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"content": "\u003cp>The New York City Ballet’s costume shop is located on the eighth floor of a building in Lincoln Center. There are spectacular views of the Hudson River, but no one’s looking out the windows. They’re all working with a quiet intensity.\u003c/p>\n\u003cp>“It’s a shop full of 18 people,” says Marc Happel, the City Ballet’s director of costumes. “Amazing craftspeople, machine operators, hand stitching, we have three drapers. I mean the level of costume-making here is probably the highest you could get.”\u003c/p>\n\u003cp>In addition to preparing costumes for the regular season, next week the City Ballet will present its annual Fall Gala, where fashion designers are paired with choreographers to create new dances and new costumes. That means the costume shop has less than three months to build garments designed by people who don’t usually worry about athletic, sweaty dancers.\u003c/p>\n\u003cp>That’s where Happel provides invaluable assistance. He’s run the shop for 11 years, and before that worked on Broadway and at the Metropolitan Opera.\u003c/p>\n\u003cp>“Many times the fabrics that [the designers] do come up with we often use in ballet, like chiffon or organza or crepe du chine,” he says. “But what we have at our disposal is companies that make stretch chiffon and stretch crepe du chine. So that’s to our advantage.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Actress Sarah Jessica Parker is on the board of the City Ballet and came up with the idea of the annual Fall Gala six years ago. She sees Happel and the costume shop as invaluable partners.\u003c/p>\n\u003cp>“Marc knows the reality of everything,” Parker says. “He can solve the inevitable technical questions that come up. Because, yes, they know all the layers that are required. They know how every fabric moves, they know what a seam does, what a hem does, what stretches, what doesn’t, what absorbs, what doesn’t, what can be lifted, what can move.”\u003c/p>\n\u003cp>And the designers value working with Marc Happel, too. The first gala featured designs by Italian couturier Valentino, and Happel says he was very hands on.\u003c/p>\n\u003cp>“To the point where he would call me when he was on vacation on his what he called a boat — which I knew was a six-story yacht — in the Mediterranean,” Happel says. “He would call me because he had just had a thought that the black ruffle on this one costume should be pleated and not ruched.”\u003c/p>\n\u003cp>But the ultimate client is the dancer.\u003c/p>\n\u003cp>“My job is to make them as comfortable and as happy with what they’re wearing, so they’re not really thinking about it too much,” he says.\u003c/p>\n\u003cp>While a rehearsal of \u003cem>Swan Lake\u003c/em> is happening onstage, backstage Happel and one of his drapers are fitting a costume by designer Tsumori Chisato on ballerina Sterling Hyltin. The fabric is hand-painted and the tutu looks like a hat box. While choreographer Justin Peck looks on, Hyltin does movements from the ballet, looking in the mirror the whole time. Afterwards, she says the costume is incredible.\u003c/p>\n\u003cp>“I mean I wear a tutu a lot, but not a tutu that’s that structured and geometric,” Hyltin says. “And I think it’s going to be a lot of fun just sort of learning how it moves and see how that influences the way I dance.”\u003c/p>\n\u003cp>Both the dances and the costumes will live beyond the Fashion Gala, as part of New York City Ballet’s repertory. But Happel doesn’t have time to worry about it. There’s just too much work to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I always say it’s like you have four freight trains heading to the station at the same time and you’re just hoping in some ways that they all get there at the same time,” he says. “And we have a gala.” \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=Above+The+Ballet%2C+Where+The+Tutus+Are+Made&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The New York City Ballet’s costume shop is located on the eighth floor of a building in Lincoln Center. There are spectacular views of the Hudson River, but no one’s looking out the windows. They’re all working with a quiet intensity.\u003c/p>\n\u003cp>“It’s a shop full of 18 people,” says Marc Happel, the City Ballet’s director of costumes. “Amazing craftspeople, machine operators, hand stitching, we have three drapers. I mean the level of costume-making here is probably the highest you could get.”\u003c/p>\n\u003cp>In addition to preparing costumes for the regular season, next week the City Ballet will present its annual Fall Gala, where fashion designers are paired with choreographers to create new dances and new costumes. That means the costume shop has less than three months to build garments designed by people who don’t usually worry about athletic, sweaty dancers.\u003c/p>\n\u003cp>That’s where Happel provides invaluable assistance. He’s run the shop for 11 years, and before that worked on Broadway and at the Metropolitan Opera.\u003c/p>\n\u003cp>“Many times the fabrics that [the designers] do come up with we often use in ballet, like chiffon or organza or crepe du chine,” he says. “But what we have at our disposal is companies that make stretch chiffon and stretch crepe du chine. So that’s to our advantage.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Actress Sarah Jessica Parker is on the board of the City Ballet and came up with the idea of the annual Fall Gala six years ago. She sees Happel and the costume shop as invaluable partners.\u003c/p>\n\u003cp>“Marc knows the reality of everything,” Parker says. “He can solve the inevitable technical questions that come up. Because, yes, they know all the layers that are required. They know how every fabric moves, they know what a seam does, what a hem does, what stretches, what doesn’t, what absorbs, what doesn’t, what can be lifted, what can move.”\u003c/p>\n\u003cp>And the designers value working with Marc Happel, too. The first gala featured designs by Italian couturier Valentino, and Happel says he was very hands on.\u003c/p>\n\u003cp>“To the point where he would call me when he was on vacation on his what he called a boat — which I knew was a six-story yacht — in the Mediterranean,” Happel says. “He would call me because he had just had a thought that the black ruffle on this one costume should be pleated and not ruched.”\u003c/p>\n\u003cp>But the ultimate client is the dancer.\u003c/p>\n\u003cp>“My job is to make them as comfortable and as happy with what they’re wearing, so they’re not really thinking about it too much,” he says.\u003c/p>\n\u003cp>While a rehearsal of \u003cem>Swan Lake\u003c/em> is happening onstage, backstage Happel and one of his drapers are fitting a costume by designer Tsumori Chisato on ballerina Sterling Hyltin. The fabric is hand-painted and the tutu looks like a hat box. While choreographer Justin Peck looks on, Hyltin does movements from the ballet, looking in the mirror the whole time. Afterwards, she says the costume is incredible.\u003c/p>\n\u003cp>“I mean I wear a tutu a lot, but not a tutu that’s that structured and geometric,” Hyltin says. “And I think it’s going to be a lot of fun just sort of learning how it moves and see how that influences the way I dance.”\u003c/p>\n\u003cp>Both the dances and the costumes will live beyond the Fashion Gala, as part of New York City Ballet’s repertory. But Happel doesn’t have time to worry about it. There’s just too much work to do.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I always say it’s like you have four freight trains heading to the station at the same time and you’re just hoping in some ways that they all get there at the same time,” he says. “And we have a gala.” \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=Above+The+Ballet%2C+Where+The+Tutus+Are+Made&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>“It’s pretty amazing what you can do when people are not watching,” \u003ca href=\"http://www.thefader.com/2016/10/31/lido-pimienta-la-papessa\" target=\"_blank\" rel=\"noopener\">said\u003c/a> the classically trained, Toronto-based, and Colombia-born singer and producer Lido Pimienta of the creative process behind her album \u003cem>La Papessa\u003c/em>, the freshly named winner of this year’s Polaris Prize. The prize, which includes $50,000, is \u003ca href=\"https://polarismusicprize.ca/blog/lido-pimientas-la-papessa-has-won-the-2017-polaris-music-prize/\" target=\"_blank\" rel=\"noopener\">intended\u003c/a> to recognize the “best Canadian album of the year based on artistic merit without regard to genre, sales history or label affiliation.”\u003c/p>\n\u003cp>After an evening to process her win, Pimiento \u003ca href=\"https://twitter.com/LidoPimienta/status/910108210241183744\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on Twitter that the “outpouring of love is overwhelming. Daze and confusion persist. I’ll write more thanks after I drop my son at school ok?”\u003c/p>\n\u003cp>\u003cem>La Papessa\u003c/em> (\u003cem>High Priestess\u003c/em>) — a swirling commingling of dense electronic production, Latin rhythms and swells of Pimiento’s precise, thunderous voice — overcame strong competition from short-listed nominees \u003ca href=\"http://www.npr.org/artists/15392685/leonard-cohen\" target=\"_blank\" rel=\"noopener\">Leonard Cohen\u003c/a>, \u003ca href=\"http://www.npr.org/artists/14900320/feist\" target=\"_blank\" rel=\"noopener\">Feist\u003c/a>, \u003ca href=\"http://www.npr.org/artists/520245312/badbadnotgood\" target=\"_blank\" rel=\"noopener\">BADBADNOTGOOD\u003c/a> and beloved Canadian rocker Gord Downie, former singer of \u003ca href=\"http://www.npr.org/artists/14956827/the-tragically-hip\" target=\"_blank\" rel=\"noopener\">The Tragically Hip\u003c/a>. (Cohen also had a posthumous video debut during the show, which \u003ca href=\"http://www.npr.org/event/music/552045365/watch-a-heartbreakingly-beautiful-tribute-to-leonard-cohen\">you can watch here\u003c/a>).\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ytyXbEgQKuo\u003c/p>\n\u003cp>The Polaris Prize takes a unique and sometimes brutal approach to selecting each year’s winner, beginning with 196 jurors — “members of local and national media” — and nearly as many albums. Each juror’s top-five votes are tallied, winnowing the long list of nominees down to 40, then down to 11. This is where it gets interesting, as explained in a \u003ca href=\"http://www.billboard.com/articles/business/6259131/drake-vs-mac-demarco-a-behind-the-scenes-look-at-the-polaris-prize\">\u003cem>Billboard\u003c/em> piece\u003c/a> from three years ago. Each of the 11 nominated albums is assigned a “champion” juror, all of whom debate the prize (and none of whom are allowed to have any financial connection to the record they’re representing) while the show is taking place — meaning no one, not even the show’s topmost organizers, know who will be named winner until the end of the evening. \u003cem>[Disclosure: Talia Schlanger, host of \u003ca href=\"http://www.npr.org/sections/world-cafe/\" target=\"_blank\" rel=\"noopener\">World Cafe\u003c/a>\u003c/em>\u003cem> from member station \u003ca href=\"http://www.xpn.org/\" target=\"_blank\" rel=\"noopener\">WXPN\u003c/a> and a regular contributor to NPR Music, was a long-list judge of this year’s awards.]\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Perhaps because of that protracted process, performers are given ample time on stage (particularly if you contrast them with the luxe megawatts of the Grammys or the Brit Awards) to stretch. When \u003ca href=\"http://www.npr.org/artists/99737159/tanya-tagaq-gillis\" target=\"_blank\" rel=\"noopener\">Tanya Tagaq\u003c/a> won in 2014 she took nearly twelve-and-a-half minutes on the stage, ending with a cover of \u003ca href=\"http://www.npr.org/artists/15446165/nirvana\" target=\"_blank\" rel=\"noopener\">Nirvana\u003c/a>‘s “Rape Me,” during which audience members stood up as part of the REDress Project, “an aesthetic response” to missing and murdered aboriginal Canadian women, as the CBC \u003ca href=\"http://www.cbcmusic.ca/posts/19050/highlights-from-the-2017-polaris-music-prize-gala\">reported\u003c/a>.\u003c/p>\n\u003cp>Pimienta, who didn’t prepare a speech, said in accepting her award: “I hope that the Aryan specimen who told me to go back to my country, two weeks after I arrived in London, Ontario, Canada, is watching this,” before going to “to thank my beautiful mother … for being so resilient, and for enduring white supremacy in Canada.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can \u003ca href=\"https://www.youtube.com/watch?v=nYOEUZdikBI\">watch the entire show here\u003c/a>\u003c/em>\u003cem>.\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=Lido+Pimienta+Takes+The+Polaris+Prize+Over+Leonard+Cohen%2C+Feist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>“It’s pretty amazing what you can do when people are not watching,” \u003ca href=\"http://www.thefader.com/2016/10/31/lido-pimienta-la-papessa\" target=\"_blank\" rel=\"noopener\">said\u003c/a> the classically trained, Toronto-based, and Colombia-born singer and producer Lido Pimienta of the creative process behind her album \u003cem>La Papessa\u003c/em>, the freshly named winner of this year’s Polaris Prize. The prize, which includes $50,000, is \u003ca href=\"https://polarismusicprize.ca/blog/lido-pimientas-la-papessa-has-won-the-2017-polaris-music-prize/\" target=\"_blank\" rel=\"noopener\">intended\u003c/a> to recognize the “best Canadian album of the year based on artistic merit without regard to genre, sales history or label affiliation.”\u003c/p>\n\u003cp>After an evening to process her win, Pimiento \u003ca href=\"https://twitter.com/LidoPimienta/status/910108210241183744\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on Twitter that the “outpouring of love is overwhelming. Daze and confusion persist. I’ll write more thanks after I drop my son at school ok?”\u003c/p>\n\u003cp>\u003cem>La Papessa\u003c/em> (\u003cem>High Priestess\u003c/em>) — a swirling commingling of dense electronic production, Latin rhythms and swells of Pimiento’s precise, thunderous voice — overcame strong competition from short-listed nominees \u003ca href=\"http://www.npr.org/artists/15392685/leonard-cohen\" target=\"_blank\" rel=\"noopener\">Leonard Cohen\u003c/a>, \u003ca href=\"http://www.npr.org/artists/14900320/feist\" target=\"_blank\" rel=\"noopener\">Feist\u003c/a>, \u003ca href=\"http://www.npr.org/artists/520245312/badbadnotgood\" target=\"_blank\" rel=\"noopener\">BADBADNOTGOOD\u003c/a> and beloved Canadian rocker Gord Downie, former singer of \u003ca href=\"http://www.npr.org/artists/14956827/the-tragically-hip\" target=\"_blank\" rel=\"noopener\">The Tragically Hip\u003c/a>. (Cohen also had a posthumous video debut during the show, which \u003ca href=\"http://www.npr.org/event/music/552045365/watch-a-heartbreakingly-beautiful-tribute-to-leonard-cohen\">you can watch here\u003c/a>).\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ytyXbEgQKuo'\n title='//www.youtube.com/embed/ytyXbEgQKuo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The Polaris Prize takes a unique and sometimes brutal approach to selecting each year’s winner, beginning with 196 jurors — “members of local and national media” — and nearly as many albums. Each juror’s top-five votes are tallied, winnowing the long list of nominees down to 40, then down to 11. This is where it gets interesting, as explained in a \u003ca href=\"http://www.billboard.com/articles/business/6259131/drake-vs-mac-demarco-a-behind-the-scenes-look-at-the-polaris-prize\">\u003cem>Billboard\u003c/em> piece\u003c/a> from three years ago. Each of the 11 nominated albums is assigned a “champion” juror, all of whom debate the prize (and none of whom are allowed to have any financial connection to the record they’re representing) while the show is taking place — meaning no one, not even the show’s topmost organizers, know who will be named winner until the end of the evening. \u003cem>[Disclosure: Talia Schlanger, host of \u003ca href=\"http://www.npr.org/sections/world-cafe/\" target=\"_blank\" rel=\"noopener\">World Cafe\u003c/a>\u003c/em>\u003cem> from member station \u003ca href=\"http://www.xpn.org/\" target=\"_blank\" rel=\"noopener\">WXPN\u003c/a> and a regular contributor to NPR Music, was a long-list judge of this year’s awards.]\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Perhaps because of that protracted process, performers are given ample time on stage (particularly if you contrast them with the luxe megawatts of the Grammys or the Brit Awards) to stretch. When \u003ca href=\"http://www.npr.org/artists/99737159/tanya-tagaq-gillis\" target=\"_blank\" rel=\"noopener\">Tanya Tagaq\u003c/a> won in 2014 she took nearly twelve-and-a-half minutes on the stage, ending with a cover of \u003ca href=\"http://www.npr.org/artists/15446165/nirvana\" target=\"_blank\" rel=\"noopener\">Nirvana\u003c/a>‘s “Rape Me,” during which audience members stood up as part of the REDress Project, “an aesthetic response” to missing and murdered aboriginal Canadian women, as the CBC \u003ca href=\"http://www.cbcmusic.ca/posts/19050/highlights-from-the-2017-polaris-music-prize-gala\">reported\u003c/a>.