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"content": "\u003cp>“The goddamn punks are running the country!”\u003c/p>\n\u003cp>That outraged remark, delivered by the upright protagonist of \u003cem>Mark Felt: The Man Who Brought Down the White House\u003c/em>, might suggest to some viewers that the movie was made with one eye on the current White House. But that is an interpretation supported by only a few moments in the film, which wrapped production before the 2016 Republican National Convention.\u003c/p>\n\u003cp>In fact, writer-director Peter Landesman draws barely any contemporary parallels and offers little help to less history-minded viewers. \u003cem>Mark Felt\u003c/em> is designed for people who already know something about the Watergate affair — or at least have seen the most prominent previous treatment of the subject.\u003c/p>\n\u003cp>https://youtu.be/MR1IjeAdevI\u003c/p>\n\u003cp>\u003cem>Mark Felt\u003c/em> flips the setup of 1976’s \u003cem>All the President’s Men\u003c/em> by pulling Felt out of the shadows inhabited, in the earlier movie, by Hal Holbrook playing a leaker then known to the world only as Deep Throat. Liam Neeson’s Felt is the center of this story — even when Landesman occasionally attempts to disclose something about the people around him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The film opens in police-procedural mode, as Felt gets dressed while an electronic score pulses and news crackles on the radio. He is off to the White House, where presidential counsel John Dean (Michael D. Hall) and a few other Nixon then-loyalists sound him out on how to remove FBI director J. Edgar Hoover.\u003c/p>\n\u003cp>Felt declines to assist them, responding with Oskar-Schindler-like nobility but also gentlemanly menace. Hoover soon dies, allowing Nixon to appoint his own acting FBI director just as word of a puzzling burglary at the Watergate complex reaches the bureau.\u003c/p>\n\u003cp>L. Patrick Gray (Martin Csokas) gets the job Felt wanted and, his colleagues believe, deserved. Felt’s disappointment, the script suggests, has as much to do with his becoming Deep Throat as his disgust at the White House bullies who order the FBI’s Watergate investigation closed.\u003c/p>\n\u003cp>There is also another factor: Gray announces his intention to name as his new No. 2 a former FBI agent (Tom Sizemore) who personifies the excesses of the Hoover years. Felt abhors the guy and what he represents.\u003c/p>\n\u003cp>And another: As he defends his beloved bureau from Nixonian mischief, Felt is himself bending rules in his investigations of the Weather Underground and similar organizations. Felt fears that his runaway daughter (Maika Monroe) might be involved with violent leftists and hopes that locating her might ease the pain of his alcoholic wife (Diane Lane).\u003c/p>\n\u003cp>Felt starts talking to journalists he already knows. He meets Bob Woodward (Julian Morris) in that parking garage, but the movie spends more time at Felt’s parleys with Time magazine’s Sandy Smith (Bruce Greenwood). Although the diner where they meet is less murky than the garage, Adam Kimmel’s camera is nearly always parked in some sort of gloom.\u003c/p>\n\u003cp>As complications pile up, \u003cem>Mark Felt\u003c/em> loses the drive that distinguishes its first half. That is due in part to the fact that the ultimate result of Felt and Nixon’s duel-by-proxy is so well-known and anticlimactic. No satisfying crime movie ends with the perp’s retirement to New Jersey to write public-policy books. Also, the final half-hour is rushed and patchy, with frustrating jumps in continuity that require viewers to fill in some pretty big blanks.\u003c/p>\n\u003cp>If the movie disappoints as a cops-and-burglars flick, its biggest failure is as a character study. Despite all the revelations about Felt’s career and family, he is no more complex a character at the end than at the beginning. Neeson’s performance is all steel-spined bearing and resonant intonation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s up to the actor to carry the movie, which he does. He just doesn’t lug it anyplace particularly illuminating.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The film opens in police-procedural mode, as Felt gets dressed while an electronic score pulses and news crackles on the radio. He is off to the White House, where presidential counsel John Dean (Michael D. Hall) and a few other Nixon then-loyalists sound him out on how to remove FBI director J. Edgar Hoover.\u003c/p>\n\u003cp>Felt declines to assist them, responding with Oskar-Schindler-like nobility but also gentlemanly menace. Hoover soon dies, allowing Nixon to appoint his own acting FBI director just as word of a puzzling burglary at the Watergate complex reaches the bureau.