Felt out of the shadows inhabited, in the earlier movie, by Hal Holbrook playing a leaker then known to the world only as Deep Throat. Liam Neeson’s Felt is the center of this story — even when Landesman occasionally attempts to disclose something about the people around him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film opens in police-procedural mode, as Felt gets dressed while an electronic score pulses and news crackles on the radio. He is off to the White House, where presidential counsel John Dean (Michael D. Hall) and a few other Nixon then-loyalists sound him out on how to remove FBI director J. Edgar Hoover.\u003c/p>\n\u003cp>Felt declines to assist them, responding with Oskar-Schindler-like nobility but also gentlemanly menace. Hoover soon dies, allowing Nixon to appoint his own acting FBI director just as word of a puzzling burglary at the Watergate complex reaches the bureau.\u003c/p>\n\u003cp>L. Patrick Gray (Martin Csokas) gets the job Felt wanted and, his colleagues believe, deserved. Felt’s disappointment, the script suggests, has as much to do with his becoming Deep Throat as his disgust at the White House bullies who order the FBI’s Watergate investigation closed.\u003c/p>\n\u003cp>There is also another factor: Gray announces his intention to name as his new No. 2 a former FBI agent (Tom Sizemore) who personifies the excesses of the Hoover years. Felt abhors the guy and what he represents.\u003c/p>\n\u003cp>And another: As he defends his beloved bureau from Nixonian mischief, Felt is himself bending rules in his investigations of the Weather Underground and similar organizations. Felt fears that his runaway daughter (Maika Monroe) might be involved with violent leftists and hopes that locating her might ease the pain of his alcoholic wife (Diane Lane).\u003c/p>\n\u003cp>Felt starts talking to journalists he already knows. He meets Bob Woodward (Julian Morris) in that parking garage, but the movie spends more time at Felt’s parleys with Time magazine’s Sandy Smith (Bruce Greenwood). Although the diner where they meet is less murky than the garage, Adam Kimmel’s camera is nearly always parked in some sort of gloom.\u003c/p>\n\u003cp>As complications pile up, \u003cem>Mark Felt\u003c/em> loses the drive that distinguishes its first half. That is due in part to the fact that the ultimate result of Felt and Nixon’s duel-by-proxy is so well-known and anticlimactic. No satisfying crime movie ends with the perp’s retirement to New Jersey to write public-policy books. Also, the final half-hour is rushed and patchy, with frustrating jumps in continuity that require viewers to fill in some pretty big blanks.\u003c/p>\n\u003cp>If the movie disappoints as a cops-and-burglars flick, its biggest failure is as a character study. Despite all the revelations about Felt’s career and family, he is no more complex a character at the end than at the beginning. Neeson’s performance is all steel-spined bearing and resonant intonation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s up to the actor to carry the movie, which he does. He just doesn’t lug it anyplace particularly illuminating.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“The goddamn punks are running the country!”\u003c/p>\n\u003cp>That outraged remark, delivered by the upright protagonist of \u003cem>Mark Felt: The Man Who Brought Down the White House\u003c/em>, might suggest to some viewers that the movie was made with one eye on the current White House. But that is an interpretation supported by only a few moments in the film, which wrapped production before the 2016 Republican National Convention.\u003c/p>\n\u003cp>In fact, writer-director Peter Landesman draws barely any contemporary parallels and offers little help to less history-minded viewers. \u003cem>Mark Felt\u003c/em> is designed for people who already know something about the Watergate affair — or at least have seen the most prominent previous treatment of the subject.\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/MR1IjeAdevI'\n title='//www.youtube.com/embed/MR1IjeAdevI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Mark Felt\u003c/em> flips the setup of 1976’s \u003cem>All the President’s Men\u003c/em> by pulling Felt out of the shadows inhabited, in the earlier movie, by Hal Holbrook playing a leaker then known to the world only as Deep Throat. Liam Neeson’s Felt is the center of this story — even when Landesman occasionally attempts to disclose something about the people around him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film opens in police-procedural mode, as Felt gets dressed while an electronic score pulses and news crackles on the radio. He is off to the White House, where presidential counsel John Dean (Michael D. Hall) and a few other Nixon then-loyalists sound him out on how to remove FBI director J. Edgar Hoover.\u003c/p>\n\u003cp>Felt declines to assist them, responding with Oskar-Schindler-like nobility but also gentlemanly menace. Hoover soon dies, allowing Nixon to appoint his own acting FBI director just as word of a puzzling burglary at the Watergate complex reaches the bureau.\u003c/p>\n\u003cp>L. Patrick Gray (Martin Csokas) gets the job Felt wanted and, his colleagues believe, deserved. Felt’s disappointment, the script suggests, has as much to do with his becoming Deep Throat as his disgust at the White House bullies who order the FBI’s Watergate investigation closed.\u003c/p>\n\u003cp>There is also another factor: Gray announces his intention to name as his new No. 2 a former FBI agent (Tom Sizemore) who personifies the excesses of the Hoover years. Felt abhors the guy and what he represents.\u003c/p>\n\u003cp>And another: As he defends his beloved bureau from Nixonian mischief, Felt is himself bending rules in his investigations of the Weather Underground and similar organizations. Felt fears that his runaway daughter (Maika Monroe) might be involved with violent leftists and hopes that locating her might ease the pain of his alcoholic wife (Diane Lane).\u003c/p>\n\u003cp>Felt starts talking to journalists he already knows. He meets Bob Woodward (Julian Morris) in that parking garage, but the movie spends more time at Felt’s parleys with Time magazine’s Sandy Smith (Bruce Greenwood). Although the diner where they meet is less murky than the garage, Adam Kimmel’s camera is nearly always parked in some sort of gloom.\u003c/p>\n\u003cp>As complications pile up, \u003cem>Mark Felt\u003c/em> loses the drive that distinguishes its first half. That is due in part to the fact that the ultimate result of Felt and Nixon’s duel-by-proxy is so well-known and anticlimactic. No satisfying crime movie ends with the perp’s retirement to New Jersey to write public-policy books. Also, the final half-hour is rushed and patchy, with frustrating jumps in continuity that require viewers to fill in some pretty big blanks.\u003c/p>\n\u003cp>If the movie disappoints as a cops-and-burglars flick, its biggest failure is as a character study. Despite all the revelations about Felt’s career and family, he is no more complex a character at the end than at the beginning. Neeson’s performance is all steel-spined bearing and resonant intonation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s up to the actor to carry the movie, which he does. He just doesn’t lug it anyplace particularly illuminating.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It began with more than 1,500 books.\u003c/p>\n\u003cp>With all the works submitted by publishers, the judges for this year’s National Book Awards have had their hands (and bookshelves) full the past few months. But that daunting number of contenders winnowed further Wednesday, as the National Book Foundation announced the finalists for its literary prize — just five works each in four categories: \u003ca href=\"#fiction\">fiction\u003c/a>, \u003ca href=\"#nonfiction\">nonfiction\u003c/a>, \u003ca href=\"#poetry\">poetry\u003c/a> and \u003ca href=\"#young\">young people’s literature\u003c/a>.\u003c/p>\n\u003cp>You can find those shortlists below, paired with links to NPR’s previous coverage for readers to get to know those nominees better.\u003c/p>\n\u003cp>For now, at least, there are two winners whose names we won’t have to wait on: Annie Proulx, who has already won a National Book Award for \u003cem>The Shipping News\u003c/em>, will be honored this year with the \u003ca href=\"http://www.nationalbook.org/amerletters_2017_aproulx.html#.WdTThltSypo\" target=\"_blank\" rel=\"noopener\">Medal for Distinguished Contribution to American Letters\u003c/a>, the NBF’s version of a lifetime achievement award. And Dick Robinson, president and CEO of Scholastic, will be receiving the \u003ca href=\"http://www.nationalbook.org/literarian.html#.WdTTKFtSypo\" target=\"_blank\" rel=\"noopener\">Literarian Award for Outstanding Service to the American Literary Community\u003c/a>.\u003c/p>\n\u003cp>The rest of this year’s winners will be announced on Nov. 15 in New York City.