\u003c/p>\n\u003cp>Pimienta, who didn’t prepare a speech, said in accepting her award: “I hope that the Aryan specimen who told me to go back to my country, two weeks after I arrived in London, Ontario, Canada, is watching this,” before going to “to thank my beautiful mother … for being so resilient, and for enduring white supremacy in Canada.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>You can \u003ca href=\"https://www.youtube.com/watch?v=nYOEUZdikBI\">watch the entire show here\u003c/a>\u003c/em>\u003cem>.\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=Lido+Pimienta+Takes+The+Polaris+Prize+Over+Leonard+Cohen%2C+Feist&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Wenner Media, the company founded by publisher Jann Wenner, is selling its controlling stake in the iconic music and culture magazine \u003cem>Rolling Stone\u003c/em>, citing a desire “to best position the brand for future growth.”\u003c/p>\n\u003cp>The news comes one year after Wenner Media sold 49 percent of \u003cem>Rolling Stone\u003c/em> to BandLab Technologies, a digital music company based in Singapore.\u003c/p>\n\u003cp>“\u003cem>Rolling Stone\u003c/em> is a uniquely powerful brand with enormous opportunities to succeed in today’s environment,” said Gus Wenner, president and chief operating officer of Wenner Media and Jann Wenner’s son.\u003c/p>\n\u003cp>He \u003ca href=\"http://www.prnewswire.com/news-releases/wenner-media-to-explore-strategic-options-for-rolling-stone-300520944.html\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a> that the company has “made great strides transforming Rolling Stone into a multi-platform company.”\u003c/p>\n\u003cp>Wenner Media says \u003cem>Rolling Stone\u003c/em> reaches more than 60 million people each month through multiple platforms (from social media to videos), and that its online traffic has grown by nearly 50 percent over the past three years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Since its founding in 1967, \u003cem>Rolling Stone\u003c/em> has been a mainstay of music journalism and pop culture; it has also published in-depth features and investigative reporting. But the magazine has suffered the drops in circulation and revenue that have disrupted much of the print media industry in the online age.\u003c/p>\n\u003cp>\u003cem>Rolling Stone’s\u003c/em> bank account and reputation have also taken hits over the magazine being forced to retract a 2014 story about an alleged gang rape at a University of Virginia fraternity house — a controversial episode that also saw the magazine settle a defamation lawsuit from the fraternity for $1.65 million in June. Months earlier, the magazine \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/04/12/523527227/rolling-stone-settles-defamation-case-with-former-u-va-associate-dean\" target=\"_blank\" rel=\"noopener\">settled claims in a $3 million defamation case\u003c/a> over a lawsuit filed by a U-Va. administrator who was a key figure in the story.\u003c/p>\n\u003cp>Wenner Media’s move to unload magazines isn’t limited to \u003cem>Rolling Stone\u003c/em>; in June, Wenner Media sold another home-grown title, \u003cem>Men’s Journal\u003c/em>, to American Media Inc., publisher of magazines and tabloids such as the \u003cem>National Enquirer\u003c/em>. That sale came months after Wenner sold its \u003cem>Us Weekly\u003c/em> to American Media.\u003c/p>\n\u003cp>In an interview with \u003ca href=\"https://www.nytimes.com/2017/09/17/business/rolling-stone-magazine-sale.html\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a>, the Wenners said they plan to remain at the magazine. Gus Wenner, who is the president and chief operating officer of Wenner Media, said the magazine needs new investment to meet its ambitions. By selling, he said, the publisher is trying “to get ahead of the curve.”\u003c/p>\n\u003cp>“Publishing is a completely different industry than what it was,” Gus Wenner said. “The trends go in one direction, and we are very aware of that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for who might buy the magazine, Jann Wenner told the \u003cem>Times\u003c/em> that he hopes it’s someone who both respects Rolling Stone and also has “lots of money.” \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=%27Rolling+Stone%27+Magazine+Is+Put+Up+For+Sale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Wenner Media, the company founded by publisher Jann Wenner, is selling its controlling stake in the iconic music and culture magazine \u003cem>Rolling Stone\u003c/em>, citing a desire “to best position the brand for future growth.”\u003c/p>\n\u003cp>The news comes one year after Wenner Media sold 49 percent of \u003cem>Rolling Stone\u003c/em> to BandLab Technologies, a digital music company based in Singapore.\u003c/p>\n\u003cp>“\u003cem>Rolling Stone\u003c/em> is a uniquely powerful brand with enormous opportunities to succeed in today’s environment,” said Gus Wenner, president and chief operating officer of Wenner Media and Jann Wenner’s son.\u003c/p>\n\u003cp>He \u003ca href=\"http://www.prnewswire.com/news-releases/wenner-media-to-explore-strategic-options-for-rolling-stone-300520944.html\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a> that the company has “made great strides transforming Rolling Stone into a multi-platform company.”\u003c/p>\n\u003cp>Wenner Media says \u003cem>Rolling Stone\u003c/em> reaches more than 60 million people each month through multiple platforms (from social media to videos), and that its online traffic has grown by nearly 50 percent over the past three years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Since its founding in 1967, \u003cem>Rolling Stone\u003c/em> has been a mainstay of music journalism and pop culture; it has also published in-depth features and investigative reporting. But the magazine has suffered the drops in circulation and revenue that have disrupted much of the print media industry in the online age.\u003c/p>\n\u003cp>\u003cem>Rolling Stone’s\u003c/em> bank account and reputation have also taken hits over the magazine being forced to retract a 2014 story about an alleged gang rape at a University of Virginia fraternity house — a controversial episode that also saw the magazine settle a defamation lawsuit from the fraternity for $1.65 million in June. Months earlier, the magazine \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/04/12/523527227/rolling-stone-settles-defamation-case-with-former-u-va-associate-dean\" target=\"_blank\" rel=\"noopener\">settled claims in a $3 million defamation case\u003c/a> over a lawsuit filed by a U-Va. administrator who was a key figure in the story.\u003c/p>\n\u003cp>Wenner Media’s move to unload magazines isn’t limited to \u003cem>Rolling Stone\u003c/em>; in June, Wenner Media sold another home-grown title, \u003cem>Men’s Journal\u003c/em>, to American Media Inc., publisher of magazines and tabloids such as the \u003cem>National Enquirer\u003c/em>. That sale came months after Wenner sold its \u003cem>Us Weekly\u003c/em> to American Media.\u003c/p>\n\u003cp>In an interview with \u003ca href=\"https://www.nytimes.com/2017/09/17/business/rolling-stone-magazine-sale.html\" target=\"_blank\" rel=\"noopener\">The New York Times\u003c/a>, the Wenners said they plan to remain at the magazine. Gus Wenner, who is the president and chief operating officer of Wenner Media, said the magazine needs new investment to meet its ambitions. By selling, he said, the publisher is trying “to get ahead of the curve.”\u003c/p>\n\u003cp>“Publishing is a completely different industry than what it was,” Gus Wenner said. “The trends go in one direction, and we are very aware of that.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As for who might buy the magazine, Jann Wenner told the \u003cem>Times\u003c/em> that he hopes it’s someone who both respects Rolling Stone and also has “lots of money.” \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=%27Rolling+Stone%27+Magazine+Is+Put+Up+For+Sale&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Grant Hart, Hüsker Dü Drummer and Songwriter, is Dead at 56",
"headTitle": "Grant Hart, Hüsker Dü Drummer and Songwriter, is Dead at 56 | KQED",
"content": "\u003cp>Grant Hart, a drummer and songwriter best-known as a member of Minneapolis’ widely influential punk trio, Hüsker Dü, died Wednesday night at the University of Minnesota Medical Center of complications from liver cancer and hepatitis, his wife, Brigid McGough, confirmed to NPR. He was 56 years old.\u003c/p>\n\u003cp>The seed of Hüsker Dü — named after a phonetic game its members played with the Talking Heads song “Psycho Killer” — germinated in 1978, when the band’s eventual guitarist and singer Bob Mould met Hart while the latter was working at a record store called Cheapo near Macalester College in St. Paul, Minn., where Mould was in school. As Mould described in his memoir, \u003cem>See A Little Light,\u003c/em> Hart closed the store after Mould mentioned he played guitar: “I’m gonna close the store and I wanna go see you play right now.”\u003c/p>\n\u003cp>That pairing, with the addition of bassist Greg Norton, began 10 years of collaboration that saw Hüsker Dü transition from speed-obsessed hardcore punks to the architects of the melodic, high-concept double album \u003cem>Zen Arcade\u003c/em>. The trio’s final album, \u003cem>Warehouse: Songs & Stories, \u003c/em>was a relatively bright and melodic piece that would help define the sound of alternative and college rock for nearly a decade after.\u003c/p>\n\u003cp>The health of Hart and Mould’s relationship as co-songwriters was inversely proportional to Hüsker Dü’s success. Healthy competition was a principal driving force of the band, but as Mould became the group’s manager following the suicide of David Savoy, the acrimony between them increased. Hart slipped into heavier drug use around 1986, particularly heroin (amphetamines were openly shared among the group’s members, according to Mould in his book). In 1988, the group split following an attempted intervention at the house of Hart’s parents. “We’re lucky we got out of it with our lives,” Hart told the filmmaker Gorman Bechard for \u003ca href=\"https://vimeo.com/ondemand/51351\">Every Everything\u003c/a>, a documentary on Hart’s life.\u003c/p>\n\u003cp>In contrast to the fierce salt of Mould, Hart’s songwriting often looked skyward, melodic and heady, typified in “Turn on the News.” His solo work would showcase the same reflective, tender sensibilities.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We stayed in contact over the next 29 years — sometimes peaceful, sometimes difficult, sometimes through go-betweens,” \u003ca href=\"https://www.facebook.com/bobmouldmusic/photos/a.440776305698.243232.45470330698/10155650510815699/?type=3&theater\" target=\"_blank\" rel=\"noopener\">wrote Mould\u003c/a> in a remembrance posted on Facebook Thursday morning. “For better or worse, that’s how it was, and occasionally that’s what it is when two people care deeply about everything they built together.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=eoKeH7JYE48\u003c/p>\n\u003cp>Hart’s final show, held this past July 1 at the Hook and Ladder Theater in Minneapolis, was actually a surprise tribute to him that featured Soul Asylum’s Dave Pirner, Babes In Toyland’s Lori Barbero and others.\u003c/p>\n\u003cp>“I carried my guitar in, and it was like this sea of faces turning to me with great affection. There’s not too many big surprises that have been successfully thrown at me, but that was definitely one,” he \u003ca href=\"https://blog.thecurrent.org/2017/09/songwriter-and-husker-du-founder-grant-hart-passes-away-at-56/\" target=\"_blank\" rel=\"noopener\">told Andrea Swensson\u003c/a> of member station The Current in what would be his final interview.\u003c/p>\n\u003cp>Hart was born in St. Paul in 1961, the youngest of three children. After his elder brother was killed by a drunken driver, Hart began playing his drum set, going on to play in various bands before founding Hüsker Dü with Mould and Norton.\u003c/p>\n\u003cp>Following the world tours and the frenetic Hüsker years, Hart continued to release music under his given name and with Nova Mob, which shared a chuggy, pristine, punk-rooted sensibility with contemporaries like Lungfish. He was a constant presence in the clubs and stage-equipped bars of Minneapolis and St. Paul, floating through crowds whether he was performing, often solo with a guitar, or not. Possessing a silver tongue with a flair for self-aggrandizement, Hart was always happy to hold forth with interlocutors, regardless of their source.\u003c/p>\n\u003cp>Ken Shipley, head of the Numero Group reissue label, which recently announced a years-in-the-making box set of remastered material from Hüsker’s aggressive early years, describes Hart as loving “to stir the peanut butter” and “disarming and masterminding all at once.”\u003c/p>\n\u003cp>As Hart told \u003ca href=\"https://thumped.com/features/interviews/grant-hart-all-of-my-old-friends-are-assholes/\">Thumped\u003c/a>\u003cem> \u003c/em>in 2012: “Any music that was ever broadcast is right now heading further into space at light speed.” His and Hüsker’s work might get there before everyone else. \u003c/p>\n\u003cp>\u003ci>Watch Grant Hart play live on KEXP in 2011:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Rl7mtCQbVf4\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=Grant+Hart%2C+H%C3%BCsker+D%C3%BC+Drummer+And+Songwriter%2C+Is+Dead+At+56&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Hart, who wrote songs like \"Turn on the News\" for the influential Minneapolis band and went on to become a fixture of the city after the band's dissolution, battled cancer publicly for many years.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Grant Hart, a drummer and songwriter best-known as a member of Minneapolis’ widely influential punk trio, Hüsker Dü, died Wednesday night at the University of Minnesota Medical Center of complications from liver cancer and hepatitis, his wife, Brigid McGough, confirmed to NPR. He was 56 years old.\u003c/p>\n\u003cp>The seed of Hüsker Dü — named after a phonetic game its members played with the Talking Heads song “Psycho Killer” — germinated in 1978, when the band’s eventual guitarist and singer Bob Mould met Hart while the latter was working at a record store called Cheapo near Macalester College in St. Paul, Minn., where Mould was in school. As Mould described in his memoir, \u003cem>See A Little Light,\u003c/em> Hart closed the store after Mould mentioned he played guitar: “I’m gonna close the store and I wanna go see you play right now.”\u003c/p>\n\u003cp>That pairing, with the addition of bassist Greg Norton, began 10 years of collaboration that saw Hüsker Dü transition from speed-obsessed hardcore punks to the architects of the melodic, high-concept double album \u003cem>Zen Arcade\u003c/em>. The trio’s final album, \u003cem>Warehouse: Songs & Stories, \u003c/em>was a relatively bright and melodic piece that would help define the sound of alternative and college rock for nearly a decade after.\u003c/p>\n\u003cp>The health of Hart and Mould’s relationship as co-songwriters was inversely proportional to Hüsker Dü’s success. Healthy competition was a principal driving force of the band, but as Mould became the group’s manager following the suicide of David Savoy, the acrimony between them increased. Hart slipped into heavier drug use around 1986, particularly heroin (amphetamines were openly shared among the group’s members, according to Mould in his book). In 1988, the group split following an attempted intervention at the house of Hart’s parents. “We’re lucky we got out of it with our lives,” Hart told the filmmaker Gorman Bechard for \u003ca href=\"https://vimeo.com/ondemand/51351\">Every Everything\u003c/a>, a documentary on Hart’s life.\u003c/p>\n\u003cp>In contrast to the fierce salt of Mould, Hart’s songwriting often looked skyward, melodic and heady, typified in “Turn on the News.” His solo work would showcase the same reflective, tender sensibilities.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We stayed in contact over the next 29 years — sometimes peaceful, sometimes difficult, sometimes through go-betweens,” \u003ca href=\"https://www.facebook.com/bobmouldmusic/photos/a.440776305698.243232.45470330698/10155650510815699/?type=3&theater\" target=\"_blank\" rel=\"noopener\">wrote Mould\u003c/a> in a remembrance posted on Facebook Thursday morning. “For better or worse, that’s how it was, and occasionally that’s what it is when two people care deeply about everything they built together.”\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/eoKeH7JYE48'\n title='//www.youtube.com/embed/eoKeH7JYE48'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Hart’s final show, held this past July 1 at the Hook and Ladder Theater in Minneapolis, was actually a surprise tribute to him that featured Soul Asylum’s Dave Pirner, Babes In Toyland’s Lori Barbero and others.\u003c/p>\n\u003cp>“I carried my guitar in, and it was like this sea of faces turning to me with great affection. There’s not too many big surprises that have been successfully thrown at me, but that was definitely one,” he \u003ca href=\"https://blog.thecurrent.org/2017/09/songwriter-and-husker-du-founder-grant-hart-passes-away-at-56/\" target=\"_blank\" rel=\"noopener\">told Andrea Swensson\u003c/a> of member station The Current in what would be his final interview.\u003c/p>\n\u003cp>Hart was born in St. Paul in 1961, the youngest of three children. After his elder brother was killed by a drunken driver, Hart began playing his drum set, going on to play in various bands before founding Hüsker Dü with Mould and Norton.\u003c/p>\n\u003cp>Following the world tours and the frenetic Hüsker years, Hart continued to release music under his given name and with Nova Mob, which shared a chuggy, pristine, punk-rooted sensibility with contemporaries like Lungfish. He was a constant presence in the clubs and stage-equipped bars of Minneapolis and St. Paul, floating through crowds whether he was performing, often solo with a guitar, or not. Possessing a silver tongue with a flair for self-aggrandizement, Hart was always happy to hold forth with interlocutors, regardless of their source.\u003c/p>\n\u003cp>Ken Shipley, head of the Numero Group reissue label, which recently announced a years-in-the-making box set of remastered material from Hüsker’s aggressive early years, describes Hart as loving “to stir the peanut butter” and “disarming and masterminding all at once.”\u003c/p>\n\u003cp>As Hart told \u003ca href=\"https://thumped.com/features/interviews/grant-hart-all-of-my-old-friends-are-assholes/\">Thumped\u003c/a>\u003cem> \u003c/em>in 2012: “Any music that was ever broadcast is right now heading further into space at light speed.” His and Hüsker’s work might get there before everyone else. \u003c/p>\n\u003cp>\u003ci>Watch Grant Hart play live on KEXP in 2011:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Rl7mtCQbVf4'\n title='//www.youtube.com/embed/Rl7mtCQbVf4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Grant+Hart%2C+H%C3%BCsker+D%C3%BC+Drummer+And+Songwriter%2C+Is+Dead+At+56&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "hillary-clinton-is-done-but-not-going-away",