\u003c/p>\n\u003cp>L. Patrick Gray (Martin Csokas) gets the job Felt wanted and, his colleagues believe, deserved. Felt’s disappointment, the script suggests, has as much to do with his becoming Deep Throat as his disgust at the White House bullies who order the FBI’s Watergate investigation closed.\u003c/p>\n\u003cp>There is also another factor: Gray announces his intention to name as his new No. 2 a former FBI agent (Tom Sizemore) who personifies the excesses of the Hoover years. Felt abhors the guy and what he represents.\u003c/p>\n\u003cp>And another: As he defends his beloved bureau from Nixonian mischief, Felt is himself bending rules in his investigations of the Weather Underground and similar organizations. Felt fears that his runaway daughter (Maika Monroe) might be involved with violent leftists and hopes that locating her might ease the pain of his alcoholic wife (Diane Lane).\u003c/p>\n\u003cp>Felt starts talking to journalists he already knows. He meets Bob Woodward (Julian Morris) in that parking garage, but the movie spends more time at Felt’s parleys with Time magazine’s Sandy Smith (Bruce Greenwood). Although the diner where they meet is less murky than the garage, Adam Kimmel’s camera is nearly always parked in some sort of gloom.\u003c/p>\n\u003cp>As complications pile up, \u003cem>Mark Felt\u003c/em> loses the drive that distinguishes its first half. That is due in part to the fact that the ultimate result of Felt and Nixon’s duel-by-proxy is so well-known and anticlimactic. No satisfying crime movie ends with the perp’s retirement to New Jersey to write public-policy books. Also, the final half-hour is rushed and patchy, with frustrating jumps in continuity that require viewers to fill in some pretty big blanks.\u003c/p>\n\u003cp>If the movie disappoints as a cops-and-burglars flick, its biggest failure is as a character study. Despite all the revelations about Felt’s career and family, he is no more complex a character at the end than at the beginning. Neeson’s performance is all steel-spined bearing and resonant intonation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>It’s up to the actor to carry the movie, which he does. He just doesn’t lug it anyplace particularly illuminating.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It began with more than 1,500 books.\u003c/p>\n\u003cp>With all the works submitted by publishers, the judges for this year’s National Book Awards have had their hands (and bookshelves) full the past few months. But that daunting number of contenders winnowed further Wednesday, as the National Book Foundation announced the finalists for its literary prize — just five works each in four categories: \u003ca href=\"#fiction\">fiction\u003c/a>, \u003ca href=\"#nonfiction\">nonfiction\u003c/a>, \u003ca href=\"#poetry\">poetry\u003c/a> and \u003ca href=\"#young\">young people’s literature\u003c/a>.\u003c/p>\n\u003cp>You can find those shortlists below, paired with links to NPR’s previous coverage for readers to get to know those nominees better.\u003c/p>\n\u003cp>For now, at least, there are two winners whose names we won’t have to wait on: Annie Proulx, who has already won a National Book Award for \u003cem>The Shipping News\u003c/em>, will be honored this year with the \u003ca href=\"http://www.nationalbook.org/amerletters_2017_aproulx.html#.WdTThltSypo\" target=\"_blank\" rel=\"noopener\">Medal for Distinguished Contribution to American Letters\u003c/a>, the NBF’s version of a lifetime achievement award. And Dick Robinson, president and CEO of Scholastic, will be receiving the \u003ca href=\"http://www.nationalbook.org/literarian.html#.WdTTKFtSypo\" target=\"_blank\" rel=\"noopener\">Literarian Award for Outstanding Service to the American Literary Community\u003c/a>.\u003c/p>\n\u003cp>The rest of this year’s winners will be announced on Nov. 15 in New York City.\u003c/p>\n\u003chr>\n\u003ch3>\u003ca name=\"fiction\">\u003c/a>Fiction\u003c/h3>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/01/21/510780479/a-failed-revolution-and-a-failed-marriage-in-dark-at-the-crossing\" target=\"_blank\" rel=\"noopener\">Elliot Ackerman\u003c/a>: \u003c/strong>\u003cem>Dark at the Crossing\u003cbr>\u003c/em>\u003cstrong>Lisa Ko: \u003c/strong>\u003cem>The Leavers\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11779763\" target=\"_blank\" rel=\"noopener\">Min Jin Lee\u003c/a>: \u003c/strong> \u003ca href=\"http://www.npr.org/2017/02/07/512910187/culture-clash-survival-and-hope-in-pachinko\" target=\"_blank\" rel=\"noopener\">Pachinko\u003c/a>\u003cem>\u003cbr>\u003c/em>\u003cstrong>Carmen Maria Machado:\u003c/strong>\u003cem> Her Body and Other Parties: Stories\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/08/31/547271081/writing-mississippi-jesmyn-ward-salvages-stories-of-the-silenced\" target=\"_blank\" rel=\"noopener\">Jesmyn