\u003c/p>\n\u003chr>\n\u003ch3>\u003ca name=\"fiction\">\u003c/a>Fiction\u003c/h3>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/01/21/510780479/a-failed-revolution-and-a-failed-marriage-in-dark-at-the-crossing\" target=\"_blank\" rel=\"noopener\">Elliot Ackerman\u003c/a>: \u003c/strong>\u003cem>Dark at the Crossing\u003cbr>\u003c/em>\u003cstrong>Lisa Ko: \u003c/strong>\u003cem>The Leavers\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11779763\" target=\"_blank\" rel=\"noopener\">Min Jin Lee\u003c/a>: \u003c/strong> \u003ca href=\"http://www.npr.org/2017/02/07/512910187/culture-clash-survival-and-hope-in-pachinko\" target=\"_blank\" rel=\"noopener\">Pachinko\u003c/a>\u003cem>\u003cbr>\u003c/em>\u003cstrong>Carmen Maria Machado:\u003c/strong>\u003cem> Her Body and Other Parties: Stories\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/08/31/547271081/writing-mississippi-jesmyn-ward-salvages-stories-of-the-silenced\" target=\"_blank\" rel=\"noopener\">Jesmyn Ward\u003c/a>: \u003c/strong>\u003ca href=\"http://www.npr.org/2017/09/06/547560046/sing-mourns-the-dead-both-buried-and-unburied\" target=\"_blank\" rel=\"noopener\">Sing, Unburied, Sing\u003c/a>\u003c/p>\n\u003ch3>\u003ca name=\"nonfiction\">\u003c/a>Nonfiction\u003c/h3>\n\u003cp>\u003cstrong>Erica Armstrong Dunbar: \u003c/strong>\u003cem>Never Caught: The Washingtons’ Relentless Pursuit of Their Runaway Slave, Ona Judge\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/05/02/525452958/why-white-evangelicals-are-splintering-politically\" target=\"_blank\" rel=\"noopener\">Frances FitzGerald\u003c/a>: \u003c/strong>\u003cem>The Evangelicals: The Struggle to Shape America\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2016/09/07/492962278/sad-and-absurd-the-u-s-s-r-s-disastrous-effort-to-create-a-jewish-homeland\" target=\"_blank\" rel=\"noopener\">Masha Gessen\u003c/a>: \u003c/strong>\u003cem>The Future Is History: How Totalitarianism Reclaimed Russia\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/04/17/524348264/largely-forgotten-osage-murders-reveal-a-conspiracy-against-wealthy-native-ameri\" target=\"_blank\" rel=\"noopener\">David Grann\u003c/a>:\u003c/strong> \u003ca href=\"http://www.npr.org/2017/04/17/523964584/in-the-1920s-a-community-conspired-to-kill-native-americans-for-their-oil-money\" target=\"_blank\" rel=\"noopener\">Killers of the Flower Moon: The Osage Murders and the Birth of the FBI\u003c/a>\u003cem>\u003cbr>\u003c/em>\u003cstrong>Nancy MacLean:\u003c/strong> \u003ca href=\"http://www.npr.org/2017/06/18/531929217/democracy-in-chains-traces-the-rise-of-american-libertarianism\" target=\"_blank\" rel=\"noopener\">Democracy in Chains: The Deep History of the Radical Right’s Stealth Plan for America\u003c/a>\u003c/p>\n\u003ch3>\u003ca name=\"poetry\">\u003c/a>Poetry\u003c/h3>\n\u003cp>\u003cstrong>Frank Bidart: \u003c/strong>\u003cem>Half-light: Collected Poems 1965-2016\u003cbr>\u003c/em>\u003cstrong>Leslie Harrison: \u003c/strong>\u003cem>The Book of Endings\u003cbr>\u003c/em>\u003cstrong>Layli Long Soldier: \u003c/strong>\u003cem>WHEREAS\u003cbr>\u003c/em>\u003cstrong>Shane McCrae: \u003c/strong>\u003cem>In the Language of My Captor\u003cbr>\u003c/em>\u003cstrong>Danez Smith: \u003c/strong>\u003cem>Don’t Call Us Dead: Poems\u003c/em>\u003c/p>\n\u003ch3>\u003ca name=\"young\">\u003c/a>Young People’s Literature\u003c/h3>\n\u003cp>\u003cstrong>Elana K. 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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It began with more than 1,500 books.\u003c/p>\n\u003cp>With all the works submitted by publishers, the judges for this year’s National Book Awards have had their hands (and bookshelves) full the past few months. But that daunting number of contenders winnowed further Wednesday, as the National Book Foundation announced the finalists for its literary prize — just five works each in four categories: \u003ca href=\"#fiction\">fiction\u003c/a>, \u003ca href=\"#nonfiction\">nonfiction\u003c/a>, \u003ca href=\"#poetry\">poetry\u003c/a> and \u003ca href=\"#young\">young people’s literature\u003c/a>.\u003c/p>\n\u003cp>You can find those shortlists below, paired with links to NPR’s previous coverage for readers to get to know those nominees better.\u003c/p>\n\u003cp>For now, at least, there are two winners whose names we won’t have to wait on: Annie Proulx, who has already won a National Book Award for \u003cem>The Shipping News\u003c/em>, will be honored this year with the \u003ca href=\"http://www.nationalbook.org/amerletters_2017_aproulx.html#.WdTThltSypo\" target=\"_blank\" rel=\"noopener\">Medal for Distinguished Contribution to American Letters\u003c/a>, the NBF’s version of a lifetime achievement award. And Dick Robinson, president and CEO of Scholastic, will be receiving the \u003ca href=\"http://www.nationalbook.org/literarian.html#.WdTTKFtSypo\" target=\"_blank\" rel=\"noopener\">Literarian Award for Outstanding Service to the American Literary Community\u003c/a>.\u003c/p>\n\u003cp>The rest of this year’s winners will be announced on Nov. 15 in New York City.\u003c/p>\n\u003chr>\n\u003ch3>\u003ca name=\"fiction\">\u003c/a>Fiction\u003c/h3>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/01/21/510780479/a-failed-revolution-and-a-failed-marriage-in-dark-at-the-crossing\" target=\"_blank\" rel=\"noopener\">Elliot Ackerman\u003c/a>: \u003c/strong>\u003cem>Dark at the Crossing\u003cbr>\u003c/em>\u003cstrong>Lisa Ko: \u003c/strong>\u003cem>The Leavers\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11779763\" target=\"_blank\" rel=\"noopener\">Min Jin Lee\u003c/a>: \u003c/strong> \u003ca href=\"http://www.npr.org/2017/02/07/512910187/culture-clash-survival-and-hope-in-pachinko\" target=\"_blank\" rel=\"noopener\">Pachinko\u003c/a>\u003cem>\u003cbr>\u003c/em>\u003cstrong>Carmen Maria Machado:\u003c/strong>\u003cem> Her Body and Other Parties: Stories\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/08/31/547271081/writing-mississippi-jesmyn-ward-salvages-stories-of-the-silenced\" target=\"_blank\" rel=\"noopener\">Jesmyn Ward\u003c/a>: \u003c/strong>\u003ca href=\"http://www.npr.org/2017/09/06/547560046/sing-mourns-the-dead-both-buried-and-unburied\" target=\"_blank\" rel=\"noopener\">Sing, Unburied, Sing\u003c/a>\u003c/p>\n\u003ch3>\u003ca name=\"nonfiction\">\u003c/a>Nonfiction\u003c/h3>\n\u003cp>\u003cstrong>Erica Armstrong Dunbar: \u003c/strong>\u003cem>Never Caught: The Washingtons’ Relentless Pursuit of Their Runaway Slave, Ona Judge\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/05/02/525452958/why-white-evangelicals-are-splintering-politically\" target=\"_blank\" rel=\"noopener\">Frances FitzGerald\u003c/a>: \u003c/strong>\u003cem>The Evangelicals: The Struggle to Shape America\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2016/09/07/492962278/sad-and-absurd-the-u-s-s-r-s-disastrous-effort-to-create-a-jewish-homeland\" target=\"_blank\" rel=\"noopener\">Masha Gessen\u003c/a>: \u003c/strong>\u003cem>The Future Is History: How Totalitarianism Reclaimed Russia\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/04/17/524348264/largely-forgotten-osage-murders-reveal-a-conspiracy-against-wealthy-native-ameri\" target=\"_blank\" rel=\"noopener\">David Grann\u003c/a>:\u003c/strong> \u003ca href=\"http://www.npr.org/2017/04/17/523964584/in-the-1920s-a-community-conspired-to-kill-native-americans-for-their-oil-money\" target=\"_blank\" rel=\"noopener\">Killers of the Flower Moon: The Osage Murders and the Birth of the FBI\u003c/a>\u003cem>\u003cbr>\u003c/em>\u003cstrong>Nancy MacLean:\u003c/strong> \u003ca href=\"http://www.npr.org/2017/06/18/531929217/democracy-in-chains-traces-the-rise-of-american-libertarianism\" target=\"_blank\" rel=\"noopener\">Democracy in Chains: The Deep History of the Radical Right’s Stealth Plan for America\u003c/a>\u003c/p>\n\u003ch3>\u003ca name=\"poetry\">\u003c/a>Poetry\u003c/h3>\n\u003cp>\u003cstrong>Frank Bidart: \u003c/strong>\u003cem>Half-light: Collected Poems 1965-2016\u003cbr>\u003c/em>\u003cstrong>Leslie Harrison: \u003c/strong>\u003cem>The Book of Endings\u003cbr>\u003c/em>\u003cstrong>Layli Long Soldier: \u003c/strong>\u003cem>WHEREAS\u003cbr>\u003c/em>\u003cstrong>Shane McCrae: \u003c/strong>\u003cem>In the Language of My Captor\u003cbr>\u003c/em>\u003cstrong>Danez Smith: \u003c/strong>\u003cem>Don’t Call Us Dead: Poems\u003c/em>\u003c/p>\n\u003ch3>\u003ca name=\"young\">\u003c/a>Young People’s Literature\u003c/h3>\n\u003cp>\u003cstrong>Elana K. Arnold: \u003c/strong>\u003cem>What Girls Are Made Of\u003cbr>\u003c/em>\u003cstrong>Robin Benway: \u003c/strong>\u003cem>Far from the Tree\u003cbr>\u003c/em>\u003cstrong>Erika L. Sánchez: \u003c/strong>\u003cem>I Am Not Your Perfect Mexican Daughter\u003cbr>\u003c/em>\u003cstrong>Rita Williams-Garcia:\u003c/strong>\u003cem> Clayton Byrd Goes Underground\u003cbr>\u003c/em>\u003cstrong>Ibi Zoboi: \u003c/strong>\u003cem>American Street\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=Here+Are+The+Finalists+For+The+2017+National+Book+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The deadliest mass shooting in recent U.S. history has renewed conversations about America’s gun laws, after one man strafed a country music festival from a high-rise hotel in Las Vegas on Sunday. The attack prompted a musician who played at the festival to say he’s changed his mind — and that the U.S. needs new gun control.\u003c/p>\n\u003cp>“I’ve been a proponent of the 2nd Amendment my whole life,” guitarist Caleb Keeter \u003ca href=\"https://twitter.com/Calebkeeter/status/914872808110510080\">said in a tweeted statement\u003c/a> on Monday. “Until the events of last night. I cannot express how wrong I was.”\u003c/p>\n\u003cp>Keeter said that one man — who police identified as Stephen Craig Paddock — “laid waste to a city with dedicated, fearless police officers desperately trying to help, because of access to an insane amount of fire power.”\u003c/p>\n\u003cp>He added, “Enough is enough” before adding later, “We need gun control RIGHT. NOW.”\u003c/p>\n\u003cp>https://twitter.com/Calebkeeter/status/914872808110510080\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Keeter is a guitarist for the Josh Abbott Band. Hours before Jason Aldean’s show \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\">was shattered by gunfire and bullets rained\u003c/a> on a crowd of some 22,000 people, Keeter had played on the same stage. He and his bandmates and crew members were trapped by the violence, and Keeter says he wasn’t sure if he would survive.