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"content": "\u003cp>Hillary Clinton’s final campaign for office ended in a shocking defeat. But she isn’t going quietly into the night.\u003c/p>\n\u003cp>“I think the country’s at risk, and I’m trying to sound the alarm so more people will at least pay attention,” Clinton told NPR.\u003c/p>\n\u003cp>That said, her career as a candidate is over.\u003c/p>\n\u003cp>“I’m done. I’m not running for office,” Clinton said. But for those, including Democrats, who would like her to just go away? “Well, they’re going to be disappointed,” she said.\u003c/p>\n\u003cp>“I’m not going anywhere. I have the experience, I have the insight, I have the scars that I think give me not only the right, but the responsibility to speak out,” Clinton said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In her new campaign memoir, \u003cem>What Happened, \u003c/em>and in interviews with \u003cem>Morning Edition\u003c/em>‘s Rachel Martin and NPR’s Tamara Keith, Clinton talks about her own failings, but she doesn’t hold back on calling out sexism in American politics and heaping criticism on President Trump.\u003c/p>\n\u003cp>“I think he’s being played,” Clinton said of Trump, suggesting that he’s given aid and comfort to Russia’s Vladimir Putin and North Korea’s Kim Jong Un. “I think he doesn’t even understand the kind of strategic overview of what’s happening in the world, and what we need to be doing to prepare, and so I’m gonna keep speaking out.”\u003c/p>\n\u003cp>Asked if she is able to turn on the news without thinking, “What would I do in this situation?” Clinton responded with a laugh.\u003c/p>\n\u003cp>“No, I do it every single time! Look, I was prepared to be president. I had prepared and worked at it, and I go a little bit batty when I hear him say, ‘Gee, this is a really hard job. Who knew health care was so complicated?’ I did. No, I always am responding and reacting. Sometimes I yell at the TV even.”\u003c/p>\n\u003cp>\u003cstrong>What Happened\u003c/strong>\u003c/p>\n\u003cp>But Trump is the one in the Oval Office, not Clinton, and she offers a series of explanations for what she did wrong, in the book and in her interviews with NPR.\u003c/p>\n\u003cp>“I take ultimate responsibility for the loss,” Clinton said. “I was the candidate. I was the person whose name was on the ballot. And I’ll never get over that.”\u003c/p>\n\u003cp>There was the private email server she used for official business while secretary of state, a cloud that hung over her campaign from start to finish.\u003c/p>\n\u003cp>“It was a dumb mistake. I think it was a dumber scandal, but it hurt,” she said.\u003c/p>\n\u003cp>She also describes an inability to connect with the anger coursing through the electorate.\u003c/p>\n\u003cp>“I understood there was anger and fear and people were really unhappy because of what had happened in the financial crash. I understood all of that,” Clinton said. “What I didn’t — and I say this in the book — I didn’t really do well is conveying how much I understood of that, conveying how I got the despair and the anger.”\u003c/p>\n\u003cp>Clinton had plans — so many plans — for combating the opioid crisis, for helping people in coal country, for creating jobs through infrastructure spending and more.\u003c/p>\n\u003cp>“I talked about it, but I didn’t really convey the emotional resonance,” she said.\u003c/p>\n\u003cp>While Trump was sending a signal to voters by talking about making America great again, bringing back coal jobs and building a wall, Clinton’s detailed plans didn’t break through.\u003c/p>\n\u003cp>“The amount of time and effort we spent not only devising the best infrastructure plan you could imagine but figuring out how it was gonna be paid for, nobody cared,” she said.\u003c/p>\n\u003cp>Meanwhile, she said, Trump tapped into something, even fed it.\u003c/p>\n\u003cp>His message was “discriminatory, it was bigoted, it was prejudiced,” Clinton said. “And yet it fed into part of the electorate that just wanted to have a primal scream. They didn’t like what was going on. They wanted something different. They weren’t interested in what you could actually do, because clearly Trump hasn’t done very much that he said he would do. But they really responded to his racial and ethnic and sexist appeals.”\u003c/p>\n\u003cp>And while Trump started his campaign with a memorable line, Make America Great Again, Clinton said her team was headed into the general election trying to develop a theme that fit.\u003c/p>\n\u003cp>“I had three different very smart groups work independently, and I asked them, ‘So what should be the theme of our general election?’ And they each, amazingly, came up with the same slogan: ‘Stronger Together.’ Because what they argued, and what I believed, was that America does better when we’re working together, when we’re helping each other, when we’re aiming toward a future of opportunity where we have broad-based economic growth that includes everybody, and where, yes, we stand up for human rights and civil rights,” Clinton said.\u003c/p>\n\u003cp>But, asked to choose her biggest regret, Clinton didn’t look inward.\u003c/p>\n\u003cp>“Losing is my biggest regret,” she said. “And losing to someone who was not qualified and did not have the experience or the temperament to be president of the United States. That is my biggest regret.”\u003c/p>\n\u003cfigure id=\"attachment_13808175\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-1020x679.jpg\" alt=\"Clinton says her biggest regret from the 2016 presidential election is losing.\" width=\"640\" height=\"426\" class=\"size-large wp-image-13808175\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Clinton says her biggest regret from the 2016 presidential election is losing. \u003ccite>(Adrienne Grunwald for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clinton deflected the question of whether another Democrat could have beaten Trump, saying, “Well, I don’t think it’s useful to speculate, because I was the nominee.”\u003c/p>\n\u003cp>What if Joe Biden had been the nominee?\u003c/p>\n\u003cp>“Well, he wasn’t. And you know he ran in ’08, and he didn’t run in this this time — if he wants to run in the future, he can do that,” she said.\u003c/p>\n\u003cp>\u003cstrong>Comey, The Russians, Voter Suppression And Other External Forces\u003c/strong>\u003c/p>\n\u003cp>In an election decided by fewer than 100,000 votes in three states, Clinton argues any number of factors could have decided the election.\u003c/p>\n\u003cp>“I was on the path to winning, and I felt great about the three debates,” Clinton said when asked about issues of trust that dogged her campaign. “And then unfortunately the Comey letter, aided in great measure by the Russian WikiLeaks, raised all those doubts again.”\u003c/p>\n\u003cp>Less than two weeks before the election, then-FBI Director James Comey told Congress the Bureau would be revisiting its investigation into the handling of classified information in connection with Clinton. On Nov. 6, he said a newly discovered trove of emails did not change the FBI’s recommendation that Clinton not be charged. Nevertheless, Clinton has repeatedly placed blame on this sequence of events for undermining her candidacy at a crucial moment.\u003c/p>\n\u003cp>WikiLeaks’ release of thousands of emails allegedly tied to Clinton’s campaign chairman, John Podesta, is another frequent target of hers. The documents disclosed internal campaign deliberation about Clinton’s private email server and excerpts from her Wall Street speeches. The campaign linked the release to Russia.\u003c/p>\n\u003cp>In the states Clinton lost, she argues voter ID requirements and other changes in the law made it harder for people who supported her to vote.\u003c/p>\n\u003cp>“In Wisconsin, Michigan, Pennsylvania in particular, as well as North Carolina, there was a concerted effort to suppress the vote,” she said, recounting anecdotes about people whose identification didn’t qualify them to vote in Milwaukee.\u003c/p>\n\u003cp>As for Russian interference in the election, Clinton thinks that in addition to the investigation being led by special counsel Robert Mueller, there should be an independent commission, like the 9/11 Commission.\u003c/p>\n\u003cp>“And if we don’t come together as a country and with leadership from the White House and the Congress to combat it, to try to prevent it from happening again, we are really putting our democracy at risk,” Clinton said.\u003c/p>\n\u003cp>She has been following the twists and turns of the Russia investigations and devotes a chapter of her book\u003cstrong> \u003c/strong>to the topic.\u003c/p>\n\u003cp>“We’re only now finding out what we did try to warn people about starting last summer,” Clinton said. But back then those warnings were often dismissed as a campaign trying to distract from the damaging revelations from the WikiLeaks emails. “And I think because it was so surreal — how, what do you mean the Russians are influencing our election? Now we know. Not only were they, they did. And not only did they, they will continue to do so.”\u003c/p>\n\u003cp>\u003cstrong>Talking About Sexism And Misogyny\u003c/strong>\u003c/p>\n\u003cp>Clinton devotes a chapter of her book to being a woman in politics, and in conversations with NPR, she had a lot to say about it. Clinton said it is clear some share of the electorate “is just not ready” for a woman to be president. “They just cannot imagine it, and they are resistant to it. And I want in this book to make it very clear that what happened to me was not just about me,” Clinton said.\u003c/p>\n\u003cp>There were some voters who said they were open to a woman as president, just not \u003cem>that \u003c/em>woman, in reference to Clinton. But she doesn’t buy that a different female candidate would have had it any easier.\u003c/p>\n\u003cp>“Look, if you think it’s just about me, you don’t have to deal with it. … OK, I lost, you know? Have a nice time walking in the woods. But if you think it’s endemic as I believe it is, and that when a woman sticks her head up, she gets hit from both the right and the left by men who — primarily men — who do not want to accept the reality of a woman being a leader, an executive,” Clinton said.\u003c/p>\n\u003cp>Her reference to men on “both the right and the left” isn’t without purpose. In the book she has harsh words for supporters of Bernie Sanders, so-called Bernie Bros, who intimidated her supporters online to the point that they hid their feelings in private Facebook groups.\u003c/p>\n\u003cp>“I want people to understand sexism and misogyny are real,” Clinton said. “They’re real in business, they’re real in politics, and people have to start standing up against it. And we have to equip young women to be able to ward it off and speak out, and we have to encourage men, particularly young men, not to buy into it. And we have to recognize there are deep stereotypes.”\u003c/p>\n\u003cp>As to the claim from some Sanders supporters that Clinton ran with a sense of entitlement, she said, “I just totally reject that.” Clinton called the criticism “off base.”\u003c/p>\n\u003cp>Even after she clinched the nomination, she said, Sanders “just kept going, and he and his followers’ attacks on me kept getting more and more personal, despite him asking me not to attack him personally. And you know, I really regret that. But now he’s got a chance to prove that he’s something other than a spoiler. And that is to help other Democrats. And I don’t know if he will or not, but I’m hoping he will.”\u003c/p>\n\u003cp>\u003cstrong>Out Of The Woods\u003c/strong>\u003c/p>\n\u003cp>Immediately following her election loss, Clinton returned home to Chappaqua, N.Y., and spent a lot of time hiking in the woods nearby with her husband, the former president, and their dogs.\u003c/p>\n\u003cp>“It was part of a process after the election to come to terms with having lost, and my personal disappointment in letting millions of people down. Also my fears about what a Trump presidency might mean for our country and the world,” Clinton said, back in the woods for her interview with Keith. “So I had a lot to think about. And I think well when I’m walking. I sort of clear my mind.”\u003c/p>\n\u003cp>That first day in the woods, she ran into a woman walking with her baby and dog. Her Facebook post spawned a meme, “HRC in the wild,” and rapidly led to people looking for Clinton in the woods.\u003c/p>\n\u003cp>“One time we drove up here to go for a walk, and there were about a dozen people lying in wait, and I thought, ‘OK we’re gonna go somewhere more peaceful than that,’ ” Clinton said.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>As the interview wrapped up, Clinton was approached by two women and a yellow Labrador. \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=Hillary+Clinton+Is+%27Done%2C%27+But+Not+Going+Away&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Hillary Clinton’s final campaign for office ended in a shocking defeat. But she isn’t going quietly into the night.\u003c/p>\n\u003cp>“I think the country’s at risk, and I’m trying to sound the alarm so more people will at least pay attention,” Clinton told NPR.\u003c/p>\n\u003cp>That said, her career as a candidate is over.\u003c/p>\n\u003cp>“I’m done. I’m not running for office,” Clinton said. But for those, including Democrats, who would like her to just go away? “Well, they’re going to be disappointed,” she said.\u003c/p>\n\u003cp>“I’m not going anywhere. I have the experience, I have the insight, I have the scars that I think give me not only the right, but the responsibility to speak out,” Clinton said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In her new campaign memoir, \u003cem>What Happened, \u003c/em>and in interviews with \u003cem>Morning Edition\u003c/em>‘s Rachel Martin and NPR’s Tamara Keith, Clinton talks about her own failings, but she doesn’t hold back on calling out sexism in American politics and heaping criticism on President Trump.\u003c/p>\n\u003cp>“I think he’s being played,” Clinton said of Trump, suggesting that he’s given aid and comfort to Russia’s Vladimir Putin and North Korea’s Kim Jong Un. “I think he doesn’t even understand the kind of strategic overview of what’s happening in the world, and what we need to be doing to prepare, and so I’m gonna keep speaking out.”\u003c/p>\n\u003cp>Asked if she is able to turn on the news without thinking, “What would I do in this situation?” Clinton responded with a laugh.\u003c/p>\n\u003cp>“No, I do it every single time! Look, I was prepared to be president. I had prepared and worked at it, and I go a little bit batty when I hear him say, ‘Gee, this is a really hard job. Who knew health care was so complicated?’ I did. No, I always am responding and reacting. Sometimes I yell at the TV even.”\u003c/p>\n\u003cp>\u003cstrong>What Happened\u003c/strong>\u003c/p>\n\u003cp>But Trump is the one in the Oval Office, not Clinton, and she offers a series of explanations for what she did wrong, in the book and in her interviews with NPR.