Ward\u003c/a>: \u003c/strong>\u003ca href=\"http://www.npr.org/2017/09/06/547560046/sing-mourns-the-dead-both-buried-and-unburied\" target=\"_blank\" rel=\"noopener\">Sing, Unburied, Sing\u003c/a>\u003c/p>\n\u003ch3>\u003ca name=\"nonfiction\">\u003c/a>Nonfiction\u003c/h3>\n\u003cp>\u003cstrong>Erica Armstrong Dunbar: \u003c/strong>\u003cem>Never Caught: The Washingtons’ Relentless Pursuit of Their Runaway Slave, Ona Judge\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/05/02/525452958/why-white-evangelicals-are-splintering-politically\" target=\"_blank\" rel=\"noopener\">Frances FitzGerald\u003c/a>: \u003c/strong>\u003cem>The Evangelicals: The Struggle to Shape America\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2016/09/07/492962278/sad-and-absurd-the-u-s-s-r-s-disastrous-effort-to-create-a-jewish-homeland\" target=\"_blank\" rel=\"noopener\">Masha Gessen\u003c/a>: \u003c/strong>\u003cem>The Future Is History: How Totalitarianism Reclaimed Russia\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/04/17/524348264/largely-forgotten-osage-murders-reveal-a-conspiracy-against-wealthy-native-ameri\" target=\"_blank\" rel=\"noopener\">David Grann\u003c/a>:\u003c/strong> \u003ca href=\"http://www.npr.org/2017/04/17/523964584/in-the-1920s-a-community-conspired-to-kill-native-americans-for-their-oil-money\" target=\"_blank\" rel=\"noopener\">Killers of the Flower Moon: The Osage Murders and the Birth of the FBI\u003c/a>\u003cem>\u003cbr>\u003c/em>\u003cstrong>Nancy MacLean:\u003c/strong> \u003ca href=\"http://www.npr.org/2017/06/18/531929217/democracy-in-chains-traces-the-rise-of-american-libertarianism\" target=\"_blank\" rel=\"noopener\">Democracy in Chains: The Deep History of the Radical Right’s Stealth Plan for America\u003c/a>\u003c/p>\n\u003ch3>\u003ca name=\"poetry\">\u003c/a>Poetry\u003c/h3>\n\u003cp>\u003cstrong>Frank Bidart: \u003c/strong>\u003cem>Half-light: Collected Poems 1965-2016\u003cbr>\u003c/em>\u003cstrong>Leslie Harrison: \u003c/strong>\u003cem>The Book of Endings\u003cbr>\u003c/em>\u003cstrong>Layli Long Soldier: \u003c/strong>\u003cem>WHEREAS\u003cbr>\u003c/em>\u003cstrong>Shane McCrae: \u003c/strong>\u003cem>In the Language of My Captor\u003cbr>\u003c/em>\u003cstrong>Danez Smith: \u003c/strong>\u003cem>Don’t Call Us Dead: Poems\u003c/em>\u003c/p>\n\u003ch3>\u003ca name=\"young\">\u003c/a>Young People’s Literature\u003c/h3>\n\u003cp>\u003cstrong>Elana K. Arnold: \u003c/strong>\u003cem>What Girls Are Made Of\u003cbr>\u003c/em>\u003cstrong>Robin Benway: \u003c/strong>\u003cem>Far from the Tree\u003cbr>\u003c/em>\u003cstrong>Erika L. Sánchez: \u003c/strong>\u003cem>I Am Not Your Perfect Mexican Daughter\u003cbr>\u003c/em>\u003cstrong>Rita Williams-Garcia:\u003c/strong>\u003cem> Clayton Byrd Goes Underground\u003cbr>\u003c/em>\u003cstrong>Ibi Zoboi: \u003c/strong>\u003cem>American Street\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Here+Are+The+Finalists+For+The+2017+National+Book+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It began with more than 1,500 books.\u003c/p>\n\u003cp>With all the works submitted by publishers, the judges for this year’s National Book Awards have had their hands (and bookshelves) full the past few months. But that daunting number of contenders winnowed further Wednesday, as the National Book Foundation announced the finalists for its literary prize — just five works each in four categories: \u003ca href=\"#fiction\">fiction\u003c/a>, \u003ca href=\"#nonfiction\">nonfiction\u003c/a>, \u003ca href=\"#poetry\">poetry\u003c/a> and \u003ca href=\"#young\">young people’s literature\u003c/a>.\u003c/p>\n\u003cp>You can find those shortlists below, paired with links to NPR’s previous coverage for readers to get to know those nominees better.\u003c/p>\n\u003cp>For now, at least, there are two winners whose names we won’t have to wait on: Annie Proulx, who has already won a National Book Award for \u003cem>The Shipping News\u003c/em>, will be honored this year with the \u003ca href=\"http://www.nationalbook.org/amerletters_2017_aproulx.html#.WdTThltSypo\" target=\"_blank\" rel=\"noopener\">Medal for Distinguished Contribution to American Letters\u003c/a>, the NBF’s version of a lifetime achievement award. And Dick Robinson, president and CEO of Scholastic, will be receiving the \u003ca href=\"http://www.nationalbook.org/literarian.html#.WdTTKFtSypo\" target=\"_blank\" rel=\"noopener\">Literarian Award for Outstanding Service to the American Literary Community\u003c/a>.\u003c/p>\n\u003cp>The rest of this year’s winners will be announced on Nov. 15 in New York City.