\u003c/p>\n\u003cp>His response is one of \u003ca href=\"http://www.npr.org/sections/therecord/2017/10/02/555021039/country-stars-react-to-las-vegas-mass-shooting\">many in the country music community\u003c/a> after Sunday’s attack; it seems to be the first to announce a shift in thinking about gun control.\u003c/p>\n\u003cp>Some of the band’s crew members suffered shrapnel wounds, Keeter said, because of the power of the weapons being used. They had been standing close to someone who was shot. And despite having their own weapons, they were unable to defend themselves.\u003c/p>\n\u003cp>“We actually have members of our crew with CHL [concealed handgun license] licenses, and legal firearms on the bus,” Keeter said. “They were useless. We couldn’t touch them for fear the police might think that we were part of the massacre and shoot us.”\u003c/p>\n\u003cp>He described writing to his loved ones and creating a living will, as performers, fans, and staff tried to find safety during the prolonged assault.\u003c/p>\n\u003cp>Sunday night’s attack left 527 people injured and 59 people dead. Police say Stephen Paddock brought a small arsenal to the Mandalay Bay Resort and Casino so he could carry out an attack on thousands of people.\u003c/p>\n\u003cp>“We have recovered 23 firearms at Mandalay Bay, and 19 firearms at his home in Mesquite,” Las Vegas Assistant Sheriff Todd Fasulo said.\u003c/p>\n\u003cp>Paddock is known to have bought some of his firearms at the Guns and Guitars store near where he lived in Mesquite, Nevada. The store has said via a statement, “All necessary background checks and procedures were followed” in Paddock’s purchases. It’s one of several gun shops or firing ranges that have acknowledged having contact with investigators about Paddock, \u003ca href=\"https://www.nbcnews.com/storyline/las-vegas-shooting/two-nevada-gun-shops-say-stephen-paddock-passed-background-checks-n806921\">NBC News reports\u003c/a>.\u003c/p>\n\u003cp>Keeter’s message found a large audience. It was liked more than 100,000 times and retweeted more than 50,000 times.\u003c/p>\n\u003cp>The message sparked a number of replies, from people asking why other tragedies — such as the \u003ca href=\"http://www.npr.org/series/167276841/shootings-in-newtown-conn\">Sandy Hook elementary school shooting in 2012\u003c/a> — hadn’t changed Keeter’s views. Some responses accused him of lacking empathy and changing his stance only because he was personally affected. Others chastised those reactions, and for criticizing someone who now agrees with them.\u003c/p>\n\u003cp>“It’s frustrating that some don’t call the fire dept until the blaze is at their own front door,” a Twitter user named Heather Maravola wrote. “But we need more ppl on our side. Welcome.”\u003c/p>\n\u003cp>In response, \u003ca href=\"https://twitter.com/Calebkeeter/status/914941713180917765\">Keeter wrote\u003c/a>, “You are all absolutely correct. I saw this happening for years and did nothing. But I’d like to do what I can now.”\u003c/p>\n\u003cp>In speaking out, Keeter also raised the hopes of a Twitter user who said they hope the issue can move from a left vs. right dynamic “to actually enacting common sense gun laws.”\u003c/p>\n\u003cp>Opinion polls have shown \u003ca href=\"http://www.npr.org/2017/06/22/533792054/americans-agree-on-some-gun-restrictions-pew-survey-finds\">large majorities of Americans agree\u003c/a> on making several changes to gun control laws, from restricting people with mental illnesses from buying guns to requiring background checks for private gun sales and at gun shows.\u003c/p>\n\u003cp>“Congress has not made a concerted effort to pass gun legislation since 2013,” \u003ca href=\"http://www.npr.org/2017/10/02/555099794/a-familiar-partisan-response-in-congress-to-las-vegas-massacre\">NPR’s Susan Davis reports\u003c/a>, “when the Senate tried and failed to overcome GOP opposition to expand background checks for gun purchases.”\u003c/p>\n\u003cp>Susan adds that so far in 2017, Republicans’ action on guns “has focused on expanding gun rights” — including making it easier to buy silencers and to nationalize concealed-carry laws.\u003c/p>\n\u003cp>And then there are the financial angles. After Sunday’s shooting, the stock prices of large gun makers rose sharply. As \u003ca href=\"https://www.marketplace.org/2017/10/02/business/las-vegas-58-dead-mass-shooting-gun-control-stocks-donald-trump\">Marketplace reported\u003c/a>, on Monday morning the “value of Sturm Ruger shares went up by as much as 7.7 percent and shares of American Outdoor Brands Corp, manufacturer of Smith & Wesson firearms, went up by as much as 6 percent.”\u003c/p>\n\u003cp>Those price hikes are part of a cycle that’s fueled by mass shootings, Rob Cox, global editor at\u003ca href=\"https://www.breakingviews.com/journalist/rob-cox/\"> Reuters Breakingviews\u003c/a>, told Marketplace:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Largely in response to concerns there may be new tightening of regulations on buying the guns, or on gun ownership. And that has actually driven a lot of the buying that actually has given these guys a lift over the past eight years.” \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=Las+Vegas+Massacre+Prompts+Musician+To+Call+For+Gun+Control%3A+%27Enough+Is+Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The deadliest mass shooting in recent U.S. history has renewed conversations about America’s gun laws, after one man strafed a country music festival from a high-rise hotel in Las Vegas on Sunday. The attack prompted a musician who played at the festival to say he’s changed his mind — and that the U.S. needs new gun control.\u003c/p>\n\u003cp>“I’ve been a proponent of the 2nd Amendment my whole life,” guitarist Caleb Keeter \u003ca href=\"https://twitter.com/Calebkeeter/status/914872808110510080\">said in a tweeted statement\u003c/a> on Monday. “Until the events of last night. I cannot express how wrong I was.”\u003c/p>\n\u003cp>Keeter said that one man — who police identified as Stephen Craig Paddock — “laid waste to a city with dedicated, fearless police officers desperately trying to help, because of access to an insane amount of fire power.”\u003c/p>\n\u003cp>He added, “Enough is enough” before adding later, “We need gun control RIGHT. NOW.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Keeter is a guitarist for the Josh Abbott Band. Hours before Jason Aldean’s show \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\">was shattered by gunfire and bullets rained\u003c/a> on a crowd of some 22,000 people, Keeter had played on the same stage. He and his bandmates and crew members were trapped by the violence, and Keeter says he wasn’t sure if he would survive.\u003c/p>\n\u003cp>His response is one of \u003ca href=\"http://www.npr.org/sections/therecord/2017/10/02/555021039/country-stars-react-to-las-vegas-mass-shooting\">many in the country music community\u003c/a> after Sunday’s attack; it seems to be the first to announce a shift in thinking about gun control.\u003c/p>\n\u003cp>Some of the band’s crew members suffered shrapnel wounds, Keeter said, because of the power of the weapons being used. They had been standing close to someone who was shot. And despite having their own weapons, they were unable to defend themselves.\u003c/p>\n\u003cp>“We actually have members of our crew with CHL [concealed handgun license] licenses, and legal firearms on the bus,” Keeter said. “They were useless. We couldn’t touch them for fear the police might think that we were part of the massacre and shoot us.”\u003c/p>\n\u003cp>He described writing to his loved ones and creating a living will, as performers, fans, and staff tried to find safety during the prolonged assault.\u003c/p>\n\u003cp>Sunday night’s attack left 527 people injured and 59 people dead. Police say Stephen Paddock brought a small arsenal to the Mandalay Bay Resort and Casino so he could carry out an attack on thousands of people.\u003c/p>\n\u003cp>“We have recovered 23 firearms at Mandalay Bay, and 19 firearms at his home in Mesquite,” Las Vegas Assistant Sheriff Todd Fasulo said.\u003c/p>\n\u003cp>Paddock is known to have bought some of his firearms at the Guns and Guitars store near where he lived in Mesquite, Nevada. The store has said via a statement, “All necessary background checks and procedures were followed” in Paddock’s purchases. It’s one of several gun shops or firing ranges that have acknowledged having contact with investigators about Paddock, \u003ca href=\"https://www.nbcnews.com/storyline/las-vegas-shooting/two-nevada-gun-shops-say-stephen-paddock-passed-background-checks-n806921\">NBC News reports\u003c/a>.\u003c/p>\n\u003cp>Keeter’s message found a large audience. It was liked more than 100,000 times and retweeted more than 50,000 times.\u003c/p>\n\u003cp>The message sparked a number of replies, from people asking why other tragedies — such as the \u003ca href=\"http://www.npr.org/series/167276841/shootings-in-newtown-conn\">Sandy Hook elementary school shooting in 2012\u003c/a> — hadn’t changed Keeter’s views. Some responses accused him of lacking empathy and changing his stance only because he was personally affected. Others chastised those reactions, and for criticizing someone who now agrees with them.\u003c/p>\n\u003cp>“It’s frustrating that some don’t call the fire dept until the blaze is at their own front door,” a Twitter user named Heather Maravola wrote. “But we need more ppl on our side. Welcome.”\u003c/p>\n\u003cp>In response, \u003ca href=\"https://twitter.com/Calebkeeter/status/914941713180917765\">Keeter wrote\u003c/a>, “You are all absolutely correct. I saw this happening for years and did nothing. But I’d like to do what I can now.”