\u003c/p>\n\u003cp>“I take ultimate responsibility for the loss,” Clinton said. “I was the candidate. I was the person whose name was on the ballot. And I’ll never get over that.”\u003c/p>\n\u003cp>There was the private email server she used for official business while secretary of state, a cloud that hung over her campaign from start to finish.\u003c/p>\n\u003cp>“It was a dumb mistake. I think it was a dumber scandal, but it hurt,” she said.\u003c/p>\n\u003cp>She also describes an inability to connect with the anger coursing through the electorate.\u003c/p>\n\u003cp>“I understood there was anger and fear and people were really unhappy because of what had happened in the financial crash. I understood all of that,” Clinton said. “What I didn’t — and I say this in the book — I didn’t really do well is conveying how much I understood of that, conveying how I got the despair and the anger.”\u003c/p>\n\u003cp>Clinton had plans — so many plans — for combating the opioid crisis, for helping people in coal country, for creating jobs through infrastructure spending and more.\u003c/p>\n\u003cp>“I talked about it, but I didn’t really convey the emotional resonance,” she said.\u003c/p>\n\u003cp>While Trump was sending a signal to voters by talking about making America great again, bringing back coal jobs and building a wall, Clinton’s detailed plans didn’t break through.\u003c/p>\n\u003cp>“The amount of time and effort we spent not only devising the best infrastructure plan you could imagine but figuring out how it was gonna be paid for, nobody cared,” she said.\u003c/p>\n\u003cp>Meanwhile, she said, Trump tapped into something, even fed it.\u003c/p>\n\u003cp>His message was “discriminatory, it was bigoted, it was prejudiced,” Clinton said. “And yet it fed into part of the electorate that just wanted to have a primal scream. They didn’t like what was going on. They wanted something different. They weren’t interested in what you could actually do, because clearly Trump hasn’t done very much that he said he would do. But they really responded to his racial and ethnic and sexist appeals.”\u003c/p>\n\u003cp>And while Trump started his campaign with a memorable line, Make America Great Again, Clinton said her team was headed into the general election trying to develop a theme that fit.\u003c/p>\n\u003cp>“I had three different very smart groups work independently, and I asked them, ‘So what should be the theme of our general election?’ And they each, amazingly, came up with the same slogan: ‘Stronger Together.’ Because what they argued, and what I believed, was that America does better when we’re working together, when we’re helping each other, when we’re aiming toward a future of opportunity where we have broad-based economic growth that includes everybody, and where, yes, we stand up for human rights and civil rights,” Clinton said.\u003c/p>\n\u003cp>But, asked to choose her biggest regret, Clinton didn’t look inward.\u003c/p>\n\u003cp>“Losing is my biggest regret,” she said. “And losing to someone who was not qualified and did not have the experience or the temperament to be president of the United States. That is my biggest regret.”\u003c/p>\n\u003cfigure id=\"attachment_13808175\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-1020x679.jpg\" alt=\"Clinton says her biggest regret from the 2016 presidential election is losing.\" width=\"640\" height=\"426\" class=\"size-large wp-image-13808175\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-1920x1279.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/agrunwald_hrc_04_custom-af2841d7507f38ac741937495591fd74ec43468d-520x346.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Clinton says her biggest regret from the 2016 presidential election is losing. \u003ccite>(Adrienne Grunwald for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Clinton deflected the question of whether another Democrat could have beaten Trump, saying, “Well, I don’t think it’s useful to speculate, because I was the nominee.”\u003c/p>\n\u003cp>What if Joe Biden had been the nominee?\u003c/p>\n\u003cp>“Well, he wasn’t. And you know he ran in ’08, and he didn’t run in this this time — if he wants to run in the future, he can do that,” she said.\u003c/p>\n\u003cp>\u003cstrong>Comey, The Russians, Voter Suppression And Other External Forces\u003c/strong>\u003c/p>\n\u003cp>In an election decided by fewer than 100,000 votes in three states, Clinton argues any number of factors could have decided the election.\u003c/p>\n\u003cp>“I was on the path to winning, and I felt great about the three debates,” Clinton said when asked about issues of trust that dogged her campaign. “And then unfortunately the Comey letter, aided in great measure by the Russian WikiLeaks, raised all those doubts again.”\u003c/p>\n\u003cp>Less than two weeks before the election, then-FBI Director James Comey told Congress the Bureau would be revisiting its investigation into the handling of classified information in connection with Clinton. On Nov. 6, he said a newly discovered trove of emails did not change the FBI’s recommendation that Clinton not be charged. Nevertheless, Clinton has repeatedly placed blame on this sequence of events for undermining her candidacy at a crucial moment.\u003c/p>\n\u003cp>WikiLeaks’ release of thousands of emails allegedly tied to Clinton’s campaign chairman, John Podesta, is another frequent target of hers. The documents disclosed internal campaign deliberation about Clinton’s private email server and excerpts from her Wall Street speeches. The campaign linked the release to Russia.\u003c/p>\n\u003cp>In the states Clinton lost, she argues voter ID requirements and other changes in the law made it harder for people who supported her to vote.\u003c/p>\n\u003cp>“In Wisconsin, Michigan, Pennsylvania in particular, as well as North Carolina, there was a concerted effort to suppress the vote,” she said, recounting anecdotes about people whose identification didn’t qualify them to vote in Milwaukee.\u003c/p>\n\u003cp>As for Russian interference in the election, Clinton thinks that in addition to the investigation being led by special counsel Robert Mueller, there should be an independent commission, like the 9/11 Commission.\u003c/p>\n\u003cp>“And if we don’t come together as a country and with leadership from the White House and the Congress to combat it, to try to prevent it from happening again, we are really putting our democracy at risk,” Clinton said.\u003c/p>\n\u003cp>She has been following the twists and turns of the Russia investigations and devotes a chapter of her book\u003cstrong> \u003c/strong>to the topic.\u003c/p>\n\u003cp>“We’re only now finding out what we did try to warn people about starting last summer,” Clinton said. But back then those warnings were often dismissed as a campaign trying to distract from the damaging revelations from the WikiLeaks emails. “And I think because it was so surreal — how, what do you mean the Russians are influencing our election? Now we know. Not only were they, they did. And not only did they, they will continue to do so.”\u003c/p>\n\u003cp>\u003cstrong>Talking About Sexism And Misogyny\u003c/strong>\u003c/p>\n\u003cp>Clinton devotes a chapter of her book to being a woman in politics, and in conversations with NPR, she had a lot to say about it. Clinton said it is clear some share of the electorate “is just not ready” for a woman to be president. “They just cannot imagine it, and they are resistant to it. And I want in this book to make it very clear that what happened to me was not just about me,” Clinton said.\u003c/p>\n\u003cp>There were some voters who said they were open to a woman as president, just not \u003cem>that \u003c/em>woman, in reference to Clinton. But she doesn’t buy that a different female candidate would have had it any easier.\u003c/p>\n\u003cp>“Look, if you think it’s just about me, you don’t have to deal with it. … OK, I lost, you know? Have a nice time walking in the woods. But if you think it’s endemic as I believe it is, and that when a woman sticks her head up, she gets hit from both the right and the left by men who — primarily men — who do not want to accept the reality of a woman being a leader, an executive,” Clinton said.\u003c/p>\n\u003cp>Her reference to men on “both the right and the left” isn’t without purpose. In the book she has harsh words for supporters of Bernie Sanders, so-called Bernie Bros, who intimidated her supporters online to the point that they hid their feelings in private Facebook groups.\u003c/p>\n\u003cp>“I want people to understand sexism and misogyny are real,” Clinton said. “They’re real in business, they’re real in politics, and people have to start standing up against it. And we have to equip young women to be able to ward it off and speak out, and we have to encourage men, particularly young men, not to buy into it. And we have to recognize there are deep stereotypes.”\u003c/p>\n\u003cp>As to the claim from some Sanders supporters that Clinton ran with a sense of entitlement, she said, “I just totally reject that.” Clinton called the criticism “off base.”\u003c/p>\n\u003cp>Even after she clinched the nomination, she said, Sanders “just kept going, and he and his followers’ attacks on me kept getting more and more personal, despite him asking me not to attack him personally. And you know, I really regret that. But now he’s got a chance to prove that he’s something other than a spoiler. And that is to help other Democrats. And I don’t know if he will or not, but I’m hoping he will.”\u003c/p>\n\u003cp>\u003cstrong>Out Of The Woods\u003c/strong>\u003c/p>\n\u003cp>Immediately following her election loss, Clinton returned home to Chappaqua, N.Y., and spent a lot of time hiking in the woods nearby with her husband, the former president, and their dogs.\u003c/p>\n\u003cp>“It was part of a process after the election to come to terms with having lost, and my personal disappointment in letting millions of people down. Also my fears about what a Trump presidency might mean for our country and the world,” Clinton said, back in the woods for her interview with Keith. “So I had a lot to think about. And I think well when I’m walking. I sort of clear my mind.”\u003c/p>\n\u003cp>That first day in the woods, she ran into a woman walking with her baby and dog. Her Facebook post spawned a meme, “HRC in the wild,” and rapidly led to people looking for Clinton in the woods.\u003c/p>\n\u003cp>“One time we drove up here to go for a walk, and there were about a dozen people lying in wait, and I thought, ‘OK we’re gonna go somewhere more peaceful than that,’ ” Clinton said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the interview wrapped up, Clinton was approached by two women and a yellow Labrador. \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=Hillary+Clinton+Is+%27Done%2C%27+But+Not+Going+Away&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'The Deuce,' Sex Isn't Titillating — It's Business",
"headTitle": "In ‘The Deuce,’ Sex Isn’t Titillating — It’s Business | KQED",
"content": "\u003cp>Journalist-turned-TV producer David Simon is particularly good at two things: exposing the mindless, brutal institutions and systems that grind many Americans down, and humanizing people who normally exist at the margins of polite conversation.\u003c/p>\n\u003cp>When Simon tackled those subjects in HBO’s \u003cem>The Wire\u003c/em>, he created one of the best series on television. Now he’s created the best new show of the 2017 fall season in HBO’s \u003cem>The Deuce \u003c/em>(debuting Sunday), a gritty, urban drama about the moment pornography became “street legal” in New York City, and the commodification of flesh became an industry. (Ed. note: This is a show about pornography, so, as you might expect, this review discusses adult themes.)\u003c/p>\n\u003cp>The setting for Simon’s latest urban fable is 1970s Times Square, before the days of Disney stores and chain restaurants. This is back when streetwalkers worked “The Deuce” (slang for West 42nd Street in Midtown) accepting occasional police roundups and overnight stays in a holding cell as the cost of doing business.\u003c/p>\n\u003cp>Because it’s Simon (working with \u003cem>Wire\u003c/em> buddies like \u003ca href=\"http://www.npr.org/2015/02/17/385765453/in-richard-prices-new-novel-haunted-cops-and-cases-they-couldnt-close\" target=\"_blank\" rel=\"noopener\">crime novelist Richard Price\u003c/a> and \u003cem>Deuce\u003c/em> co-creator \u003ca href=\"http://www.npr.org/2015/01/06/375166711/d-c-author-george-pelecanos-writes-what-he-knows-in-the-martini-shot\" target=\"_blank\" rel=\"noopener\">George Pelecanos\u003c/a>) the world created here is so accurately run-down and sleazy you want to take a shower after every episode. Prostitutes give oral sex in phone booths and cops shrug when they have a night where there’s only a couple of rapes in the neighborhood. In one impressive wide shot, a character walks across a sprawling street filled with period-specific cars as the city skyline rises in the distance, looking exactly like the time of \u003ca href=\"http://www.nytimes.com/2000/12/21/nyregion/john-v-lindsay-mayor-and-maverick-dies-at-79.html?mcubz=0\" target=\"_blank\" rel=\"noopener\">John Lindsay\u003c/a> and \u003ca href=\"http://www.rollingstone.com/music/features/inside-maxs-kansas-city-1976-punk-reissue-w481763\" target=\"_blank\" rel=\"noopener\">Max’s Kansas City\u003c/a>.\u003c/p>\n\u003cp>The show is also loosely based on reality, inspired by the real-life stories of two twin brothers who served as frontmen for the Gambino crime family in Manhattan. James Franco plays fictionalized versions of both men — Vincent, a straight-shooting bar manager, and Frankie, a charismatic, degenerate gambler. Vincent starts out as a typical Simon protagonist: He’s smart, working-class, unassuming and more than a little flawed, ground-down by two thankless jobs and a wayward wife. Opportunity comes knocking when a Gambino captain sets him up to run his own bar.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Franco’s role isn’t the gimmick it might seem. He gives Vincent and Frankie markedly different attitudes — Vincent in particular becomes the guy you want to root for even when his wife’s cheating pushes him to leave her and their two kids for a room in a Times Square flophouse. Franco even directs two of the show’s eight episodes.\u003c/p>\n\u003cp>The real revelation here is Maggie Gyllenhaal, who shines as Candy, a prostitute who begins to see a way off the street by moving into porn films. Candy works independently, without the protection of the pimps who controlled most of the Deuce’s streetwalkers, and Gyllenhaal exposes herself both physically and emotionally. When one kid tries to get a freebie after their first session ends quickly, Candy is quick to school him: Car salesmen don’t give a customer an extra car just because he closes a sale quickly.\u003c/p>\n\u003cp>The sex in \u003cem>The Deuce\u003c/em> isn’t titillating, and that’s by design. It’s a business transaction: either a momentary pleasure sold by a prostitute or an awkward fantasy depicted in amateurish films. It is, however, explicit, with equal opportunity nudity (including at least three instances where male equipment is shown in an, um, excited state, which I have never seen on a TV series before).\u003c/p>\n\u003cp>It’s tough to imagine today, when the Internet offers 24-hour access to pornography, but in the early 1970s movies and magazines depicting sex were illegal. Then a Supreme Court decision tied such laws to local community standards, and suddenly pornography was legal in New York City. As one character, a porn director, explains, “There’s been a change in the law about community standards. Apparently, New York has none.”\u003c/p>\n\u003cp>Before long, police are pushing prostitutes off the streets and into mob-owned brothels, which pay the cops for protection. Porn movie producers are paying those same prostitutes a pittance to star in their movies, and pimps are fighting to stay in control as the sex trade transforms beneath their feet.\u003c/p>\n\u003cp>Along the way, we hear pimps speak earnestly about why even their women want them to fail; we watch weary cops pursue pointless busts to serve the agendas of those above them; and occasionally violent flares take the lives of characters we have come to care about.\u003c/p>\n\u003cp>Simon and Pelecanos were well aware of the fact that they’re two white men recreating a world in which women were brutally oppressed, so they took care to include female collaborators like writers \u003ca href=\"http://www.npr.org/2014/06/20/323214513/in-fever-towns-teen-tic-epidemic-gets-a-chilling-novelization\" target=\"_blank\" rel=\"noopener\">Megan Abbott\u003c/a> and Lisa Lutz, and director Michelle MacLaren. Maggie Gyllenhaal is also a producer on the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Almost every major character is a cog in someone else’s wheel struggling to stay afloat while wading through the muck of life on the Deuce. Those compelling, artfully drawn characters keep you enthralled even as the show goes about the slow business of showing how pimps, prostitutes, the mob and police helped turn a back-alley pursuit into a billion-dollar industry. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27The+Deuce%2C%27+Sex+Isn%27t+Titillating+%E2%80%94+It%27s+Business&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Journalist-turned-TV producer David Simon is particularly good at two things: exposing the mindless, brutal institutions and systems that grind many Americans down, and humanizing people who normally exist at the margins of polite conversation.\u003c/p>\n\u003cp>When Simon tackled those subjects in HBO’s \u003cem>The Wire\u003c/em>, he created one of the best series on television. Now he’s created the best new show of the 2017 fall season in HBO’s \u003cem>The Deuce \u003c/em>(debuting Sunday), a gritty, urban drama about the moment pornography became “street legal” in New York City, and the commodification of flesh became an industry. (Ed. note: This is a show about pornography, so, as you might expect, this review discusses adult themes.)\u003c/p>\n\u003cp>The setting for Simon’s latest urban fable is 1970s Times Square, before the days of Disney stores and chain restaurants. This is back when streetwalkers worked “The Deuce” (slang for West 42nd Street in Midtown) accepting occasional police roundups and overnight stays in a holding cell as the cost of doing business.\u003c/p>\n\u003cp>Because it’s Simon (working with \u003cem>Wire\u003c/em> buddies like \u003ca href=\"http://www.npr.org/2015/02/17/385765453/in-richard-prices-new-novel-haunted-cops-and-cases-they-couldnt-close\" target=\"_blank\" rel=\"noopener\">crime novelist Richard Price\u003c/a> and \u003cem>Deuce\u003c/em> co-creator \u003ca href=\"http://www.npr.org/2015/01/06/375166711/d-c-author-george-pelecanos-writes-what-he-knows-in-the-martini-shot\" target=\"_blank\" rel=\"noopener\">George Pelecanos\u003c/a>) the world created here is so accurately run-down and sleazy you want to take a shower after every episode. Prostitutes give oral sex in phone booths and cops shrug when they have a night where there’s only a couple of rapes in the neighborhood. In one impressive wide shot, a character walks across a sprawling street filled with period-specific cars as the city skyline rises in the distance, looking exactly like the time of \u003ca href=\"http://www.nytimes.com/2000/12/21/nyregion/john-v-lindsay-mayor-and-maverick-dies-at-79.html?mcubz=0\" target=\"_blank\" rel=\"noopener\">John Lindsay\u003c/a> and \u003ca href=\"http://www.rollingstone.com/music/features/inside-maxs-kansas-city-1976-punk-reissue-w481763\" target=\"_blank\" rel=\"noopener\">Max’s Kansas City\u003c/a>.\u003c/p>\n\u003cp>The show is also loosely based on reality, inspired by the real-life stories of two twin brothers who served as frontmen for the Gambino crime family in Manhattan. James Franco plays fictionalized versions of both men — Vincent, a straight-shooting bar manager, and Frankie, a charismatic, degenerate gambler. Vincent starts out as a typical Simon protagonist: He’s smart, working-class, unassuming and more than a little flawed, ground-down by two thankless jobs and a wayward wife. Opportunity comes knocking when a Gambino captain sets him up to run his own bar.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Franco’s role isn’t the gimmick it might seem. He gives Vincent and Frankie markedly different attitudes — Vincent in particular becomes the guy you want to root for even when his wife’s cheating pushes him to leave her and their two kids for a room in a Times Square flophouse. Franco even directs two of the show’s eight episodes.\u003c/p>\n\u003cp>The real revelation here is Maggie Gyllenhaal, who shines as Candy, a prostitute who begins to see a way off the street by moving into porn films. Candy works independently, without the protection of the pimps who controlled most of the Deuce’s streetwalkers, and Gyllenhaal exposes herself both physically and emotionally. When one kid tries to get a freebie after their first session ends quickly, Candy is quick to school him: Car salesmen don’t give a customer an extra car just because he closes a sale quickly.\u003c/p>\n\u003cp>The sex in \u003cem>The Deuce\u003c/em> isn’t titillating, and that’s by design. It’s a business transaction: either a momentary pleasure sold by a prostitute or an awkward fantasy depicted in amateurish films. It is, however, explicit, with equal opportunity nudity (including at least three instances where male equipment is shown in an, um, excited state, which I have never seen on a TV series before).\u003c/p>\n\u003cp>It’s tough to imagine today, when the Internet offers 24-hour access to pornography, but in the early 1970s movies and magazines depicting sex were illegal. Then a Supreme Court decision tied such laws to local community standards, and suddenly pornography was legal in New York City. As one character, a porn director, explains, “There’s been a change in the law about community standards. Apparently, New York has none.”\u003c/p>\n\u003cp>Before long, police are pushing prostitutes off the streets and into mob-owned brothels, which pay the cops for protection. Porn movie producers are paying those same prostitutes a pittance to star in their movies, and pimps are fighting to stay in control as the sex trade transforms beneath their feet.\u003c/p>\n\u003cp>Along the way, we hear pimps speak earnestly about why even their women want them to fail; we watch weary cops pursue pointless busts to serve the agendas of those above them; and occasionally violent flares take the lives of characters we have come to care about.\u003c/p>\n\u003cp>Simon and Pelecanos were well aware of the fact that they’re two white men recreating a world in which women were brutally oppressed, so they took care to include female collaborators like writers \u003ca href=\"http://www.npr.org/2014/06/20/323214513/in-fever-towns-teen-tic-epidemic-gets-a-chilling-novelization\" target=\"_blank\" rel=\"noopener\">Megan Abbott\u003c/a> and Lisa Lutz, and director Michelle MacLaren. Maggie Gyllenhaal is also a producer on the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Almost every major character is a cog in someone else’s wheel struggling to stay afloat while wading through the muck of life on the Deuce. Those compelling, artfully drawn characters keep you enthralled even as the show goes about the slow business of showing how pimps, prostitutes, the mob and police helped turn a back-alley pursuit into a billion-dollar industry. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27The+Deuce%2C%27+Sex+Isn%27t+Titillating+%E2%80%94+It%27s+Business&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Martin Shkreli, the “pharma bro” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/04/541658697/pharma-bro-martin-shkreli-convicted-of-securities-fraud\" target=\"_blank\" rel=\"noopener\">convicted\u003c/a> in early August of securities fraud, is claiming he’s prepared to sell the sole copy of a one-of-a-kind Wu-Tang Clan album.\u003c/p>\n\u003cp>After \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/09/459059359/sole-copy-of-latest-wu-tang-album-was-sold-to-pharma-bro\" target=\"_blank\" rel=\"noopener\">buying\u003c/a> \u003cem>Once Upon A Time In Shaolin… \u003c/em>in late 2015 in an auction set up by Wu-Tang co-founder and producer RZA, Shkreli has posted the album on \u003ca href=\"http://www.ebay.com/itm/132319745117\">eBay\u003c/a>.\u003c/p>\n\u003cp>In a listing for the record, Shkreli writes he has “not carefully listened to the album.” As of Wednesday morning, the double-CD had received 199 bids, the highest being $100,000. (Shkreli paid an “undisclosed figure in the millions,” according to the sale’s \u003ca href=\"https://paddle8.com/about/press/wu-tang-sold\" target=\"_blank\" rel=\"noopener\">press release\u003c/a>.)\u003c/p>\n\u003cp>Half of the money generated from the sale will go to “medical research,” he writes, though he also reserved the right to cancel the auction and destroy the album’s only copy instead.\u003c/p>\n\u003cp>Shkreli encourages the buyer of \u003cem>Once Upon A Time In Shaolin…\u003c/em> to do something he has yet to do — release the music on the internet. Shkreli hopes “someone with a bigger heart for music can be found for this one-of-a-kind piece and makes it available for the world to hear.” \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=%27Pharma+Bro%27+Martin+Shkreli+Lists+His+Wu-Tang+Album+On+eBay&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>Martin Shkreli, the “pharma bro” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/04/541658697/pharma-bro-martin-shkreli-convicted-of-securities-fraud\" target=\"_blank\" rel=\"noopener\">convicted\u003c/a> in early August of securities fraud, is claiming he’s prepared to sell the sole copy of a one-of-a-kind Wu-Tang Clan album.\u003c/p>\n\u003cp>After \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/09/459059359/sole-copy-of-latest-wu-tang-album-was-sold-to-pharma-bro\" target=\"_blank\" rel=\"noopener\">buying\u003c/a> \u003cem>Once Upon A Time In Shaolin… \u003c/em>in late 2015 in an auction set up by Wu-Tang co-founder and producer RZA, Shkreli has posted the album on \u003ca href=\"http://www.ebay.com/itm/132319745117\">eBay\u003c/a>.\u003c/p>\n\u003cp>In a listing for the record, Shkreli writes he has “not carefully listened to the album.” As of Wednesday morning, the double-CD had received 199 bids, the highest being $100,000. (Shkreli paid an “undisclosed figure in the millions,” according to the sale’s \u003ca href=\"https://paddle8.com/about/press/wu-tang-sold\" target=\"_blank\" rel=\"noopener\">press release\u003c/a>.)\u003c/p>\n\u003cp>Half of the money generated from the sale will go to “medical research,” he writes, though he also reserved the right to cancel the auction and destroy the album’s only copy instead.\u003c/p>\n\u003cp>Shkreli encourages the buyer of \u003cem>Once Upon A Time In Shaolin…\u003c/em> to do something he has yet to do — release the music on the internet. Shkreli hopes “someone with a bigger heart for music can be found for this one-of-a-kind piece and makes it available for the world to hear.” \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=%27Pharma+Bro%27+Martin+Shkreli+Lists+His+Wu-Tang+Album+On+eBay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>John Ashbery, a Pulitzer Prize-winning poet known for his surrealist, confounding works, has died at age 90.\u003c/p>\n\u003cp>The poet died of natural causes in his Hudson, N.Y., home early Sunday, confirms Farrar, Straus & Giroux, the publicist for a new Ashbery biography.\u003c/p>\n\u003cp>His 1975 collection, \u003cem>Self-Portrait in a Convex Mirror\u003c/em>, what many consider his masterpiece\u003cem>,\u003c/em> won a rare trifecta of the literary world: the Pulitzer Prize, the National Book Award and the National Book Critics Circle prize. The title poem was a mediation on Parmigianino’s 16th century Italian painting of the same name. In 2012, Former President Barack Obama recognized Ashbery with the National Humanities Medal.\u003c/p>\n\u003cp>From an early age, his tendency to reject poetic conventions evolved under the influences of music, like John Cage, and visual art, particularly that of abstract expressionist painters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/09/03/arts/john-ashbery-dead-prize-winning-poet.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">identified the relationship\u003c/a>, “If the verse is challenging, that was in part Mr. Ashbery’s aim — to compel readers to rethink their presumptions about poetry, just as the Abstract Expressionists asked viewers to discard their preconceptions about painting.”\u003c/p>\n\u003cp>“My ambition was to be a painter,” he told Ashbery \u003ca href=\"https://www.theparisreview.org/interviews/3014/john-ashbery-the-art-of-poetry-no-33-john-ashbery\" target=\"_blank\" rel=\"noopener\">told Peter Stitt\u003c/a> of the Paris Review. He took painting classes in his preteen years, but “found that poetry was easier than painting.” Meanwhile, he began consuming modern poetry.\u003c/p>\n\u003cp>He cut his teeth on a Louis Untermeyer anthology, he tells Stitt. In the way many critics found Ashbery’s poetry indecipherable, “I didn’t understand much of it at first … I guess it was just a desire to emulate that started me writing poetry.”\u003c/p>\n\u003cp>While his enigmatic poems confounded literary critics and peers, his experimental style reinvented literature for a generation of writers.\u003c/p>\n\u003cp>Ashbery’s first book puzzled admired poet W.H. Auden. (\u003ca href=\"https://books.google.com/books?id=gu_nTkN6i-gC&pg=PA214&lpg=PA214&dq=My+poetry+imitates+or+reproduces+the+way+knowledge+or+awareness+come+to+me,+which+is+by+fits+and+starts+and+by+indirection.+I+don%E2%80%99t+think+poetry+arranged+in+neat+patterns+would+reflect+that+situation.+My+poetry+is+disjunct,+but+then+so+is+life.&source=bl&ots=nnMHYV1jZf&sig=u9Jdx4NjYimQYTVLibBaOcoZOAE&hl=en&sa=X&ved=0ahUKEwjGqt2IiorWAhVp34MKHZJpA9YQ6AEILzAC#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener\">Ashbery considered\u003c/a> Auden “one of the writers who most formed my language as a poet.”) As \u003ca href=\"https://www.nytimes.com/2017/09/03/arts/john-ashbery-dead-prize-winning-poet.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">the Times notes\u003c/a>, when Auden selected Ashbery as the Yale Younger Poets Prize winner for \u003cem>Some Trees \u003c/em>(1956), he later “confessed that he had not understood a word of it.” \u003c/p>\n\u003cp>In fact, Ashbery joked to The Associated Press in 2008 that, were he to verbify his last name, it would mean “to confuse the hell out of people.”\u003c/p>\n\u003cp>His unorthodox work, \u003ca href=\"https://www.poetryfoundation.org/poets/john-ashbery\">Ashbery once told\u003c/a> the London \u003cem>Times\u003c/em>, is fluctuant because life itself is\u003cem>:\u003c/em> “I don’t find any direct statements in life. My poetry imitates or reproduces the way knowledge or awareness come to me, which is by fits and starts and by indirection. I don’t think poetry arranged in neat patterns would reflect that situation. My poetry is disjunct, but then so is life.”\u003c/p>\n\u003cp>He described poetry as a “marginal occupation” within society, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4542617\">in a 2005 interview\u003c/a> with \u003cem>Weekend Edition\u003c/em> host Scott Simon. Critics have told him they’ve found his work inaccessible to a mainstream audience, he said, but his themes regarding the human experience, such as doubt and uncertainty, address many.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wish that they were as accessible to as many people as possible,” he told Simon. “They are not, I wouldn’t say, private. What they are is about the privacy of all of us and the difficulty of our own thinking and coming to conclusions. And in that way they are, I think, accessible if anybody cares to access them.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Ashbery%2C+Celebrated+And+Experimental+Poet+Of+The+20th+Century%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>John Ashbery, a Pulitzer Prize-winning poet known for his surrealist, confounding works, has died at age 90.\u003c/p>\n\u003cp>The poet died of natural causes in his Hudson, N.Y., home early Sunday, confirms Farrar, Straus & Giroux, the publicist for a new Ashbery biography.\u003c/p>\n\u003cp>His 1975 collection, \u003cem>Self-Portrait in a Convex Mirror\u003c/em>, what many consider his masterpiece\u003cem>,\u003c/em> won a rare trifecta of the literary world: the Pulitzer Prize, the National Book Award and the National Book Critics Circle prize. The title poem was a mediation on Parmigianino’s 16th century Italian painting of the same name. In 2012, Former President Barack Obama recognized Ashbery with the National Humanities Medal.\u003c/p>\n\u003cp>From an early age, his tendency to reject poetic conventions evolved under the influences of music, like John Cage, and visual art, particularly that of abstract expressionist painters.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/09/03/arts/john-ashbery-dead-prize-winning-poet.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">identified the relationship\u003c/a>, “If the verse is challenging, that was in part Mr. Ashbery’s aim — to compel readers to rethink their presumptions about poetry, just as the Abstract Expressionists asked viewers to discard their preconceptions about painting.”\u003c/p>\n\u003cp>“My ambition was to be a painter,” he told Ashbery \u003ca href=\"https://www.theparisreview.org/interviews/3014/john-ashbery-the-art-of-poetry-no-33-john-ashbery\" target=\"_blank\" rel=\"noopener\">told Peter Stitt\u003c/a> of the Paris Review. He took painting classes in his preteen years, but “found that poetry was easier than painting.” Meanwhile, he began consuming modern poetry.\u003c/p>\n\u003cp>He cut his teeth on a Louis Untermeyer anthology, he tells Stitt. In the way many critics found Ashbery’s poetry indecipherable, “I didn’t understand much of it at first … I guess it was just a desire to emulate that started me writing poetry.”