\u003c/p>\n\u003chr>\n\u003ch3>\u003ca name=\"fiction\">\u003c/a>Fiction\u003c/h3>\n\u003cp>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/01/21/510780479/a-failed-revolution-and-a-failed-marriage-in-dark-at-the-crossing\" target=\"_blank\" rel=\"noopener\">Elliot Ackerman\u003c/a>: \u003c/strong>\u003cem>Dark at the Crossing\u003cbr>\u003c/em>\u003cstrong>Lisa Ko: \u003c/strong>\u003cem>The Leavers\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11779763\" target=\"_blank\" rel=\"noopener\">Min Jin Lee\u003c/a>: \u003c/strong> \u003ca href=\"http://www.npr.org/2017/02/07/512910187/culture-clash-survival-and-hope-in-pachinko\" target=\"_blank\" rel=\"noopener\">Pachinko\u003c/a>\u003cem>\u003cbr>\u003c/em>\u003cstrong>Carmen Maria Machado:\u003c/strong>\u003cem> Her Body and Other Parties: Stories\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/08/31/547271081/writing-mississippi-jesmyn-ward-salvages-stories-of-the-silenced\" target=\"_blank\" rel=\"noopener\">Jesmyn Ward\u003c/a>: \u003c/strong>\u003ca href=\"http://www.npr.org/2017/09/06/547560046/sing-mourns-the-dead-both-buried-and-unburied\" target=\"_blank\" rel=\"noopener\">Sing, Unburied, Sing\u003c/a>\u003c/p>\n\u003ch3>\u003ca name=\"nonfiction\">\u003c/a>Nonfiction\u003c/h3>\n\u003cp>\u003cstrong>Erica Armstrong Dunbar: \u003c/strong>\u003cem>Never Caught: The Washingtons’ Relentless Pursuit of Their Runaway Slave, Ona Judge\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/05/02/525452958/why-white-evangelicals-are-splintering-politically\" target=\"_blank\" rel=\"noopener\">Frances FitzGerald\u003c/a>: \u003c/strong>\u003cem>The Evangelicals: The Struggle to Shape America\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2016/09/07/492962278/sad-and-absurd-the-u-s-s-r-s-disastrous-effort-to-create-a-jewish-homeland\" target=\"_blank\" rel=\"noopener\">Masha Gessen\u003c/a>: \u003c/strong>\u003cem>The Future Is History: How Totalitarianism Reclaimed Russia\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2017/04/17/524348264/largely-forgotten-osage-murders-reveal-a-conspiracy-against-wealthy-native-ameri\" target=\"_blank\" rel=\"noopener\">David Grann\u003c/a>:\u003c/strong> \u003ca href=\"http://www.npr.org/2017/04/17/523964584/in-the-1920s-a-community-conspired-to-kill-native-americans-for-their-oil-money\" target=\"_blank\" rel=\"noopener\">Killers of the Flower Moon: The Osage Murders and the Birth of the FBI\u003c/a>\u003cem>\u003cbr>\u003c/em>\u003cstrong>Nancy MacLean:\u003c/strong> \u003ca href=\"http://www.npr.org/2017/06/18/531929217/democracy-in-chains-traces-the-rise-of-american-libertarianism\" target=\"_blank\" rel=\"noopener\">Democracy in Chains: The Deep History of the Radical Right’s Stealth Plan for America\u003c/a>\u003c/p>\n\u003ch3>\u003ca name=\"poetry\">\u003c/a>Poetry\u003c/h3>\n\u003cp>\u003cstrong>Frank Bidart: \u003c/strong>\u003cem>Half-light: Collected Poems 1965-2016\u003cbr>\u003c/em>\u003cstrong>Leslie Harrison: \u003c/strong>\u003cem>The Book of Endings\u003cbr>\u003c/em>\u003cstrong>Layli Long Soldier: \u003c/strong>\u003cem>WHEREAS\u003cbr>\u003c/em>\u003cstrong>Shane McCrae: \u003c/strong>\u003cem>In the Language of My Captor\u003cbr>\u003c/em>\u003cstrong>Danez Smith: \u003c/strong>\u003cem>Don’t Call Us Dead: Poems\u003c/em>\u003c/p>\n\u003ch3>\u003ca name=\"young\">\u003c/a>Young People’s Literature\u003c/h3>\n\u003cp>\u003cstrong>Elana K. Arnold: \u003c/strong>\u003cem>What Girls Are Made Of\u003cbr>\u003c/em>\u003cstrong>Robin Benway: \u003c/strong>\u003cem>Far from the Tree\u003cbr>\u003c/em>\u003cstrong>Erika L. Sánchez: \u003c/strong>\u003cem>I Am Not Your Perfect Mexican Daughter\u003cbr>\u003c/em>\u003cstrong>Rita Williams-Garcia:\u003c/strong>\u003cem> Clayton Byrd Goes Underground\u003cbr>\u003c/em>\u003cstrong>Ibi Zoboi: \u003c/strong>\u003cem>American Street\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Here+Are+The+Finalists+For+The+2017+National+Book+Awards&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The deadliest mass shooting in recent U.S. history has renewed conversations about America’s gun laws, after one man strafed a country music festival from a high-rise hotel in Las Vegas on Sunday. The attack prompted a musician who played at the festival to say he’s changed his mind — and that the U.S. needs new gun control.\u003c/p>\n\u003cp>“I’ve been a proponent of the 2nd Amendment my whole life,” guitarist Caleb Keeter \u003ca href=\"https://twitter.com/Calebkeeter/status/914872808110510080\">said in a tweeted statement\u003c/a> on Monday. “Until the events of last night. I cannot express how wrong I was.”\u003c/p>\n\u003cp>Keeter said that one man — who police identified as Stephen Craig Paddock — “laid waste to a city with dedicated, fearless police officers desperately trying to help, because of access to an insane amount of fire power.”\u003c/p>\n\u003cp>He added, “Enough is enough” before adding later, “We need gun control RIGHT. NOW.”