\u003c/p>\n\u003cp>In speaking out, Keeter also raised the hopes of a Twitter user who said they hope the issue can move from a left vs. right dynamic “to actually enacting common sense gun laws.”\u003c/p>\n\u003cp>Opinion polls have shown \u003ca href=\"http://www.npr.org/2017/06/22/533792054/americans-agree-on-some-gun-restrictions-pew-survey-finds\">large majorities of Americans agree\u003c/a> on making several changes to gun control laws, from restricting people with mental illnesses from buying guns to requiring background checks for private gun sales and at gun shows.\u003c/p>\n\u003cp>“Congress has not made a concerted effort to pass gun legislation since 2013,” \u003ca href=\"http://www.npr.org/2017/10/02/555099794/a-familiar-partisan-response-in-congress-to-las-vegas-massacre\">NPR’s Susan Davis reports\u003c/a>, “when the Senate tried and failed to overcome GOP opposition to expand background checks for gun purchases.”\u003c/p>\n\u003cp>Susan adds that so far in 2017, Republicans’ action on guns “has focused on expanding gun rights” — including making it easier to buy silencers and to nationalize concealed-carry laws.\u003c/p>\n\u003cp>And then there are the financial angles. After Sunday’s shooting, the stock prices of large gun makers rose sharply. As \u003ca href=\"https://www.marketplace.org/2017/10/02/business/las-vegas-58-dead-mass-shooting-gun-control-stocks-donald-trump\">Marketplace reported\u003c/a>, on Monday morning the “value of Sturm Ruger shares went up by as much as 7.7 percent and shares of American Outdoor Brands Corp, manufacturer of Smith & Wesson firearms, went up by as much as 6 percent.”\u003c/p>\n\u003cp>Those price hikes are part of a cycle that’s fueled by mass shootings, Rob Cox, global editor at\u003ca href=\"https://www.breakingviews.com/journalist/rob-cox/\"> Reuters Breakingviews\u003c/a>, told Marketplace:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Largely in response to concerns there may be new tightening of regulations on buying the guns, or on gun ownership. And that has actually driven a lot of the buying that actually has given these guys a lift over the past eight years.” \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=Las+Vegas+Massacre+Prompts+Musician+To+Call+For+Gun+Control%3A+%27Enough+Is+Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Country Stars React to Las Vegas Mass Shooting",
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"content": "\u003cp>The mass shooting in Las Vegas, which according to the police has killed 58 and wounded 515 people, took place during the last night of the Route 91 Harvest Festival. The festival featured many of country music’s current top stars, including singer Jason Aldean (during whose set, the last of the festival, shots were first fired), Eric Church, Sam Hunt and the duo Big & Rich.\u003c/p>\n\u003cp>Overnight, Aldean posted an anguished note to Instagram: “Tonight has been beyond horrific,” he wrote. “I still dont [\u003cem>sic\u003c/em>] know what to say but wanted to let everyone know that Me and my Crew are safe. My Thoughts and prayers go out to everyone involved tonight. It hurts my heart that this would happen to anyone who was just coming out to enjoy what should have been a fun night. \u003ca href=\"https://www.instagram.com/explore/tags/heartbroken/\">#heartbroken\u003c/a> \u003ca href=\"https://www.instagram.com/explore/tags/stopthehate/\">#stopthehate\u003c/a>”\u003c/p>\n\u003cp>https://www.instagram.com/p/BZvRZnogBrI/\u003c/p>\n\u003cp>Within the close-knit country music community, many other artists have reached to social media to express their shock and sorrow.\u003c/p>\n\u003cp>Singer-songwriter Ryan Hurd is engaged to singer Maren Morris, who performed at the Route 91 Harvest Festival on Saturday evening. On Instagram, Hurd posted a picture of the T-shirt his fiancee brought home for him from this year’s event. “We are so terribly heartbroken this morning, for our community,” he wrote, “for those who have lost their loved ones in the most unimaginable way, for our neighbors and for our country.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/BZvrXAVFp1-/\u003c/p>\n\u003cp>Singer Reba McEntire wrote on Instagram: “My heart goes out to all our friends, Jason Aldean, our music family and fans in Las Vegas. I’m praying for your healing. I pray God puts his arms around you.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BZvu85ihMEV/\u003c/p>\n\u003cp>On Twitter, singer Blake Shelton was reflective: “My deepest sympathies and prayers to anyone has been affected by the Vegas shooting last night. I don’t even know anymore… Why?”\u003c/p>\n\u003cp>https://twitter.com/blakeshelton/status/914856208435212288\u003c/p>\n\u003cp>Singer Carrie Underwood wrote on Twitter, “We are praying for the victims and their families. May the Lord bring some comfort to them.”\u003c/p>\n\u003cp>https://twitter.com/carrieunderwood/status/914829592132800513\u003c/p>\n\u003cp>Singer-songwriter Thomas Rhett — who has been \u003ca href=\"https://www.nracountry.com/featured/thomas-rhett\">featured\u003c/a> as part of a National Rifle Association publicity campaign — wrote on Facebook: “I just can’t even fathom what happened in Vegas. My heart is broken.”\u003c/p>\n\u003cp>https://www.facebook.com/thomasrhettmusic/photos/a.585845218124537.1073741856.198584476850615/1692207374154977/?type=3\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cem>Los Angeles Times\u003c/em> \u003ca href=\"http://www.latimes.com/nation/la-na-las-vegas-mandalay-bay-20171001-story.html\">spoke\u003c/a> to Dan Ball, a former broadcast journalist who had been backstage at the festival as a guest of the duo Big & Rich. Ball told the newspaper that while he was backstage, he was thrilled by the diversity of the crowd, thinking: “Isn’t it great to look out there? We saw white, black, straight, gay, males, females, everyone out there having a good time. Moments later, these cowards commit a heinous act like this. It’s unbelievable. Unbelievable.” \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=Country+Stars+React+To+Las+Vegas+Mass+Shooting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Within the close-knit country music community, many other artists have reached to social media to express their shock and sorrow.\u003c/p>\n\u003cp>Singer-songwriter Ryan Hurd is engaged to singer Maren Morris, who performed at the Route 91 Harvest Festival on Saturday evening. On Instagram, Hurd posted a picture of the T-shirt his fiancee brought home for him from this year’s event. “We are so terribly heartbroken this morning, for our community,” he wrote, “for those who have lost their loved ones in the most unimaginable way, for our neighbors and for our country.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Singer Reba McEntire wrote on Instagram: “My heart goes out to all our friends, Jason Aldean, our music family and fans in Las Vegas. I’m praying for your healing. I pray God puts his arms around you.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Twitter, singer Blake Shelton was reflective: “My deepest sympathies and prayers to anyone has been affected by the Vegas shooting last night. I don’t even know anymore… Why?”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Singer Carrie Underwood wrote on Twitter, “We are praying for the victims and their families. May the Lord bring some comfort to them.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Singer-songwriter Thomas Rhett — who has been \u003ca href=\"https://www.nracountry.com/featured/thomas-rhett\">featured\u003c/a> as part of a National Rifle Association publicity campaign — wrote on Facebook: “I just can’t even fathom what happened in Vegas. My heart is broken.”\u003c/p>\n\u003cp>https://www.facebook.com/thomasrhettmusic/photos/a.585845218124537.1073741856.198584476850615/1692207374154977/?type=3\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cem>Los Angeles Times\u003c/em> \u003ca href=\"http://www.latimes.com/nation/la-na-las-vegas-mandalay-bay-20171001-story.html\">spoke\u003c/a> to Dan Ball, a former broadcast journalist who had been backstage at the festival as a guest of the duo Big & Rich. Ball told the newspaper that while he was backstage, he was thrilled by the diversity of the crowd, thinking: “Isn’t it great to look out there? We saw white, black, straight, gay, males, females, everyone out there having a good time. Moments later, these cowards commit a heinous act like this. It’s unbelievable. Unbelievable.” \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=Country+Stars+React+To+Las+Vegas+Mass+Shooting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Take Me To The Pilot: ‘American Made’ Soars | KQED",