\u003c/p>\n\u003cp>While his enigmatic poems confounded literary critics and peers, his experimental style reinvented literature for a generation of writers.\u003c/p>\n\u003cp>Ashbery’s first book puzzled admired poet W.H. Auden. (\u003ca href=\"https://books.google.com/books?id=gu_nTkN6i-gC&pg=PA214&lpg=PA214&dq=My+poetry+imitates+or+reproduces+the+way+knowledge+or+awareness+come+to+me,+which+is+by+fits+and+starts+and+by+indirection.+I+don%E2%80%99t+think+poetry+arranged+in+neat+patterns+would+reflect+that+situation.+My+poetry+is+disjunct,+but+then+so+is+life.&source=bl&ots=nnMHYV1jZf&sig=u9Jdx4NjYimQYTVLibBaOcoZOAE&hl=en&sa=X&ved=0ahUKEwjGqt2IiorWAhVp34MKHZJpA9YQ6AEILzAC#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener\">Ashbery considered\u003c/a> Auden “one of the writers who most formed my language as a poet.”) As \u003ca href=\"https://www.nytimes.com/2017/09/03/arts/john-ashbery-dead-prize-winning-poet.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">the Times notes\u003c/a>, when Auden selected Ashbery as the Yale Younger Poets Prize winner for \u003cem>Some Trees \u003c/em>(1956), he later “confessed that he had not understood a word of it.” \u003c/p>\n\u003cp>In fact, Ashbery joked to The Associated Press in 2008 that, were he to verbify his last name, it would mean “to confuse the hell out of people.”\u003c/p>\n\u003cp>His unorthodox work, \u003ca href=\"https://www.poetryfoundation.org/poets/john-ashbery\">Ashbery once told\u003c/a> the London \u003cem>Times\u003c/em>, is fluctuant because life itself is\u003cem>:\u003c/em> “I don’t find any direct statements in life. My poetry imitates or reproduces the way knowledge or awareness come to me, which is by fits and starts and by indirection. I don’t think poetry arranged in neat patterns would reflect that situation. My poetry is disjunct, but then so is life.”\u003c/p>\n\u003cp>He described poetry as a “marginal occupation” within society, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4542617\">in a 2005 interview\u003c/a> with \u003cem>Weekend Edition\u003c/em> host Scott Simon. Critics have told him they’ve found his work inaccessible to a mainstream audience, he said, but his themes regarding the human experience, such as doubt and uncertainty, address many.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wish that they were as accessible to as many people as possible,” he told Simon. “They are not, I wouldn’t say, private. What they are is about the privacy of all of us and the difficulty of our own thinking and coming to conclusions. And in that way they are, I think, accessible if anybody cares to access them.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Ashbery%2C+Celebrated+And+Experimental+Poet+Of+The+20th+Century%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a little more than a week since its release, Taylor Swift’s new single, “Look What You Made Me Do,” has ridden a wave of attention into record-breaking metrics. Driven by an expertly cryptic promotional campaign, the first single from Swift’s forthcoming album \u003cem>Reputation\u003c/em> set first-day records on YouTube and Spotify and drew the biggest weekly streaming and sales numbers for a single yet this year, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7950114/taylor-swift-look-what-you-made-me-do-number-one-hot-100\">according\u003c/a> to \u003cem>Billboard. \u003c/em>\u003c/p>\n\u003cp>Now, “Look” is the new No. 1 song in the country. It broke Adele’s record (of 61.6 million plays) for most-streamed debut week by a female artist, with 84.4 million U.S. streams. And, in what must be a bitter disappointment for Luis Fonsi and Daddy Yankee, Swift displaced “Despacito” atop the Hot 100, where it has sat for four months. If “Despacito” had lasted one more week at No. 1, it \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7942306/despacito-hot-100-number-one-ties-record-luis-fonsi-daddy-yankee-justin-bieber\">would have set\u003c/a> an all-time record for most weeks at the top of the chart.\u003c/p>\n\u003cp>Swift is the first woman to top the Hot 100 chart this year.\u003c/p>\n\u003cp>As mentioned, “Look” also set records the first day it was released, breaking Spotify’s high-water mark for first-day streams — set by her friend Ed Sheeran earlier this year — with 10,129,087 plays in a single day. It was also the most streams generated by any song in one day since Spotify launched.\u003c/p>\n\u003cp>On video sites, “Look” also broke first-day numbers, drawing in 43.2 million plays on YouTube its first day of release, unseating PSY’s 2013 single “Gentleman.” Over on Vevo, the song also broke first-day views with more than 30 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, Swift released another new song this past Sunday — the more generally focused but equally self-examining and faux-lectro-luxe “… Ready For It?” — but all anyone seems to care about is “Look What You Made Me Do.” That new single drew 3.74 million plays on Spotify in the two days since its release over the long weekend — numbers that would be impressive for anyone, if that anyone hadn’t done what “Look” just did. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3tmd-ClpJxA\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=Taylor+Swift%27s+%27Look+What+You+Made+Me+Do%27+Breaks+Records%2C+Stops+%27Despacito%27+Short&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a little more than a week since its release, Taylor Swift’s new single, “Look What You Made Me Do,” has ridden a wave of attention into record-breaking metrics. Driven by an expertly cryptic promotional campaign, the first single from Swift’s forthcoming album \u003cem>Reputation\u003c/em> set first-day records on YouTube and Spotify and drew the biggest weekly streaming and sales numbers for a single yet this year, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7950114/taylor-swift-look-what-you-made-me-do-number-one-hot-100\">according\u003c/a> to \u003cem>Billboard. \u003c/em>\u003c/p>\n\u003cp>Now, “Look” is the new No. 1 song in the country. It broke Adele’s record (of 61.6 million plays) for most-streamed debut week by a female artist, with 84.4 million U.S. streams. And, in what must be a bitter disappointment for Luis Fonsi and Daddy Yankee, Swift displaced “Despacito” atop the Hot 100, where it has sat for four months. If “Despacito” had lasted one more week at No. 1, it \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7942306/despacito-hot-100-number-one-ties-record-luis-fonsi-daddy-yankee-justin-bieber\">would have set\u003c/a> an all-time record for most weeks at the top of the chart.\u003c/p>\n\u003cp>Swift is the first woman to top the Hot 100 chart this year.\u003c/p>\n\u003cp>As mentioned, “Look” also set records the first day it was released, breaking Spotify’s high-water mark for first-day streams — set by her friend Ed Sheeran earlier this year — with 10,129,087 plays in a single day. It was also the most streams generated by any song in one day since Spotify launched.\u003c/p>\n\u003cp>On video sites, “Look” also broke first-day numbers, drawing in 43.2 million plays on YouTube its first day of release, unseating PSY’s 2013 single “Gentleman.” Over on Vevo, the song also broke first-day views with more than 30 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, Swift released another new song this past Sunday — the more generally focused but equally self-examining and faux-lectro-luxe “… Ready For It?” — but all anyone seems to care about is “Look What You Made Me Do.” That new single drew 3.74 million plays on Spotify in the two days since its release over the long weekend — numbers that would be impressive for anyone, if that anyone hadn’t done what “Look” just did. \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3tmd-ClpJxA'\n title='//www.youtube.com/embed/3tmd-ClpJxA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=Taylor+Swift%27s+%27Look+What+You+Made+Me+Do%27+Breaks+Records%2C+Stops+%27Despacito%27+Short&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Walter Becker, co-founder of \u003ca href=\"http://www.npr.org/artists/15231985/steely-dan\" target=\"_blank\" rel=\"noopener\">Steely Dan\u003c/a>, died Sunday at the age of 67, according to his website.\u003c/p>\n\u003cp>The news was later confirmed by his longtime bandmate \u003ca href=\"http://www.npr.org/artists/15120953/donald-fagen\" target=\"_blank\" rel=\"noopener\">Donald Fagen\u003c/a>. In a statement, Fagen said “I intend to keep the music we created together alive as long as I can with the Steely Dan band.”\u003c/p>\n\u003cp>No other details were offered, but the guitarist, bassist and songwriter had been in poor health, and didn’t participate in two Steely Dan concerts in July. Fagen told reporters in August that Becker had undergone a medical procedure that prevented him from touring.\u003c/p>\n\u003cp>Becker had performed with Steely Dan as recently as April.\u003c/p>\n\u003cp>Walter Carl Becker founded Steely Dan with singer and songwriter Donald Fagen in 1972, and with the help of many talented session musicians, the band released a string of popular and critically-acclaimed albums that combined rock, jazz and studio wizardry in unprecedented fashion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Becker was careful to distance his music from the “fusion” wave that was taking shape in jazz at the time.\u003c/p>\n\u003cp>“[M]ost of the things that go into the fusion category are premeditated efforts to take incompatible musics and put them together,” Becker told the New York Times \u003ca href=\"http://www.nytimes.com/1977/10/09/archives/americas-finest-mayberock-nonband-steely-dan.html?mcubz=0\" target=\"_blank\" rel=\"noopener\">in 1977\u003c/a>. “We try not to do that. There’s a certain attitude concerning improvisation that we got from jazz, where musicians are a little freer to play around what’s different from most rock today, in which the players seem very constricted. But this is the beginning and end of it as far as comparing what we’re doing to jazz.”\u003c/p>\n\u003cp>During the band’s initial run from 1972 to 1981, Steely Dan released six Top 20 albums and scored three Top 10 singles. The band’s best-selling album, 1977’s \u003cem>Aja\u003c/em>, is widely regarded as one of the best rock albums in history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ea3Bofkmwlc\u003c/p>\n\u003cp>The band temporarily disbanded in 1981, during which time Becker focused on producing records rather than making them himself. But Steely Dan’s popularity never waned, and Becker and Fagen regrouped in 1993, primarily as a touring band. It wasn’t until 2000 that the duo would release their comeback album, \u003cem>Two Against Nature\u003c/em>, which won four Grammy Awards, including Album Of The Year.\u003c/p>\n\u003cp>Becker and Fagen were inducted into the Rock & Roll Hall Of Fame a year later.\u003c/p>\n\u003cp>Becker also recorded two solo albums, 1994’s \u003cem>11 Tracks Of Whack\u003c/em> and 2008’s \u003cem>Circus Money\u003c/em>, and produced Fagen’s 1993 album,\u003cem> Kamakiriad\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story. We’ll update with further information as it becomes available.\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=Steely+Dan%27s+Walter+Becker+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walter Becker, co-founder of \u003ca href=\"http://www.npr.org/artists/15231985/steely-dan\" target=\"_blank\" rel=\"noopener\">Steely Dan\u003c/a>, died Sunday at the age of 67, according to his website.\u003c/p>\n\u003cp>The news was later confirmed by his longtime bandmate \u003ca href=\"http://www.npr.org/artists/15120953/donald-fagen\" target=\"_blank\" rel=\"noopener\">Donald Fagen\u003c/a>. In a statement, Fagen said “I intend to keep the music we created together alive as long as I can with the Steely Dan band.”\u003c/p>\n\u003cp>No other details were offered, but the guitarist, bassist and songwriter had been in poor health, and didn’t participate in two Steely Dan concerts in July. Fagen told reporters in August that Becker had undergone a medical procedure that prevented him from touring.\u003c/p>\n\u003cp>Becker had performed with Steely Dan as recently as April.\u003c/p>\n\u003cp>Walter Carl Becker founded Steely Dan with singer and songwriter Donald Fagen in 1972, and with the help of many talented session musicians, the band released a string of popular and critically-acclaimed albums that combined rock, jazz and studio wizardry in unprecedented fashion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Becker was careful to distance his music from the “fusion” wave that was taking shape in jazz at the time.\u003c/p>\n\u003cp>“[M]ost of the things that go into the fusion category are premeditated efforts to take incompatible musics and put them together,” Becker told the New York Times \u003ca href=\"http://www.nytimes.com/1977/10/09/archives/americas-finest-mayberock-nonband-steely-dan.html?mcubz=0\" target=\"_blank\" rel=\"noopener\">in 1977\u003c/a>. “We try not to do that. There’s a certain attitude concerning improvisation that we got from jazz, where musicians are a little freer to play around what’s different from most rock today, in which the players seem very constricted. But this is the beginning and end of it as far as comparing what we’re doing to jazz.”\u003c/p>\n\u003cp>During the band’s initial run from 1972 to 1981, Steely Dan released six Top 20 albums and scored three Top 10 singles. The band’s best-selling album, 1977’s \u003cem>Aja\u003c/em>, is widely regarded as one of the best rock albums in history.\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/ea3Bofkmwlc'\n title='//www.youtube.com/embed/ea3Bofkmwlc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The band temporarily disbanded in 1981, during which time Becker focused on producing records rather than making them himself. But Steely Dan’s popularity never waned, and Becker and Fagen regrouped in 1993, primarily as a touring band. It wasn’t until 2000 that the duo would release their comeback album, \u003cem>Two Against Nature\u003c/em>, which won four Grammy Awards, including Album Of The Year.\u003c/p>\n\u003cp>Becker and Fagen were inducted into the Rock & Roll Hall Of Fame a year later.\u003c/p>\n\u003cp>Becker also recorded two solo albums, 1994’s \u003cem>11 Tracks Of Whack\u003c/em> and 2008’s \u003cem>Circus Money\u003c/em>, and produced Fagen’s 1993 album,\u003cem> Kamakiriad\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story. We’ll update with further information as it becomes available.\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=Steely+Dan%27s+Walter+Becker+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Houston's Jazz Envoys Describe a Vibrant Scene Deluged, and Worry for its Future",
"headTitle": "Houston’s Jazz Envoys Describe a Vibrant Scene Deluged, and Worry for its Future | KQED",