\u003c/p>\n\u003cp>https://twitter.com/Calebkeeter/status/914872808110510080\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Keeter is a guitarist for the Josh Abbott Band. Hours before Jason Aldean’s show \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\">was shattered by gunfire and bullets rained\u003c/a> on a crowd of some 22,000 people, Keeter had played on the same stage. He and his bandmates and crew members were trapped by the violence, and Keeter says he wasn’t sure if he would survive.\u003c/p>\n\u003cp>His response is one of \u003ca href=\"http://www.npr.org/sections/therecord/2017/10/02/555021039/country-stars-react-to-las-vegas-mass-shooting\">many in the country music community\u003c/a> after Sunday’s attack; it seems to be the first to announce a shift in thinking about gun control.\u003c/p>\n\u003cp>Some of the band’s crew members suffered shrapnel wounds, Keeter said, because of the power of the weapons being used. They had been standing close to someone who was shot. And despite having their own weapons, they were unable to defend themselves.\u003c/p>\n\u003cp>“We actually have members of our crew with CHL [concealed handgun license] licenses, and legal firearms on the bus,” Keeter said. “They were useless. We couldn’t touch them for fear the police might think that we were part of the massacre and shoot us.”\u003c/p>\n\u003cp>He described writing to his loved ones and creating a living will, as performers, fans, and staff tried to find safety during the prolonged assault.\u003c/p>\n\u003cp>Sunday night’s attack left 527 people injured and 59 people dead. Police say Stephen Paddock brought a small arsenal to the Mandalay Bay Resort and Casino so he could carry out an attack on thousands of people.\u003c/p>\n\u003cp>“We have recovered 23 firearms at Mandalay Bay, and 19 firearms at his home in Mesquite,” Las Vegas Assistant Sheriff Todd Fasulo said.\u003c/p>\n\u003cp>Paddock is known to have bought some of his firearms at the Guns and Guitars store near where he lived in Mesquite, Nevada. The store has said via a statement, “All necessary background checks and procedures were followed” in Paddock’s purchases. It’s one of several gun shops or firing ranges that have acknowledged having contact with investigators about Paddock, \u003ca href=\"https://www.nbcnews.com/storyline/las-vegas-shooting/two-nevada-gun-shops-say-stephen-paddock-passed-background-checks-n806921\">NBC News reports\u003c/a>.\u003c/p>\n\u003cp>Keeter’s message found a large audience. It was liked more than 100,000 times and retweeted more than 50,000 times.\u003c/p>\n\u003cp>The message sparked a number of replies, from people asking why other tragedies — such as the \u003ca href=\"http://www.npr.org/series/167276841/shootings-in-newtown-conn\">Sandy Hook elementary school shooting in 2012\u003c/a> — hadn’t changed Keeter’s views. Some responses accused him of lacking empathy and changing his stance only because he was personally affected. Others chastised those reactions, and for criticizing someone who now agrees with them.\u003c/p>\n\u003cp>“It’s frustrating that some don’t call the fire dept until the blaze is at their own front door,” a Twitter user named Heather Maravola wrote. “But we need more ppl on our side. Welcome.”\u003c/p>\n\u003cp>In response, \u003ca href=\"https://twitter.com/Calebkeeter/status/914941713180917765\">Keeter wrote\u003c/a>, “You are all absolutely correct. I saw this happening for years and did nothing. But I’d like to do what I can now.”\u003c/p>\n\u003cp>In speaking out, Keeter also raised the hopes of a Twitter user who said they hope the issue can move from a left vs. right dynamic “to actually enacting common sense gun laws.”\u003c/p>\n\u003cp>Opinion polls have shown \u003ca href=\"http://www.npr.org/2017/06/22/533792054/americans-agree-on-some-gun-restrictions-pew-survey-finds\">large majorities of Americans agree\u003c/a> on making several changes to gun control laws, from restricting people with mental illnesses from buying guns to requiring background checks for private gun sales and at gun shows.\u003c/p>\n\u003cp>“Congress has not made a concerted effort to pass gun legislation since 2013,” \u003ca href=\"http://www.npr.org/2017/10/02/555099794/a-familiar-partisan-response-in-congress-to-las-vegas-massacre\">NPR’s Susan Davis reports\u003c/a>, “when the Senate tried and failed to overcome GOP opposition to expand background checks for gun purchases.”\u003c/p>\n\u003cp>Susan adds that so far in 2017, Republicans’ action on guns “has focused on expanding gun rights” — including making it easier to buy silencers and to nationalize concealed-carry laws.