"content": "\u003cp>Slickness is a virtue in \u003cem>American Made\u003c/em>, a cheerfully blistering yarn starring Tom Cruise as real-life-TWA-pilot-turned-CIA-stooge-turned-cocaine-smuggler Barry Seal. Piquant and picaresque, it’s essentially a hybrid of \u003cem>Goodfellas\u003c/em> and \u003cem>Air America\u003c/em>. Those movies — one rightly revered, the other all but forgotten — were released about a month apart from one another back in 1990, a long-ago cinematic era when either one might nevertheless have starred… Tom Cruise.\u003c/p>\n\u003cp>He’d just scored an Oscar nomination playing real-life Vietnam vet-turned-antiwar activist Ron Kovic in \u003cem>Born on the Fourth of July\u003c/em>, then immediately re-upped with \u003cem>Top Gun\u003c/em> director Tony Scott for the NASCAR action flick \u003cem>Days of Thunder\u003c/em>. Sure, \u003cem>Goodfellas\u003c/em> was the \u003cem>best\u003c/em> American film of 1990, but \u003cem>Days of Thunder\u003c/em> grossed nearly twice as much. A few years shy of 30, Cruise had found the golden mean of artistic cred and bankability that few movie stars achieve. Four years later, no longer content to race stock cars at 200 miles per hour, he would earn his pilot’s license. \u003cem>American Made\u003c/em> director Doug Liman claims the star performed all of Seal’s daredevil low-altitude flying scenes himself.\u003c/p>\n\u003cp>We’d \u003cem>infer\u003c/em> that, at this point. Among its other virtues, \u003cem>American Made\u003c/em> takes the longest-lived, most hands-on A-lister in the history of cinema and gives him a line — repeated twice in the movie — that sums up his range and staying power better than anything Maverick or Jerry Maguire or the top-knotted MRA guru he played in \u003cem>Magnolia\u003c/em> ever said: “I’m the gringo who always delivers.”\u003c/p>\n\u003cp>Undeniably. Incontrovertibly.\u003c/p>\n\u003cp>Disclosure: I have not seen \u003cem>The Mummy\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But I have seen \u003cem>American Made\u003c/em>, and I am here to tell you it’s everything you could want from a flashy true-crime biopic skewering the hypocrisy and malice of the Reagan Administration’s covert war in Central and South America. That included the C.I.A.’s recruitment of skilled, flexibly-scrupled pilots like Seal to work as snoops and gunrunners.\u003c/p>\n\u003cp>https://youtu.be/AEBIJRAkujM\u003c/p>\n\u003cp>Gary Spinelli’s screenplay takes liberties with the facts of Seal’s life, but not with the sheer scale of the conspiracy. Liman calls the film “a fun lie based on a true story.” That’s notable only because it’s a story to which the director has a personal connection: His father, Arthur Liman, was chief counsel of the Senate Iran-Contra committee of the late 1980s. By the time the elder Liman was among those questioning Oliver North about his role in government-sanctioned drug trafficking on live TV, Seal had already been dead for more than a year.\u003c/p>\n\u003cp>In this telling, Cruise’s Seal is so bored flying for TWA circa 1978 that he fakes an episode of turbulence, scaring a cabin full of passengers awake. The ubiquitous Irish actor Domhnall Gleeson, playing a white-collar spook who knows all about Seal’s sideline smuggling Cuban cigars, fast-talks him into serving his country while also indulging his need for speed, setting him up with a sleek Piper Aerostar 600 equipped with special cameras. The scenes between Gleeson and Cruise are especially fun: Cruise’s character is a huckster himself, so he knows he’s being taken. Game recognize game.\u003c/p>\n\u003cp>Seal is a reliable, daring pilot, but also easily led by the nose and good at keeping his mouth shut, so his employers turn a blind eye once he begins flying shipments of cocaine from Medellín, Colombia to Louisiana, dropping the bags in the swamp for pickup before landing. Liman shot on location in Colombia, and these scenes are alive with tension and detail, right down to the sweat stains that threaten to dissolve the fibers of Cruise’s enviable wardrobe of pearl-snap shirts. Seal forms a not-entirely-voluntary compact with young Pablo Escobar (Colombian actor Mauricio Mejía), soon to become the Steve Jobs of coke smuggling.\u003c/p>\n\u003cp>Liman and Spinelli do a good job with the practical how-tos of dope smuggling, and they make great comic hay of Seal’s increasingly desperate attempts to launder or just-plain-store his gym bags full of cash. (A FBI agent drives down the main street of tiny Mena, Arkansas, where the Agency has set up Seal and his family once the local cops drive him out of Louisiana, and finds nothing but banks with fresh paint on their signs.) As competing law-enforcement agencies close in, the Reagan administration’s shadow war — backing the Contras against the Sandinistas — becomes Seal’s saving grace. Liman works in real clips of First Lady Nancy Reagan urging American children to “just say no” and the President answering reporters’ questions about what he knew and when he knew it with bromides about how delicious his Thanksgiving turkey is going to be. A sub-two-hour movie covering an eight-year period inevitably means dollops of exposition, but Liman handles this adroitly, with a mix of animated segments and VHS video diaries from Cruise. Seal really made videos like this, so it doesn’t feel like cheating.\u003c/p>\n\u003cp>Cruise affects a mild Louisiana accent, but he hasn’t gained weight or shaved his hairline back or made any other awards-baiting attempt to resemble the historical Seal, who was almost a decade younger than Cruise when he died. He’s past all that now. The arguments for this are the same as the ones for casting Cruise as the tall, blonde literary antiheroes Lestat and Jack Reacher: His room-filling energy is more notable than any distinguishing physical feature. He’s a huckster. He has the liar’s superpower of being able to make himself believe anything he needs to believe.\u003c/p>\n\u003cp>\u003cem>American Made\u003c/em> is also a perfect fit for Liman, who began his career with the sweaty indie comedy \u003cem>Swingers,\u003c/em> was nearly fired from the franchise-launching \u003cem>The Bourne Identity\u003c/em> (Universal did not invite him back for the sequels), and found common cause with Cruise on \u003cem>Edge of Tomorrow\u003c/em>, one of the shrewdest and most original shoulda-been-a-blockbusters of the 21st century. He’s got almost as many misfires on his resume as hits, and that’s because he allows a perceptible measure of chaos into his movies. In the case of even a fictionalized biopic of a guy like Seal — a man who literally flew by the seat of his pants, low enough to brush the treetops, until what would eventually become known as the Medellín cartel caught up to him in a parking lot — that Demme-esque wildness is exactly the right method. And Liman is tireless: He shot, edited, and released the micro-budget war thriller \u003cem>The Wall\u003c/em> for Amazon Studios during the interval while \u003cem>American Made\u003c/em> was in postproduction. He’s at least as much a one-for-them, one-for-me guy as Christopher Nolan or Steven Soderbergh.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In\u003cem> American Made,\u003c/em> he’s found his shaggy-dog happy place: It’s one for us.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Slickness is a virtue in \u003cem>American Made\u003c/em>, a cheerfully blistering yarn starring Tom Cruise as real-life-TWA-pilot-turned-CIA-stooge-turned-cocaine-smuggler Barry Seal. Piquant and picaresque, it’s essentially a hybrid of \u003cem>Goodfellas\u003c/em> and \u003cem>Air America\u003c/em>. Those movies — one rightly revered, the other all but forgotten — were released about a month apart from one another back in 1990, a long-ago cinematic era when either one might nevertheless have starred… Tom Cruise.\u003c/p>\n\u003cp>He’d just scored an Oscar nomination playing real-life Vietnam vet-turned-antiwar activist Ron Kovic in \u003cem>Born on the Fourth of July\u003c/em>, then immediately re-upped with \u003cem>Top Gun\u003c/em> director Tony Scott for the NASCAR action flick \u003cem>Days of Thunder\u003c/em>. Sure, \u003cem>Goodfellas\u003c/em> was the \u003cem>best\u003c/em> American film of 1990, but \u003cem>Days of Thunder\u003c/em> grossed nearly twice as much. A few years shy of 30, Cruise had found the golden mean of artistic cred and bankability that few movie stars achieve. Four years later, no longer content to race stock cars at 200 miles per hour, he would earn his pilot’s license. \u003cem>American Made\u003c/em> director Doug Liman claims the star performed all of Seal’s daredevil low-altitude flying scenes himself.\u003c/p>\n\u003cp>We’d \u003cem>infer\u003c/em> that, at this point. Among its other virtues, \u003cem>American Made\u003c/em> takes the longest-lived, most hands-on A-lister in the history of cinema and gives him a line — repeated twice in the movie — that sums up his range and staying power better than anything Maverick or Jerry Maguire or the top-knotted MRA guru he played in \u003cem>Magnolia\u003c/em> ever said: “I’m the gringo who always delivers.”\u003c/p>\n\u003cp>Undeniably. Incontrovertibly.\u003c/p>\n\u003cp>Disclosure: I have not seen \u003cem>The Mummy\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I have seen \u003cem>American Made\u003c/em>, and I am here to tell you it’s everything you could want from a flashy true-crime biopic skewering the hypocrisy and malice of the Reagan Administration’s covert war in Central and South America. That included the C.I.A.’s recruitment of skilled, flexibly-scrupled pilots like Seal to work as snoops and gunrunners.\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/AEBIJRAkujM'\n title='//www.youtube.com/embed/AEBIJRAkujM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gary Spinelli’s screenplay takes liberties with the facts of Seal’s life, but not with the sheer scale of the conspiracy. Liman calls the film “a fun lie based on a true story.” That’s notable only because it’s a story to which the director has a personal connection: His father, Arthur Liman, was chief counsel of the Senate Iran-Contra committee of the late 1980s. By the time the elder Liman was among those questioning Oliver North about his role in government-sanctioned drug trafficking on live TV, Seal had already been dead for more than a year.