"content": "\u003cp>Kendrick Scott opened his first set on Tuesday night, at the Jazz Standard in New York City, with a pensive new composition titled “Home.” It had a bittersweet melody, a waft of dark harmony, and a beat defined both by chop and flow. “I’m just going to send this out as a meditation for everybody in Houston, Texas right now,” said Scott, a drummer, as he introduced the tune.\u003c/p>\n\u003cp>His band, Kendrick Scott Oracle, is stocked with serious talent, each musician a distinguished leader in his own right. Among them is guitarist Mike Moreno who, like Scott, originally hails from Houston, and has been keeping an anxious watch on the events of the past week.\u003c/p>\n\u003cp>The catastrophic wake of Hurricane Harvey has stretched across East Texas and into Louisiana, taking lives and uprooting tens of thousands of others, while causing billions of dollars in damage and disruption. But the flooding in Houston has been a specific worry for that city’s jazz diaspora, which includes some of the most important artists of the present era.\u003c/p>\n\u003cp>In effect, there’s no way to tell the story of jazz in our time without \u003ca href=\"http://www.npr.org/2016/06/23/483271411/beyond-country-and-blues-the-jazz-legacy-of-houston-texas\">talking about Houston\u003c/a>, even though it doesn’t have the legacy sheen of a place like New Orleans, Chicago or New York. “You can’t point to a jazz club, really, in Houston,” pianist Robert Glasper, a three-time Grammy winner, said by phone this week. “But Houston probably has more jazz musicians that are relevant on the scene now than any other city.”\u003c/p>\n\u003cp>Those musicians all have families back home, and in the days since Harvey made landfall last week, a lot of energy has been devoted to checking up on them, and on each other. Glasper’s father, who lives in Beaumont, lost a friend to floodwaters there. But Glasper, like the half-dozen other musicians I spoke with, considers his family fortunate. “We’ve been on a thread of text messages making sure everybody is cool,” he said, “me and Jamire Williams, Eric Harland, Chris Dave, Kendrick, Jason Moran.”\u003c/p>\n\u003cfigure id=\"attachment_13807247\" class=\"wp-caption alignright\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730.jpe\" alt=\"Brenda Harland, the mother of Eric Harland, took this photo from her porch in the Pleasantville neighborhood of Houston.\" width=\"639\" height=\"479\" class=\"size-full wp-image-13807247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730.jpe 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-520x390.jpe 520w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Harland, the mother of Eric Harland, took this photo from her porch in the Pleasantville neighborhood of Houston. \u003ccite>(Brenda Harlan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notwithstanding Moran, another pianist, every name Glasper lists is an esteemed drummer-bandleader who has helped evolve the pulse of the music. Harland, the big brother of the bunch, was alarmed to see pictures taken by his mother on Saturday, as water was rising around his childhood home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There was a moment when I realized I couldn’t get back there,” he said on Wednesday night, after his efforts to travel to Houston from New York were forestalled. (He made it as far as Dallas-Fort Worth.) “You just want to cry, but you can’t. I’m not the one going through it; if anybody should be crying, it’s them.”\u003c/p>\n\u003cp>Harland’s mother was evacuated by FEMA before the flooding worsened, and she’ll be assessing the damage in the coming days. She resides in the Pleasantville neighborhood of northeast Houston, which is also where Moran’s grandfather lives. (He made it out safely too.)\u003c/p>\n\u003cp>“I have maybe hundreds of family members in Houston,” said Moran, who among other things is the artistic director for jazz at the Kennedy Center. “Nearly all of them are, miraculously, OK. But I have so much concern about how the city rebuilds after this. And it’s not only physically, but psychologically — the trauma of having all this water inundate a livelihood. Kind of like what we saw happen with Hurricane Katrina in New Orleans. These are bastions of southern creativity that could, all of a sudden, be washed away.”\u003c/p>\n\u003cp>That fretful focus on the near-future is a prevailing theme now. “What concerns me is the aftermath,” said pianist Helen Sung. She grew up in southwest Houston, which saw \u003ca href=\"https://www.youtube.com/watch?v=aIx2Cnp6dxU\">considerable flooding from Brays Bayou\u003c/a>. (Her parents, first-generation immigrants, are safe.)\u003c/p>\n\u003cp>Kendrick Scott was raised partly in Meyerland, another area that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/29/547036574/18-000-pounds-of-sandbags-werent-enough-to-protect-this-houston-home\">experienced devastating flooding\u003c/a>. (He said his father, in Missouri City, had been shut in by water but was well-provisioned.) Scott has a unique perspective on the cultural implications of the storm, as a longtime associate of New Orleans-born trumpeter and composer Terence Blanchard.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/100771911/100865759\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>On the 2007 Blue Note album \u003cem>A Tale of God’s Will (A Requiem for Katrina), \u003c/em>Scott helped Blanchard create a poignant reflection on the devastation of Hurricane Katrina. And before his set at the Jazz Standard, 12 years to the day after the breach of levees in New Orleans, Scott voiced wariness about any comparison between that moment and this one.\u003c/p>\n\u003cp>“I’m actually searching my feelings to see how I feel,” he said. “I need more information. It’s been so dark that I’ve just been talking to my family, instead of looking at the news.”\u003c/p>\n\u003cp>Houston’s jazz infrastructure is a curious thing, at once diffuse and deeply entrenched. There are a handful of clubs that feature jazz, with a focus on local talent. Cezanne, on the second floor of a building in the Montrose neighborhood, plans to reopen this Friday with the Bruce Saunders Quartet. Also back in business are Café 4212 and Phil & Derek’s Restaurant and Jazz Bar. But assessing the recovery of the scene isn’t as simple as ticking off a list of venues.\u003c/p>\n\u003cp>“Jazz musicians in the city play \u003cem>everywhere\u003c/em>,” said Moran. “They play at the restaurant, they play at the church, they play at the bar. Or the theaters downtown, like the Wortham. And people live \u003cem>all\u003c/em> over the city.”\u003c/p>\n\u003cp>Downtown Houston’s theater district, the second-largest in the nation, was flooded with water from Buffalo Bayou; earlier this week the \u003cem>Houston Chronicle\u003c/em> \u003ca href=\"http://www.chron.com/entertainment/arts-theater/article/Shades-of-Allison-Houston-Theatre-District-12113867.php\">drew a parallel to Tropical Storm Allison\u003c/a>, which submerged much of the district in 2001. The Wortham Center, home to the Houston Ballet and Houston Grand Opera, saw floodwaters in its underground spaces, including storage areas and dressing rooms.\u003c/p>\n\u003cp>The Wortham Center is home to much of the concert programming by Da Camera of Houston, which specializes in jazz and chamber music. “We are a member of Theater District Houston, which consists of seven presenting organizations,” said Sarah Rothenberg, Da Camera’s artistic and general director. “We’ve been having conference calls since Monday about the state of the buildings. It’s too soon to know anything.”\u003c/p>\n\u003cp>Da Camera has been a major conduit between ex-Houstonians and the city’s jazz community. A few years ago, the organization initiated the \u003ca href=\"https://www.dacamera.com/learn/homecoming-residency/\">Jason Moran Homecoming Residency\u003c/a>, an annual program that brought Moran not only into concert halls but also (and more to the point) into local schools. “These are students who are in elementary and middle school who had gotten curious about music,” Moran said. “All these future musicians who will now have to watch their parents deal with trying to get their lives back together.”\u003c/p>\n\u003cp>The more fortunate among them will likely attend the High School for the Performing and Visual Arts (HSPVA), which has been the single most important factor in Houston’s ascendant influence on the jazz landscape. The school’s legendary former band director, Robert “Doc” Morgan, mentored more than one generation of musicians now in circulation.\u003c/p>\n\u003cfigure id=\"attachment_13807246\" class=\"wp-caption aligncenter\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7.jpg\" alt=\"Houston's High School for the Performing and Visual Arts jazz ensemble in 1997. From left to right, Mark Kelly, Kendrick Scott, Mckenzie Smith, George Rambow, Dustin Drews, Robert Morgan, director, Walter Smith III, Mike Moreno, Richard Cruz, and Robert Glasper.\" width=\"692\" height=\"519\" class=\"size-full wp-image-13807246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7.jpg 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-520x390.jpg 520w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">Houston’s High School for the Performing and Visual Arts jazz ensemble in 1997. From left to right, Mark Kelly, Kendrick Scott, Mckenzie Smith, George Rambow, Dustin Drews, Robert Morgan, director, Walter Smith III, Mike Moreno, Richard Cruz, and Robert Glasper. \u003ccite>(Courtesy of Mike Moreno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A photograph from 1997 depicts the HSPVA Jazz Octet, with members including Glasper, Scott, Moreno, saxophonist Walter Smith III, and bassist Mark Kelly. (Kelly is now a member of The Roots, which serves as a reminder that the HSPVA’s impact extends far beyond jazz — and not just as the \u003cem>alma mater \u003c/em>of Beyoncé.)\u003c/p>\n\u003cp>There’s a strong pipeline from HSPVA to jazz conservatory programs. Several years ago, alumni established \u003ca href=\"https://docfestjazz.org/\">DocFest\u003c/a>, a reunion concert that raises money for the Helen and Bob Morgan Jazz Scholarship Fund at the New School in New York. This year’s DocFest, featuring keyboardist Bob James, was originally scheduled for this Friday, and had to be postponed.\u003c/p>\n\u003cp>But Warren Sneed, the current director of jazz studies at HSPVA, said that school was scheduled to resume on Sept. 11. “I’ve heard from my principal that there was some minor flooding but nothing that wasn’t manageable,” he said.\u003c/p>\n\u003cp>Sneed, who lives south of Meyerland, has been keeping track of students and former students, some of whom have endured serious flooding. “If you live in Houston, you’re going to know somebody who was affected by the flood,” he said. (Chris Walker, one of the alums who started DocFest, lives in a neighborhood that received mandatory evacuation orders.)\u003c/p>\n\u003cp>Still, Sneed spoke with resilient understatement on the city’s recovery. “I don’t see a mass exodus of musicians or anything like that,” he said. “There really is a cool vibe in the city about working together and getting things back on track.”\u003c/p>\n\u003cp>Moreno, among others, echoed this sentiment. “The city’s going to bounce back, there’s no doubt about it,” he said. “Some of my friends in Houston have been going out and doing what they can to help.”\u003c/p>\n\u003cp>Musicians in the Houston diaspora, meanwhile, are weighing options — and in some cases, looking ahead to their return. This year is the 30\u003csup>th\u003c/sup> anniversary of Da Camera, with a new season that happens to bear the theme “No Place Like Home.” The first jazz concert in the series, on Oct. 6, will feature the Robert Glasper Experiment. Future concerts on the calendar include Harland (with saxophonist Charles Lloyd) and Sung (with the Mingus Big Band).\u003c/p>\n\u003cp>“We’re living in a time where the whole idea of home is so fragile,” Rothenberg said. “As soon as you talk about home you’re also talking about its opposite — homelessness and exile. These things feel even more powerful now, as this city looks around and so many of our Houstonians do not have a home.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At the same time, musicians like Scott are looking to Houston with at least an idea of home clear in mind. Moran put it this way: “We who love Houston so much, who have departed the city and carried its name outside to the rest of the world, we owe a great debt to the city. And it might be our time to figure out a way to do something concrete.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO and Jazz At Lincoln Center. To see more, visit \u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\">WBGO and Jazz At Lincoln Center\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Houston%27s+Jazz+Envoys+Describe+A+Vibrant+Scene+Deluged%2C+And+Worry+For+Its+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "An outsized number of jazz heavyweights call Houston and its surrounding area home — here, they speak of the situation down south and their concerns for its future.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kendrick Scott opened his first set on Tuesday night, at the Jazz Standard in New York City, with a pensive new composition titled “Home.” It had a bittersweet melody, a waft of dark harmony, and a beat defined both by chop and flow. “I’m just going to send this out as a meditation for everybody in Houston, Texas right now,” said Scott, a drummer, as he introduced the tune.\u003c/p>\n\u003cp>His band, Kendrick Scott Oracle, is stocked with serious talent, each musician a distinguished leader in his own right. Among them is guitarist Mike Moreno who, like Scott, originally hails from Houston, and has been keeping an anxious watch on the events of the past week.\u003c/p>\n\u003cp>The catastrophic wake of Hurricane Harvey has stretched across East Texas and into Louisiana, taking lives and uprooting tens of thousands of others, while causing billions of dollars in damage and disruption. But the flooding in Houston has been a specific worry for that city’s jazz diaspora, which includes some of the most important artists of the present era.\u003c/p>\n\u003cp>In effect, there’s no way to tell the story of jazz in our time without \u003ca href=\"http://www.npr.org/2016/06/23/483271411/beyond-country-and-blues-the-jazz-legacy-of-houston-texas\">talking about Houston\u003c/a>, even though it doesn’t have the legacy sheen of a place like New Orleans, Chicago or New York. “You can’t point to a jazz club, really, in Houston,” pianist Robert Glasper, a three-time Grammy winner, said by phone this week. “But Houston probably has more jazz musicians that are relevant on the scene now than any other city.”\u003c/p>\n\u003cp>Those musicians all have families back home, and in the days since Harvey made landfall last week, a lot of energy has been devoted to checking up on them, and on each other. Glasper’s father, who lives in Beaumont, lost a friend to floodwaters there. But Glasper, like the half-dozen other musicians I spoke with, considers his family fortunate. “We’ve been on a thread of text messages making sure everybody is cool,” he said, “me and Jamire Williams, Eric Harland, Chris Dave, Kendrick, Jason Moran.”\u003c/p>\n\u003cfigure id=\"attachment_13807247\" class=\"wp-caption alignright\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730.jpe\" alt=\"Brenda Harland, the mother of Eric Harland, took this photo from her porch in the Pleasantville neighborhood of Houston.\" width=\"639\" height=\"479\" class=\"size-full wp-image-13807247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730.jpe 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-520x390.jpe 520w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Harland, the mother of Eric Harland, took this photo from her porch in the Pleasantville neighborhood of Houston. \u003ccite>(Brenda Harlan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notwithstanding Moran, another pianist, every name Glasper lists is an esteemed drummer-bandleader who has helped evolve the pulse of the music. Harland, the big brother of the bunch, was alarmed to see pictures taken by his mother on Saturday, as water was rising around his childhood home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There was a moment when I realized I couldn’t get back there,” he said on Wednesday night, after his efforts to travel to Houston from New York were forestalled. (He made it as far as Dallas-Fort Worth.) “You just want to cry, but you can’t. I’m not the one going through it; if anybody should be crying, it’s them.”\u003c/p>\n\u003cp>Harland’s mother was evacuated by FEMA before the flooding worsened, and she’ll be assessing the damage in the coming days. She resides in the Pleasantville neighborhood of northeast Houston, which is also where Moran’s grandfather lives. (He made it out safely too.)\u003c/p>\n\u003cp>“I have maybe hundreds of family members in Houston,” said Moran, who among other things is the artistic director for jazz at the Kennedy Center. “Nearly all of them are, miraculously, OK. But I have so much concern about how the city rebuilds after this. And it’s not only physically, but psychologically — the trauma of having all this water inundate a livelihood. Kind of like what we saw happen with Hurricane Katrina in New Orleans. These are bastions of southern creativity that could, all of a sudden, be washed away.”\u003c/p>\n\u003cp>That fretful focus on the near-future is a prevailing theme now. “What concerns me is the aftermath,” said pianist Helen Sung. She grew up in southwest Houston, which saw \u003ca href=\"https://www.youtube.com/watch?v=aIx2Cnp6dxU\">considerable flooding from Brays Bayou\u003c/a>. (Her parents, first-generation immigrants, are safe.)\u003c/p>\n\u003cp>Kendrick Scott was raised partly in Meyerland, another area that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/29/547036574/18-000-pounds-of-sandbags-werent-enough-to-protect-this-houston-home\">experienced devastating flooding\u003c/a>. (He said his father, in Missouri City, had been shut in by water but was well-provisioned.) Scott has a unique perspective on the cultural implications of the storm, as a longtime associate of New Orleans-born trumpeter and composer Terence Blanchard.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/100771911/100865759\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>On the 2007 Blue Note album \u003cem>A Tale of God’s Will (A Requiem for Katrina), \u003c/em>Scott helped Blanchard create a poignant reflection on the devastation of Hurricane Katrina. And before his set at the Jazz Standard, 12 years to the day after the breach of levees in New Orleans, Scott voiced wariness about any comparison between that moment and this one.\u003c/p>\n\u003cp>“I’m actually searching my feelings to see how I feel,” he said. “I need more information. It’s been so dark that I’ve just been talking to my family, instead of looking at the news.”\u003c/p>\n\u003cp>Houston’s jazz infrastructure is a curious thing, at once diffuse and deeply entrenched. There are a handful of clubs that feature jazz, with a focus on local talent. Cezanne, on the second floor of a building in the Montrose neighborhood, plans to reopen this Friday with the Bruce Saunders Quartet. Also back in business are Café 4212 and Phil & Derek’s Restaurant and Jazz Bar. But assessing the recovery of the scene isn’t as simple as ticking off a list of venues.