\u003c/p>\n\u003cp>And then there are the financial angles. After Sunday’s shooting, the stock prices of large gun makers rose sharply. As \u003ca href=\"https://www.marketplace.org/2017/10/02/business/las-vegas-58-dead-mass-shooting-gun-control-stocks-donald-trump\">Marketplace reported\u003c/a>, on Monday morning the “value of Sturm Ruger shares went up by as much as 7.7 percent and shares of American Outdoor Brands Corp, manufacturer of Smith & Wesson firearms, went up by as much as 6 percent.”\u003c/p>\n\u003cp>Those price hikes are part of a cycle that’s fueled by mass shootings, Rob Cox, global editor at\u003ca href=\"https://www.breakingviews.com/journalist/rob-cox/\"> Reuters Breakingviews\u003c/a>, told Marketplace:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Largely in response to concerns there may be new tightening of regulations on buying the guns, or on gun ownership. And that has actually driven a lot of the buying that actually has given these guys a lift over the past eight years.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Las+Vegas+Massacre+Prompts+Musician+To+Call+For+Gun+Control%3A+%27Enough+Is+Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Caleb Keeter, a guitarist for the Josh Abbott Band, says, \"my biggest regret is that I stubbornly didn't realize it until my brothers on the road and myself were threatened by it.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The deadliest mass shooting in recent U.S. history has renewed conversations about America’s gun laws, after one man strafed a country music festival from a high-rise hotel in Las Vegas on Sunday. The attack prompted a musician who played at the festival to say he’s changed his mind — and that the U.S. needs new gun control.\u003c/p>\n\u003cp>“I’ve been a proponent of the 2nd Amendment my whole life,” guitarist Caleb Keeter \u003ca href=\"https://twitter.com/Calebkeeter/status/914872808110510080\">said in a tweeted statement\u003c/a> on Monday. “Until the events of last night. I cannot express how wrong I was.”\u003c/p>\n\u003cp>Keeter said that one man — who police identified as Stephen Craig Paddock — “laid waste to a city with dedicated, fearless police officers desperately trying to help, because of access to an insane amount of fire power.”\u003c/p>\n\u003cp>He added, “Enough is enough” before adding later, “We need gun control RIGHT. NOW.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Keeter is a guitarist for the Josh Abbott Band. Hours before Jason Aldean’s show \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/10/02/554976369/section-of-las-vegas-strip-is-closed-after-music-festival-shooting\">was shattered by gunfire and bullets rained\u003c/a> on a crowd of some 22,000 people, Keeter had played on the same stage. He and his bandmates and crew members were trapped by the violence, and Keeter says he wasn’t sure if he would survive.\u003c/p>\n\u003cp>His response is one of \u003ca href=\"http://www.npr.org/sections/therecord/2017/10/02/555021039/country-stars-react-to-las-vegas-mass-shooting\">many in the country music community\u003c/a> after Sunday’s attack; it seems to be the first to announce a shift in thinking about gun control.\u003c/p>\n\u003cp>Some of the band’s crew members suffered shrapnel wounds, Keeter said, because of the power of the weapons being used. They had been standing close to someone who was shot. And despite having their own weapons, they were unable to defend themselves.\u003c/p>\n\u003cp>“We actually have members of our crew with CHL [concealed handgun license] licenses, and legal firearms on the bus,” Keeter said. “They were useless. We couldn’t touch them for fear the police might think that we were part of the massacre and shoot us.”\u003c/p>\n\u003cp>He described writing to his loved ones and creating a living will, as performers, fans, and staff tried to find safety during the prolonged assault.\u003c/p>\n\u003cp>Sunday night’s attack left 527 people injured and 59 people dead. Police say Stephen Paddock brought a small arsenal to the Mandalay Bay Resort and Casino so he could carry out an attack on thousands of people.\u003c/p>\n\u003cp>“We have recovered 23 firearms at Mandalay Bay, and 19 firearms at his home in Mesquite,” Las Vegas Assistant Sheriff Todd Fasulo said.\u003c/p>\n\u003cp>Paddock is known to have bought some of his firearms at the Guns and Guitars store near where he lived in Mesquite, Nevada. The store has said via a statement, “All necessary background checks and procedures were followed” in Paddock’s purchases. It’s one of several gun shops or firing ranges that have acknowledged having contact with investigators about Paddock, \u003ca href=\"https://www.nbcnews.com/storyline/las-vegas-shooting/two-nevada-gun-shops-say-stephen-paddock-passed-background-checks-n806921\">NBC News reports\u003c/a>.\u003c/p>\n\u003cp>Keeter’s message found a large audience. It was liked more than 100,000 times and retweeted more than 50,000 times.