\u003c/p>\n\u003cp>In this telling, Cruise’s Seal is so bored flying for TWA circa 1978 that he fakes an episode of turbulence, scaring a cabin full of passengers awake. The ubiquitous Irish actor Domhnall Gleeson, playing a white-collar spook who knows all about Seal’s sideline smuggling Cuban cigars, fast-talks him into serving his country while also indulging his need for speed, setting him up with a sleek Piper Aerostar 600 equipped with special cameras. The scenes between Gleeson and Cruise are especially fun: Cruise’s character is a huckster himself, so he knows he’s being taken. Game recognize game.\u003c/p>\n\u003cp>Seal is a reliable, daring pilot, but also easily led by the nose and good at keeping his mouth shut, so his employers turn a blind eye once he begins flying shipments of cocaine from Medellín, Colombia to Louisiana, dropping the bags in the swamp for pickup before landing. Liman shot on location in Colombia, and these scenes are alive with tension and detail, right down to the sweat stains that threaten to dissolve the fibers of Cruise’s enviable wardrobe of pearl-snap shirts. Seal forms a not-entirely-voluntary compact with young Pablo Escobar (Colombian actor Mauricio Mejía), soon to become the Steve Jobs of coke smuggling.\u003c/p>\n\u003cp>Liman and Spinelli do a good job with the practical how-tos of dope smuggling, and they make great comic hay of Seal’s increasingly desperate attempts to launder or just-plain-store his gym bags full of cash. (A FBI agent drives down the main street of tiny Mena, Arkansas, where the Agency has set up Seal and his family once the local cops drive him out of Louisiana, and finds nothing but banks with fresh paint on their signs.) As competing law-enforcement agencies close in, the Reagan administration’s shadow war — backing the Contras against the Sandinistas — becomes Seal’s saving grace. Liman works in real clips of First Lady Nancy Reagan urging American children to “just say no” and the President answering reporters’ questions about what he knew and when he knew it with bromides about how delicious his Thanksgiving turkey is going to be. A sub-two-hour movie covering an eight-year period inevitably means dollops of exposition, but Liman handles this adroitly, with a mix of animated segments and VHS video diaries from Cruise. Seal really made videos like this, so it doesn’t feel like cheating.\u003c/p>\n\u003cp>Cruise affects a mild Louisiana accent, but he hasn’t gained weight or shaved his hairline back or made any other awards-baiting attempt to resemble the historical Seal, who was almost a decade younger than Cruise when he died. He’s past all that now. The arguments for this are the same as the ones for casting Cruise as the tall, blonde literary antiheroes Lestat and Jack Reacher: His room-filling energy is more notable than any distinguishing physical feature. He’s a huckster. He has the liar’s superpower of being able to make himself believe anything he needs to believe.\u003c/p>\n\u003cp>\u003cem>American Made\u003c/em> is also a perfect fit for Liman, who began his career with the sweaty indie comedy \u003cem>Swingers,\u003c/em> was nearly fired from the franchise-launching \u003cem>The Bourne Identity\u003c/em> (Universal did not invite him back for the sequels), and found common cause with Cruise on \u003cem>Edge of Tomorrow\u003c/em>, one of the shrewdest and most original shoulda-been-a-blockbusters of the 21st century. He’s got almost as many misfires on his resume as hits, and that’s because he allows a perceptible measure of chaos into his movies. In the case of even a fictionalized biopic of a guy like Seal — a man who literally flew by the seat of his pants, low enough to brush the treetops, until what would eventually become known as the Medellín cartel caught up to him in a parking lot — that Demme-esque wildness is exactly the right method. And Liman is tireless: He shot, edited, and released the micro-budget war thriller \u003cem>The Wall\u003c/em> for Amazon Studios during the interval while \u003cem>American Made\u003c/em> was in postproduction. He’s at least as much a one-for-them, one-for-me guy as Christopher Nolan or Steven Soderbergh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Playboy' Founder Hugh Hefner Dies At 91",
"headTitle": "‘Playboy’ Founder Hugh Hefner Dies At 91 | KQED",
"content": "\u003cp>Hugh Hefner created \u003cem>Playboy\u003c/em> at his kitchen table in Chicago. The magazine was blamed for (or credited with) setting off a cultural revolution in America, but within a few years Hefner was branded a male chauvinist. He was a proponent of free speech and a champion of civil rights who was decried as a merchant of smut.\u003c/p>\n\u003cp>Hefner died Wednesday at the age of 91, the magazine announced in a statement, writing that he “peacefully passed away today from natural causes at his home, The Playboy Mansion, surrounded by loved ones.”\u003c/p>\n\u003cp>“My father lived an exceptional and impactful life as a media and cultural pioneer and a leading voice behind some of the most significant social and cultural movements of our time in advocating free speech, civil rights and sexual freedom,” Hefner’s son Cooper, now the company’s chief creative officer, wrote in the company’s statment. “He defined a lifestyle and ethos that lie at the heart of the Playboy brand.”\u003c/p>\n\u003cp>\u003cem>Playboy\u003c/em> published outstanding writers (Joseph Heller, Margaret Atwood, Norman Mailer) and distinctive interviews with acclaimed and controversial figures, including Fidel Castro, Miles Davis and Malcolm X.\u003cstrong> \u003c/strong>But who are we kidding? The magazine made millions because serious pieces were printed on the flip side of pictures of naked women.\u003c/p>\n\u003cp>In 2007, Hefner told NPR, “The playmate of the month, the centerfold, came directly out of the influences of pinup photography and art from World War II and before. But what set them apart was what I described at the time as the girl next door: It all comes from that notion of being a fresh, wholesome, all-American person, and — in the context of the playmate — a sexual icon. The recognition … that nice girls like sex, too. Very revolutionary in the 1950s.”\u003c/p>\n\u003ch3>“I Get It For The Articles”\u003c/h3>\n\u003cp>In 1952, Hefner was working as a cartoonist for \u003cem>Esquire\u003c/em> magazine in Chicago. When he was turned down for a $5 raise, he decided to try something new: Hefner gathered $8,000 from 50 investors, including his mother, to create a prototype for a new magazine. He found a 5-year-old shot of a nude model in the files of a Chicago calendar company, and bought it for $500. The model was Marilyn Monroe, before she had become a star, and the magazine sold out in days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Michael Hainey, who has worked as an editor at \u003cem>GQ\u003c/em> and \u003cem>Esquire\u003c/em>, says, “The joke about \u003cem>Playboy\u003c/em> is: ‘I get it for the articles.’ But in fact the journalism in it was profound. … [Hefner] was experimenting always with publishing controversial, cutting-edge stuff.”\u003c/p>\n\u003cp>In 1955, \u003cem>Playboy\u003c/em> published Charles Beaumont’s “\u003ca href=\"https://lostgayfiction.wordpress.com/2011/12/04/the-crooked-man-by-charles-beaumont/\">The Crooked Man\u003c/a>,” a short story set a future where the majority of the population is gay and heterosexual men are persecuted. It was originally rejected by \u003cem>Esquire\u003c/em>. “He always paid top dollar for fiction, published a lot of authors who never would’ve found an audience,” Hainey says. ” … He fought a lot of battles in terms of the First Amendment and free speech.”\u003c/p>\n\u003cp>The 1950s were a buttoned-down time, but \u003cem>Playboy\u003c/em> was \u003cem>un\u003c/em>buttoned — all about jazz, booze and swinging. The magazine’s success led Hefner to create Playboy Clubs in Chicago in 1960. He hired black comics like Dick Gregory and Bill Cosby at a time when most clubs were segregated, and he gave gigs to comic Lenny Bruce despite his many obscenity charges.\u003c/p>\n\u003cp>But Hefner’s profile as a hip, liberal activist was cracked by the rise of feminism in the 1970s, when he and \u003cem>Playboy\u003c/em> were accused of demeaning women as sex objects. In 2003, on \u003cem>Playboy\u003c/em>‘s 50th anniversary, Hefner told NPR, “I recognize that I remain — even after half a century — a controversial figure, but America has always had conflicts related to things related to sex. In other words, we remain essentially a very Puritan people.”\u003c/p>\n\u003cp>He also reframed the sex object criticism, saying, “I think you ought to talk to the women who’ve been in the magazine and see how they feel about that. I mean, what is more Puritan than somebody who has a strong opinion about somebody else’s life and who disapproves of it because somehow or other it’s not their particular way?”\u003c/p>\n\u003cp>As popular culture changed, \u003cem>Playboy\u003c/em> was caught between critics, who considered Hefner the emblem of anti-feminism, and competitors like Larry Flynt’s \u003cem>Hustler\u003c/em>, who were explicit to the point of raunchy. Circulation declined, Playboy Clubs closed and in the 1980s Hefner handed control of the magazine over to his daughter, Christie Hefner. She told NPR in 2003 that she believes the enterprise her father founded didn’t demean women. In fact, it elevated the struggle for civil rights and free speech.\u003c/p>\n\u003cp>She said, “If you want to reduce the magazine to its center three pages, then, in effect, you’ve objectified the magazine as much as anything else.”