\u003c/p>\n\u003cp>“Jazz musicians in the city play \u003cem>everywhere\u003c/em>,” said Moran. “They play at the restaurant, they play at the church, they play at the bar. Or the theaters downtown, like the Wortham. And people live \u003cem>all\u003c/em> over the city.”\u003c/p>\n\u003cp>Downtown Houston’s theater district, the second-largest in the nation, was flooded with water from Buffalo Bayou; earlier this week the \u003cem>Houston Chronicle\u003c/em> \u003ca href=\"http://www.chron.com/entertainment/arts-theater/article/Shades-of-Allison-Houston-Theatre-District-12113867.php\">drew a parallel to Tropical Storm Allison\u003c/a>, which submerged much of the district in 2001. The Wortham Center, home to the Houston Ballet and Houston Grand Opera, saw floodwaters in its underground spaces, including storage areas and dressing rooms.\u003c/p>\n\u003cp>The Wortham Center is home to much of the concert programming by Da Camera of Houston, which specializes in jazz and chamber music. “We are a member of Theater District Houston, which consists of seven presenting organizations,” said Sarah Rothenberg, Da Camera’s artistic and general director. “We’ve been having conference calls since Monday about the state of the buildings. It’s too soon to know anything.”\u003c/p>\n\u003cp>Da Camera has been a major conduit between ex-Houstonians and the city’s jazz community. A few years ago, the organization initiated the \u003ca href=\"https://www.dacamera.com/learn/homecoming-residency/\">Jason Moran Homecoming Residency\u003c/a>, an annual program that brought Moran not only into concert halls but also (and more to the point) into local schools. “These are students who are in elementary and middle school who had gotten curious about music,” Moran said. “All these future musicians who will now have to watch their parents deal with trying to get their lives back together.”\u003c/p>\n\u003cp>The more fortunate among them will likely attend the High School for the Performing and Visual Arts (HSPVA), which has been the single most important factor in Houston’s ascendant influence on the jazz landscape. The school’s legendary former band director, Robert “Doc” Morgan, mentored more than one generation of musicians now in circulation.\u003c/p>\n\u003cfigure id=\"attachment_13807246\" class=\"wp-caption aligncenter\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7.jpg\" alt=\"Houston's High School for the Performing and Visual Arts jazz ensemble in 1997. From left to right, Mark Kelly, Kendrick Scott, Mckenzie Smith, George Rambow, Dustin Drews, Robert Morgan, director, Walter Smith III, Mike Moreno, Richard Cruz, and Robert Glasper.\" width=\"692\" height=\"519\" class=\"size-full wp-image-13807246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7.jpg 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-520x390.jpg 520w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">Houston’s High School for the Performing and Visual Arts jazz ensemble in 1997. From left to right, Mark Kelly, Kendrick Scott, Mckenzie Smith, George Rambow, Dustin Drews, Robert Morgan, director, Walter Smith III, Mike Moreno, Richard Cruz, and Robert Glasper. \u003ccite>(Courtesy of Mike Moreno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A photograph from 1997 depicts the HSPVA Jazz Octet, with members including Glasper, Scott, Moreno, saxophonist Walter Smith III, and bassist Mark Kelly. (Kelly is now a member of The Roots, which serves as a reminder that the HSPVA’s impact extends far beyond jazz — and not just as the \u003cem>alma mater \u003c/em>of Beyoncé.)\u003c/p>\n\u003cp>There’s a strong pipeline from HSPVA to jazz conservatory programs. Several years ago, alumni established \u003ca href=\"https://docfestjazz.org/\">DocFest\u003c/a>, a reunion concert that raises money for the Helen and Bob Morgan Jazz Scholarship Fund at the New School in New York. This year’s DocFest, featuring keyboardist Bob James, was originally scheduled for this Friday, and had to be postponed.\u003c/p>\n\u003cp>But Warren Sneed, the current director of jazz studies at HSPVA, said that school was scheduled to resume on Sept. 11. “I’ve heard from my principal that there was some minor flooding but nothing that wasn’t manageable,” he said.\u003c/p>\n\u003cp>Sneed, who lives south of Meyerland, has been keeping track of students and former students, some of whom have endured serious flooding. “If you live in Houston, you’re going to know somebody who was affected by the flood,” he said. (Chris Walker, one of the alums who started DocFest, lives in a neighborhood that received mandatory evacuation orders.)\u003c/p>\n\u003cp>Still, Sneed spoke with resilient understatement on the city’s recovery. “I don’t see a mass exodus of musicians or anything like that,” he said. “There really is a cool vibe in the city about working together and getting things back on track.”\u003c/p>\n\u003cp>Moreno, among others, echoed this sentiment. “The city’s going to bounce back, there’s no doubt about it,” he said. “Some of my friends in Houston have been going out and doing what they can to help.”\u003c/p>\n\u003cp>Musicians in the Houston diaspora, meanwhile, are weighing options — and in some cases, looking ahead to their return. This year is the 30\u003csup>th\u003c/sup> anniversary of Da Camera, with a new season that happens to bear the theme “No Place Like Home.” The first jazz concert in the series, on Oct. 6, will feature the Robert Glasper Experiment. Future concerts on the calendar include Harland (with saxophonist Charles Lloyd) and Sung (with the Mingus Big Band).\u003c/p>\n\u003cp>“We’re living in a time where the whole idea of home is so fragile,” Rothenberg said. “As soon as you talk about home you’re also talking about its opposite — homelessness and exile. These things feel even more powerful now, as this city looks around and so many of our Houstonians do not have a home.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the same time, musicians like Scott are looking to Houston with at least an idea of home clear in mind. Moran put it this way: “We who love Houston so much, who have departed the city and carried its name outside to the rest of the world, we owe a great debt to the city. And it might be our time to figure out a way to do something concrete.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO and Jazz At Lincoln Center. To see more, visit \u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\">WBGO and Jazz At Lincoln Center\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Houston%27s+Jazz+Envoys+Describe+A+Vibrant+Scene+Deluged%2C+And+Worry+For+Its+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Stylishly Gritty, This Chase Thriller Really Is A 'Good Time'",
"headTitle": "Stylishly Gritty, This Chase Thriller Really Is A ‘Good Time’ | KQED",
"content": "\u003cp>In recent years, the British heartthrob Robert Pattinson has gone out of his way to prove that there is life after \u003cem>Twilight\u003c/em>. After years spent playing a shimmery, chivalrous vampire, he went all dark and dystopian in art-house chillers like \u003cem>The Rover \u003c/em>and \u003cem>Cosmopolis,\u003c/em> and he recently popped up in a terrific supporting role in \u003cem>The Lost City of Z.\u003c/em> But Pattinson has never undergone a transformation as revelatory as the one he pulls off in \u003cem>Good Time\u003c/em>, a nerve-rattling new thriller from the sibling directors Josh and Benny Safdie.\u003c/p>\n\u003cp>Pattinson plays Connie Nikas, a scuzzy, small-time crook from Queens who saunters through much of the movie sporting a gray hoodie, diamond stud earrings and cheap blond dye job. He is somehow both a catastrophically inept criminal and a quick-thinking improvisational genius, a master at getting himself out of one hair-raising situation only to plunge himself immediately into another.\u003c/p>\n\u003cp>https://youtu.be/upsR80YmwWc\u003c/p>\n\u003cp>Connie’s undoing, as well as his sole redeeming quality, is his love for his hearing-impaired, mentally disabled brother, Nick, played — in a brief but galvanizing performance — by Ben Safdie, doing a nice job of directing himself. We first meet Nick when he is undergoing a psychiatric evaluation, and his gruff, one-line responses to the therapist’s questions are a heartbreaking testimony to years of family neglect and abuse.\u003c/p>\n\u003cp>Connie has suffered the effects of that mistreatment as well, but as played with agitated live-wire intensity by Pattinson, he has clearly chosen to rebel rather than buckle under. Shortly after dragging Nick out of that evaluation, Connie makes him his accomplice in a shockingly clumsy bank robbery, played out with a mixture of tension, dread and dark humor that twists your stomach in knots. As they flee the bank, you can sense Connie’s protectiveness toward Nick, even though it was foolish to endanger him in the first place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But when a frightened Nick draws the attention of police and winds up getting arrested, Connie is left to bust him out of jail. Over the rest of this movie’s lean 100-minute running time, the Safdies sustain a surging narrative momentum, their hand-held camera racing to keep up with the fugitive Connie as he dashes from one desperate encounter to the next.\u003c/p>\n\u003cp>What makes \u003cem>Good Time\u003c/em> such a thrilling action movie is that it’s so minutely attentive to process. We’re never allowed to get ahead of Connie because much of the time, we’re watching him think and maneuver his way out of each new predicament.\u003c/p>\n\u003cp>First, he tries to persuade his naive girlfriend, sharply played by Jennifer Jason Leigh, to post Nick’s bail. When that doesn’t work, he winds up prevailing on the hospitality of a 16-year-old stranger named Crystal, played by Taliah Webster with an amusing shrug of resignation.\u003c/p>\n\u003cp>Later Connie will find himself in reluctant cahoots with a fast-talking ex-con, Ray, played by the almost-too-perfectly named actor Buddy Duress, whose access to a stash of liquid LSD gives Connie an idea for another get-rich-quick scheme.\u003c/p>\n\u003cp>\u003cem>Good Time\u003c/em> is a swift and relentless chase thriller, a sometimes appallingly funny problem-solving exercise and an exhilarating mood piece that harks back to the gritty 1970s crime thrillers of quintessential New York filmmakers like Martin Scorsese, Sidney Lumet and Abel Ferrara. It’s a feverish and enveloping exercise in style, drenched in lurid neon reds and driven by the pure sonic adrenaline of Oneohtrix Point Never’s electronic score. The combination of jittery camerawork and tight, disorienting closeups conveys both freedom of movement and a sense of entrapment.\u003c/p>\n\u003cp>But as brilliantly directed as it is, \u003cem>Good Time\u003c/em> is more than mere flash and energy, and its air of pungent seediness is hardly just for show. In a movie that effortlessly embodies the ethnic and cultural diversity of New York City, it shouldn’t escape our attention that Connie, despite his lowly upbringing, still enjoys a measure of privilege that some of the other characters do not.\u003c/p>\n\u003cp>There’s a scene in which he and Crystal are stopped by police, and the cops proceed to target the black teenager rather than the white bank robber whose face has been plastered all over the news. The Safdie brothers don’t belabor the point. As the movie’s title suggests, they certainly want you to enjoy yourself. But they’ve made the rare genre piece that leaves you feeling more connected to the real world rather than less.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In recent years, the British heartthrob Robert Pattinson has gone out of his way to prove that there is life after \u003cem>Twilight\u003c/em>. After years spent playing a shimmery, chivalrous vampire, he went all dark and dystopian in art-house chillers like \u003cem>The Rover \u003c/em>and \u003cem>Cosmopolis,\u003c/em> and he recently popped up in a terrific supporting role in \u003cem>The Lost City of Z.\u003c/em> But Pattinson has never undergone a transformation as revelatory as the one he pulls off in \u003cem>Good Time\u003c/em>, a nerve-rattling new thriller from the sibling directors Josh and Benny Safdie.\u003c/p>\n\u003cp>Pattinson plays Connie Nikas, a scuzzy, small-time crook from Queens who saunters through much of the movie sporting a gray hoodie, diamond stud earrings and cheap blond dye job. He is somehow both a catastrophically inept criminal and a quick-thinking improvisational genius, a master at getting himself out of one hair-raising situation only to plunge himself immediately into another.\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/upsR80YmwWc'\n title='//www.youtube.com/embed/upsR80YmwWc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Connie’s undoing, as well as his sole redeeming quality, is his love for his hearing-impaired, mentally disabled brother, Nick, played — in a brief but galvanizing performance — by Ben Safdie, doing a nice job of directing himself. We first meet Nick when he is undergoing a psychiatric evaluation, and his gruff, one-line responses to the therapist’s questions are a heartbreaking testimony to years of family neglect and abuse.\u003c/p>\n\u003cp>Connie has suffered the effects of that mistreatment as well, but as played with agitated live-wire intensity by Pattinson, he has clearly chosen to rebel rather than buckle under. Shortly after dragging Nick out of that evaluation, Connie makes him his accomplice in a shockingly clumsy bank robbery, played out with a mixture of tension, dread and dark humor that twists your stomach in knots. As they flee the bank, you can sense Connie’s protectiveness toward Nick, even though it was foolish to endanger him in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But when a frightened Nick draws the attention of police and winds up getting arrested, Connie is left to bust him out of jail. Over the rest of this movie’s lean 100-minute running time, the Safdies sustain a surging narrative momentum, their hand-held camera racing to keep up with the fugitive Connie as he dashes from one desperate encounter to the next.\u003c/p>\n\u003cp>What makes \u003cem>Good Time\u003c/em> such a thrilling action movie is that it’s so minutely attentive to process. We’re never allowed to get ahead of Connie because much of the time, we’re watching him think and maneuver his way out of each new predicament.\u003c/p>\n\u003cp>First, he tries to persuade his naive girlfriend, sharply played by Jennifer Jason Leigh, to post Nick’s bail. When that doesn’t work, he winds up prevailing on the hospitality of a 16-year-old stranger named Crystal, played by Taliah Webster with an amusing shrug of resignation.\u003c/p>\n\u003cp>Later Connie will find himself in reluctant cahoots with a fast-talking ex-con, Ray, played by the almost-too-perfectly named actor Buddy Duress, whose access to a stash of liquid LSD gives Connie an idea for another get-rich-quick scheme.\u003c/p>\n\u003cp>\u003cem>Good Time\u003c/em> is a swift and relentless chase thriller, a sometimes appallingly funny problem-solving exercise and an exhilarating mood piece that harks back to the gritty 1970s crime thrillers of quintessential New York filmmakers like Martin Scorsese, Sidney Lumet and Abel Ferrara. It’s a feverish and enveloping exercise in style, drenched in lurid neon reds and driven by the pure sonic adrenaline of Oneohtrix Point Never’s electronic score. The combination of jittery camerawork and tight, disorienting closeups conveys both freedom of movement and a sense of entrapment.\u003c/p>\n\u003cp>But as brilliantly directed as it is, \u003cem>Good Time\u003c/em> is more than mere flash and energy, and its air of pungent seediness is hardly just for show. In a movie that effortlessly embodies the ethnic and cultural diversity of New York City, it shouldn’t escape our attention that Connie, despite his lowly upbringing, still enjoys a measure of privilege that some of the other characters do not.\u003c/p>\n\u003cp>There’s a scene in which he and Crystal are stopped by police, and the cops proceed to target the black teenager rather than the white bank robber whose face has been plastered all over the news. The Safdie brothers don’t belabor the point. As the movie’s title suggests, they certainly want you to enjoy yourself. But they’ve made the rare genre piece that leaves you feeling more connected to the real world rather than less.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"onourwatch": {
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"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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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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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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"source": "Possible"
},
"link": "/radio/program/possible",
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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",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
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