\u003c/p>\n\u003cp>The message sparked a number of replies, from people asking why other tragedies — such as the \u003ca href=\"http://www.npr.org/series/167276841/shootings-in-newtown-conn\">Sandy Hook elementary school shooting in 2012\u003c/a> — hadn’t changed Keeter’s views. Some responses accused him of lacking empathy and changing his stance only because he was personally affected. Others chastised those reactions, and for criticizing someone who now agrees with them.\u003c/p>\n\u003cp>“It’s frustrating that some don’t call the fire dept until the blaze is at their own front door,” a Twitter user named Heather Maravola wrote. “But we need more ppl on our side. Welcome.”\u003c/p>\n\u003cp>In response, \u003ca href=\"https://twitter.com/Calebkeeter/status/914941713180917765\">Keeter wrote\u003c/a>, “You are all absolutely correct. I saw this happening for years and did nothing. But I’d like to do what I can now.”\u003c/p>\n\u003cp>In speaking out, Keeter also raised the hopes of a Twitter user who said they hope the issue can move from a left vs. right dynamic “to actually enacting common sense gun laws.”\u003c/p>\n\u003cp>Opinion polls have shown \u003ca href=\"http://www.npr.org/2017/06/22/533792054/americans-agree-on-some-gun-restrictions-pew-survey-finds\">large majorities of Americans agree\u003c/a> on making several changes to gun control laws, from restricting people with mental illnesses from buying guns to requiring background checks for private gun sales and at gun shows.\u003c/p>\n\u003cp>“Congress has not made a concerted effort to pass gun legislation since 2013,” \u003ca href=\"http://www.npr.org/2017/10/02/555099794/a-familiar-partisan-response-in-congress-to-las-vegas-massacre\">NPR’s Susan Davis reports\u003c/a>, “when the Senate tried and failed to overcome GOP opposition to expand background checks for gun purchases.”\u003c/p>\n\u003cp>Susan adds that so far in 2017, Republicans’ action on guns “has focused on expanding gun rights” — including making it easier to buy silencers and to nationalize concealed-carry laws.\u003c/p>\n\u003cp>And then there are the financial angles. After Sunday’s shooting, the stock prices of large gun makers rose sharply. As \u003ca href=\"https://www.marketplace.org/2017/10/02/business/las-vegas-58-dead-mass-shooting-gun-control-stocks-donald-trump\">Marketplace reported\u003c/a>, on Monday morning the “value of Sturm Ruger shares went up by as much as 7.7 percent and shares of American Outdoor Brands Corp, manufacturer of Smith & Wesson firearms, went up by as much as 6 percent.”\u003c/p>\n\u003cp>Those price hikes are part of a cycle that’s fueled by mass shootings, Rob Cox, global editor at\u003ca href=\"https://www.breakingviews.com/journalist/rob-cox/\"> Reuters Breakingviews\u003c/a>, told Marketplace:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Largely in response to concerns there may be new tightening of regulations on buying the guns, or on gun ownership. And that has actually driven a lot of the buying that actually has given these guys a lift over the past eight years.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Las+Vegas+Massacre+Prompts+Musician+To+Call+For+Gun+Control%3A+%27Enough+Is+Enough%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Country Stars React to Las Vegas Mass Shooting",
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"content": "\u003cp>The mass shooting in Las Vegas, which according to the police has killed 58 and wounded 515 people, took place during the last night of the Route 91 Harvest Festival. The festival featured many of country music’s current top stars, including singer Jason Aldean (during whose set, the last of the festival, shots were first fired), Eric Church, Sam Hunt and the duo Big & Rich.\u003c/p>\n\u003cp>Overnight, Aldean posted an anguished note to Instagram: “Tonight has been beyond horrific,” he wrote. “I still dont [\u003cem>sic\u003c/em>] know what to say but wanted to let everyone know that Me and my Crew are safe. My Thoughts and prayers go out to everyone involved tonight. It hurts my heart that this would happen to anyone who was just coming out to enjoy what should have been a fun night. \u003ca href=\"https://www.instagram.com/explore/tags/heartbroken/\">#heartbroken\u003c/a> \u003ca href=\"https://www.instagram.com/explore/tags/stopthehate/\">#stopthehate\u003c/a>”\u003c/p>\n\u003cp>https://www.instagram.com/p/BZvRZnogBrI/\u003c/p>\n\u003cp>Within the close-knit country music community, many other artists have reached to social media to express their shock and sorrow.\u003c/p>\n\u003cp>Singer-songwriter Ryan Hurd is engaged to singer Maren Morris, who performed at the Route 91 Harvest Festival on Saturday evening. On Instagram, Hurd posted a picture of the T-shirt his fiancee brought home for him from this year’s event. “We are so terribly heartbroken this morning, for our community,” he wrote, “for those who have lost their loved ones in the most unimaginable way, for our neighbors and for our country.