\u003c/p>\n\u003ch3>“Sex Was Handed To Us By The Powers That Be”\u003c/h3>\n\u003cp>Hugh Hefner spent the last decades of his life more as a cultural symbol than a force. He relocated to a Southern Californian mansion (complete with a koi pond, game room, grotto and movie theater) to host lavish parties. But the host reportedly mostly stayed in his bedroom suite, working in silk pajamas on his round bed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the time of his 2003 NPR interview, Hefner shared his mansion with seven women, all young enough to be his granddaughters. But the man who set out to surround himself with sexuality and extravagance looked isolated and lonely. He said his eventful life had convinced him romance was an illusion:\u003c/p>\n\u003cblockquote>\n\u003cp>Sex was handed to us by the powers that be, but romance is something that we invented, that is unique to humankind. And what’s interesting about the Western romantic tradition, of course, is that some of the classics are, you know, \u003cem>Romeo and Juliet,\u003c/em> where everybody dies. … In the fairy tales it’s pursuit, and then ‘they lived happily ever after.’ But we never really deal with “they lived happily ever after.”\u003c/p>\n\u003c/blockquote>\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=%27Playboy%27+Founder+Hugh+Hefner%2C+Champion+Of+Free+Speech+And+%27Smut%27%2C+Dies+At+91&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hugh Hefner created \u003cem>Playboy\u003c/em> at his kitchen table in Chicago. The magazine was blamed for (or credited with) setting off a cultural revolution in America, but within a few years Hefner was branded a male chauvinist. He was a proponent of free speech and a champion of civil rights who was decried as a merchant of smut.\u003c/p>\n\u003cp>Hefner died Wednesday at the age of 91, the magazine announced in a statement, writing that he “peacefully passed away today from natural causes at his home, The Playboy Mansion, surrounded by loved ones.”\u003c/p>\n\u003cp>“My father lived an exceptional and impactful life as a media and cultural pioneer and a leading voice behind some of the most significant social and cultural movements of our time in advocating free speech, civil rights and sexual freedom,” Hefner’s son Cooper, now the company’s chief creative officer, wrote in the company’s statment. “He defined a lifestyle and ethos that lie at the heart of the Playboy brand.”\u003c/p>\n\u003cp>\u003cem>Playboy\u003c/em> published outstanding writers (Joseph Heller, Margaret Atwood, Norman Mailer) and distinctive interviews with acclaimed and controversial figures, including Fidel Castro, Miles Davis and Malcolm X.\u003cstrong> \u003c/strong>But who are we kidding? The magazine made millions because serious pieces were printed on the flip side of pictures of naked women.\u003c/p>\n\u003cp>In 2007, Hefner told NPR, “The playmate of the month, the centerfold, came directly out of the influences of pinup photography and art from World War II and before. But what set them apart was what I described at the time as the girl next door: It all comes from that notion of being a fresh, wholesome, all-American person, and — in the context of the playmate — a sexual icon. The recognition … that nice girls like sex, too. Very revolutionary in the 1950s.”\u003c/p>\n\u003ch3>“I Get It For The Articles”\u003c/h3>\n\u003cp>In 1952, Hefner was working as a cartoonist for \u003cem>Esquire\u003c/em> magazine in Chicago. When he was turned down for a $5 raise, he decided to try something new: Hefner gathered $8,000 from 50 investors, including his mother, to create a prototype for a new magazine. He found a 5-year-old shot of a nude model in the files of a Chicago calendar company, and bought it for $500. The model was Marilyn Monroe, before she had become a star, and the magazine sold out in days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Michael Hainey, who has worked as an editor at \u003cem>GQ\u003c/em> and \u003cem>Esquire\u003c/em>, says, “The joke about \u003cem>Playboy\u003c/em> is: ‘I get it for the articles.’ But in fact the journalism in it was profound. … [Hefner] was experimenting always with publishing controversial, cutting-edge stuff.”\u003c/p>\n\u003cp>In 1955, \u003cem>Playboy\u003c/em> published Charles Beaumont’s “\u003ca href=\"https://lostgayfiction.wordpress.com/2011/12/04/the-crooked-man-by-charles-beaumont/\">The Crooked Man\u003c/a>,” a short story set a future where the majority of the population is gay and heterosexual men are persecuted. It was originally rejected by \u003cem>Esquire\u003c/em>. “He always paid top dollar for fiction, published a lot of authors who never would’ve found an audience,” Hainey says. ” … He fought a lot of battles in terms of the First Amendment and free speech.”\u003c/p>\n\u003cp>The 1950s were a buttoned-down time, but \u003cem>Playboy\u003c/em> was \u003cem>un\u003c/em>buttoned — all about jazz, booze and swinging. The magazine’s success led Hefner to create Playboy Clubs in Chicago in 1960. He hired black comics like Dick Gregory and Bill Cosby at a time when most clubs were segregated, and he gave gigs to comic Lenny Bruce despite his many obscenity charges.\u003c/p>\n\u003cp>But Hefner’s profile as a hip, liberal activist was cracked by the rise of feminism in the 1970s, when he and \u003cem>Playboy\u003c/em> were accused of demeaning women as sex objects. In 2003, on \u003cem>Playboy\u003c/em>‘s 50th anniversary, Hefner told NPR, “I recognize that I remain — even after half a century — a controversial figure, but America has always had conflicts related to things related to sex. In other words, we remain essentially a very Puritan people.”\u003c/p>\n\u003cp>He also reframed the sex object criticism, saying, “I think you ought to talk to the women who’ve been in the magazine and see how they feel about that. I mean, what is more Puritan than somebody who has a strong opinion about somebody else’s life and who disapproves of it because somehow or other it’s not their particular way?”\u003c/p>\n\u003cp>As popular culture changed, \u003cem>Playboy\u003c/em> was caught between critics, who considered Hefner the emblem of anti-feminism, and competitors like Larry Flynt’s \u003cem>Hustler\u003c/em>, who were explicit to the point of raunchy. Circulation declined, Playboy Clubs closed and in the 1980s Hefner handed control of the magazine over to his daughter, Christie Hefner. She told NPR in 2003 that she believes the enterprise her father founded didn’t demean women. In fact, it elevated the struggle for civil rights and free speech.\u003c/p>\n\u003cp>She said, “If you want to reduce the magazine to its center three pages, then, in effect, you’ve objectified the magazine as much as anything else.”\u003c/p>\n\u003ch3>“Sex Was Handed To Us By The Powers That Be”\u003c/h3>\n\u003cp>Hugh Hefner spent the last decades of his life more as a cultural symbol than a force. He relocated to a Southern Californian mansion (complete with a koi pond, game room, grotto and movie theater) to host lavish parties. But the host reportedly mostly stayed in his bedroom suite, working in silk pajamas on his round bed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the time of his 2003 NPR interview, Hefner shared his mansion with seven women, all young enough to be his granddaughters. But the man who set out to surround himself with sexuality and extravagance looked isolated and lonely. He said his eventful life had convinced him romance was an illusion:\u003c/p>\n\u003cblockquote>\n\u003cp>Sex was handed to us by the powers that be, but romance is something that we invented, that is unique to humankind. And what’s interesting about the Western romantic tradition, of course, is that some of the classics are, you know, \u003cem>Romeo and Juliet,\u003c/em> where everybody dies. … In the fairy tales it’s pursuit, and then ‘they lived happily ever after.’ But we never really deal with “they lived happily ever after.”\u003c/p>\n\u003c/blockquote>\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=%27Playboy%27+Founder+Hugh+Hefner%2C+Champion+Of+Free+Speech+And+%27Smut%27%2C+Dies+At+91&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Trump, Taking Aim at Athletes' Knees, Draws Musicians to the Floor, too",
"headTitle": "Trump, Taking Aim at Athletes’ Knees, Draws Musicians to the Floor, too | KQED",
"content": "\u003cp>Donald Trump has revivified the silent protest begun last year by football player Colin Kaepernick, who began to kneel during the performance of the national anthem at the beginning of football games to draw attention to racially motivated violence and unrest in the country.\u003c/p>\n\u003cp>Saturday night, music legend Stevie Wonder told the crowd gathered in Central Park: “Tonight, I’m taking a knee for America … but not just one knee — I’m taking both knees.” Wonder’s brief speech was met with deafening applause.\u003c/p>\n\u003cp>Trump began the national anthem argument on Friday, telling an Alabama audience Friday night during a stump speech, \u003ca href=\"http://www.npr.org/2017/09/24/553214114/trump-embroiled-in-two-controversies-about-professional-sports-race-and-culture\">to enthusiastic applause\u003c/a>, “Wouldn’t you love to see one of these NFL owners, when somebody disrespects our flag, to say, ‘Get that son of a bitch off the field right now’?”\u003c/p>\n\u003cp>In 17 tweets or retweets since that remark, Trump has directed withering criticism at players and the NFL over players’ participation in the kneeling protest, praised NASCAR, called for a boycott of the sports league and reprised his \u003cem>Apprentice \u003c/em>catchphrase “you’re fired” as a suggestion for team owners’ response to players’ participation. In doing so, Trump seems to have placed the bellows on an already divisive flame, igniting some strong words from musicians.\u003c/p>\n\u003cp>Trump made his remarks in parallel with two music events, the Global Citizen Festival — held in Central Park’s Great Lawn to “spur music fans and change-makers alike to take action to help benefit the world’s poor” — and A Concert For Charlottesville — a concert organized in response to the turmoil in that city last month. Both events drew high-profile artists to stages that were guaranteed to draw sizable attention. In reacting to Trump’s comments, the protest begun by Kaepernick immediately reached a new high water-mark of visibility.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Performing in Charlottesville on Sunday night, Pharrell told the audience: “I’m in Virginia right now — I’m \u003cem>home\u003c/em>. Nobody tell me what to do — if I want to get on my knees right now, for the people of my city, for the people of my state — that’s what that flag is for.”\u003c/p>\n\u003cp>Wonder also appeared in Virginia, extending his comments from Saturday. “I’ve seen people hating people. They tell the children who watch them to be good. I’ve seen people killing people in churches, mosques, synoagogues and temples. I’ve seen hate marching down the street disguised as a cry for equality. If I can see it, dammit, I know \u003cem>you\u003c/em> can see it.\u003c/p>\n\u003cp>“But see it not with your eyes — feel it in your spirit, with your soul.\u003c/p>\n\u003cp>“So the question is — what are we going to do about it? To make a difference? We \u003cem>must\u003c/em>, all of us in the world, \u003cem>be \u003c/em>the difference.”\u003c/p>\n\u003cp>According \u003ca href=\"http://variety.com/2017/digital/news/nfl-trump-protests-twitter-social-media-social-media-analytics-1202569818/\" target=\"_blank\" rel=\"noopener\">to \u003cem>Variety\u003c/em>\u003c/a>, 2.5 million tweets were sent on Sunday regarding #TakeAKnee and #TakeTheKnee.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The protest was spread across genres — and countries. Pearl Jam’s Eddie Vedder \u003ca href=\"https://twitter.com/PearlJam/status/912136135278768128\" target=\"_blank\" rel=\"noopener\">took a knee\u003c/a> during a Tennessee performance; roots artist Rhiannon Giddens and her band dropped during a performance Sunday night in Nashville; John Legend \u003ca href=\"https://www.instagram.com/p/BZcFXEWgnK5/?hl=en&taken-by=johnlegend\" target=\"_blank\" rel=\"noopener\">did so\u003c/a> during a tour stop in Hamburg, Germany; J. Cole \u003ca href=\"https://twitter.com/JColeNC/status/911975177919090688\" target=\"_blank\" rel=\"noopener\">praised\u003c/a> athletes’ participation and encouraged a counter-boycott of the NFL over Kaepernick’s continued unemployment, which many conclude is due to the protest he began; Cardi B., the nascent rapper who today unseated Taylor Swift atop the Hot 100, \u003ca href=\"https://twitter.com/iamcardib/status/911982452155052037\" target=\"_blank\" rel=\"noopener\">asked\u003c/a> “when are they going to hire Kaepernick?”; De La Soul’s Posdnuos \u003ca href=\"http://www.nme.com/news/music/de-la-soul-join-take-knee-protests-life-beautiful-performance-2144305\" target=\"_blank\" rel=\"noopener\">took part\u003c/a> during a performance in Las Vegas; Meghan Linsey, a former contestant on \u003cem>The Voice\u003c/em>, and her band ended their performance of the national anthem during Sunday’s game between the Seahawks and the Titans by \u003ca href=\"https://www.youtube.com/watch?v=Gf0IGCuFD2Q\" target=\"_blank\" rel=\"noopener\">descending\u003c/a> to one knee; national anthem singer Rico Lavelle \u003ca href=\"http://www.freep.com/story/sports/nfl/lions/2017/09/25/detroit-lions-anthem-singer-rico-lavelle/699994001/\" target=\"_blank\" rel=\"noopener\">did the same\u003c/a> in Detroit, as well. \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=Trump%2C+Taking+Aim+At+Athletes%27+Knees%2C+Draws+Musicians+To+The+Floor%2C+Too+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Donald Trump has revivified the silent protest begun last year by football player Colin Kaepernick, who began to kneel during the performance of the national anthem at the beginning of football games to draw attention to racially motivated violence and unrest in the country.\u003c/p>\n\u003cp>Saturday night, music legend Stevie Wonder told the crowd gathered in Central Park: “Tonight, I’m taking a knee for America … but not just one knee — I’m taking both knees.” Wonder’s brief speech was met with deafening applause.\u003c/p>\n\u003cp>Trump began the national anthem argument on Friday, telling an Alabama audience Friday night during a stump speech, \u003ca href=\"http://www.npr.org/2017/09/24/553214114/trump-embroiled-in-two-controversies-about-professional-sports-race-and-culture\">to enthusiastic applause\u003c/a>, “Wouldn’t you love to see one of these NFL owners, when somebody disrespects our flag, to say, ‘Get that son of a bitch off the field right now’?”\u003c/p>\n\u003cp>In 17 tweets or retweets since that remark, Trump has directed withering criticism at players and the NFL over players’ participation in the kneeling protest, praised NASCAR, called for a boycott of the sports league and reprised his \u003cem>Apprentice \u003c/em>catchphrase “you’re fired” as a suggestion for team owners’ response to players’ participation. In doing so, Trump seems to have placed the bellows on an already divisive flame, igniting some strong words from musicians.\u003c/p>\n\u003cp>Trump made his remarks in parallel with two music events, the Global Citizen Festival — held in Central Park’s Great Lawn to “spur music fans and change-makers alike to take action to help benefit the world’s poor” — and A Concert For Charlottesville — a concert organized in response to the turmoil in that city last month. Both events drew high-profile artists to stages that were guaranteed to draw sizable attention. In reacting to Trump’s comments, the protest begun by Kaepernick immediately reached a new high water-mark of visibility.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Performing in Charlottesville on Sunday night, Pharrell told the audience: “I’m in Virginia right now — I’m \u003cem>home\u003c/em>. Nobody tell me what to do — if I want to get on my knees right now, for the people of my city, for the people of my state — that’s what that flag is for.”\u003c/p>\n\u003cp>Wonder also appeared in Virginia, extending his comments from Saturday. “I’ve seen people hating people. They tell the children who watch them to be good. I’ve seen people killing people in churches, mosques, synoagogues and temples. I’ve seen hate marching down the street disguised as a cry for equality. If I can see it, dammit, I know \u003cem>you\u003c/em> can see it.\u003c/p>\n\u003cp>“But see it not with your eyes — feel it in your spirit, with your soul.\u003c/p>\n\u003cp>“So the question is — what are we going to do about it? To make a difference? We \u003cem>must\u003c/em>, all of us in the world, \u003cem>be \u003c/em>the difference.”\u003c/p>\n\u003cp>According \u003ca href=\"http://variety.com/2017/digital/news/nfl-trump-protests-twitter-social-media-social-media-analytics-1202569818/\" target=\"_blank\" rel=\"noopener\">to \u003cem>Variety\u003c/em>\u003c/a>, 2.5 million tweets were sent on Sunday regarding #TakeAKnee and #TakeTheKnee.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The protest was spread across genres — and countries. Pearl Jam’s Eddie Vedder \u003ca href=\"https://twitter.com/PearlJam/status/912136135278768128\" target=\"_blank\" rel=\"noopener\">took a knee\u003c/a> during a Tennessee performance; roots artist Rhiannon Giddens and her band dropped during a performance Sunday night in Nashville; John Legend \u003ca href=\"https://www.instagram.com/p/BZcFXEWgnK5/?hl=en&taken-by=johnlegend\" target=\"_blank\" rel=\"noopener\">did so\u003c/a> during a tour stop in Hamburg, Germany; J. Cole \u003ca href=\"https://twitter.com/JColeNC/status/911975177919090688\" target=\"_blank\" rel=\"noopener\">praised\u003c/a> athletes’ participation and encouraged a counter-boycott of the NFL over Kaepernick’s continued unemployment, which many conclude is due to the protest he began; Cardi B., the nascent rapper who today unseated Taylor Swift atop the Hot 100, \u003ca href=\"https://twitter.com/iamcardib/status/911982452155052037\" target=\"_blank\" rel=\"noopener\">asked\u003c/a> “when are they going to hire Kaepernick?”; De La Soul’s Posdnuos \u003ca href=\"http://www.nme.com/news/music/de-la-soul-join-take-knee-protests-life-beautiful-performance-2144305\" target=\"_blank\" rel=\"noopener\">took part\u003c/a> during a performance in Las Vegas; Meghan Linsey, a former contestant on \u003cem>The Voice\u003c/em>, and her band ended their performance of the national anthem during Sunday’s game between the Seahawks and the Titans by \u003ca href=\"https://www.youtube.com/watch?v=Gf0IGCuFD2Q\" target=\"_blank\" rel=\"noopener\">descending\u003c/a> to one knee; national anthem singer Rico Lavelle \u003ca href=\"http://www.freep.com/story/sports/nfl/lions/2017/09/25/detroit-lions-anthem-singer-rico-lavelle/699994001/\" target=\"_blank\" rel=\"noopener\">did the same\u003c/a> in Detroit, as well. \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=Trump%2C+Taking+Aim+At+Athletes%27+Knees%2C+Draws+Musicians+To+The+Floor%2C+Too+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
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"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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"reveal": {
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"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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},
"science-friday": {
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"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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