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.instagram.com/p/BZvrXAVFp1-/\u003c/p>\n\u003cp>Singer Reba McEntire wrote on Instagram: “My heart goes out to all our friends, Jason Aldean, our music family and fans in Las Vegas. I’m praying for your healing. I pray God puts his arms around you.”\u003c/p>\n\u003cp>https://www.instagram.com/p/BZvu85ihMEV/\u003c/p>\n\u003cp>On Twitter, singer Blake Shelton was reflective: “My deepest sympathies and prayers to anyone has been affected by the Vegas shooting last night. I don’t even know anymore… Why?”\u003c/p>\n\u003cp>https://twitter.com/blakeshelton/status/914856208435212288\u003c/p>\n\u003cp>Singer Carrie Underwood wrote on Twitter, “We are praying for the victims and their families. May the Lord bring some comfort to them.”\u003c/p>\n\u003cp>https://twitter.com/carrieunderwood/status/914829592132800513\u003c/p>\n\u003cp>Singer-songwriter Thomas Rhett — who has been \u003ca href=\"https://www.nracountry.com/featured/thomas-rhett\">featured\u003c/a> as part of a National Rifle Association publicity campaign — wrote on Facebook: “I just can’t even fathom what happened in Vegas. My heart is broken.”\u003c/p>\n\u003cp>https://www.facebook.com/thomasrhettmusic/photos/a.585845218124537.1073741856.198584476850615/1692207374154977/?type=3\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cem>Los Angeles Times\u003c/em> \u003ca href=\"http://www.latimes.com/nation/la-na-las-vegas-mandalay-bay-20171001-story.html\">spoke\u003c/a> to Dan Ball, a former broadcast journalist who had been backstage at the festival as a guest of the duo Big & Rich. Ball told the newspaper that while he was backstage, he was thrilled by the diversity of the crowd, thinking: “Isn’t it great to look out there? We saw white, black, straight, gay, males, females, everyone out there having a good time. Moments later, these cowards commit a heinous act like this. It’s unbelievable. Unbelievable.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Country+Stars+React+To+Las+Vegas+Mass+Shooting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>Singer-songwriter Thomas Rhett — who has been \u003ca href=\"https://www.nracountry.com/featured/thomas-rhett\">featured\u003c/a> as part of a National Rifle Association publicity campaign — wrote on Facebook: “I just can’t even fathom what happened in Vegas. My heart is broken.”\u003c/p>\n\u003cp>https://www.facebook.com/thomasrhettmusic/photos/a.585845218124537.1073741856.198584476850615/1692207374154977/?type=3\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cem>Los Angeles Times\u003c/em> \u003ca href=\"http://www.latimes.com/nation/la-na-las-vegas-mandalay-bay-20171001-story.html\">spoke\u003c/a> to Dan Ball, a former broadcast journalist who had been backstage at the festival as a guest of the duo Big & Rich. Ball told the newspaper that while he was backstage, he was thrilled by the diversity of the crowd, thinking: “Isn’t it great to look out there? We saw white, black, straight, gay, males, females, everyone out there having a good time. Moments later, these cowards commit a heinous act like this. It’s unbelievable. Unbelievable.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Country+Stars+React+To+Las+Vegas+Mass+Shooting&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Take Me To The Pilot: 'American Made' Soars",
"headTitle": "Take Me To The Pilot: ‘American Made’ Soars | KQED",
"content": "\u003cp>Slickness is a virtue in \u003cem>American Made\u003c/em>, a cheerfully blistering yarn starring Tom Cruise as real-life-TWA-pilot-turned-CIA-stooge-turned-cocaine-smuggler Barry Seal. Piquant and picaresque, it’s essentially a hybrid of \u003cem>Goodfellas\u003c/em> and \u003cem>Air America\u003c/em>. Those movies — one rightly revered, the other all but forgotten — were released about a month apart from one another back in 1990, a long-ago cinematic era when either one might nevertheless have starred… Tom Cruise.\u003c/p>\n\u003cp>He’d just scored an Oscar nomination playing real-life Vietnam vet-turned-antiwar activist Ron Kovic in \u003cem>Born on the Fourth of July\u003c/em>, then immediately re-upped with \u003cem>Top Gun\u003c/em> director Tony Scott for the NASCAR action flick \u003cem>Days of Thunder\u003c/em>. Sure, \u003cem>Goodfellas\u003c/em> was the \u003cem>best\u003c/em> American film of 1990, but \u003cem>Days of Thunder\u003c/em> grossed nearly twice as much. A few years shy of 30, Cruise had found the golden mean of artistic cred and bankability that few movie stars achieve. Four years later, no longer content to race stock cars at 200 miles per hour, he would earn his pilot’s license. \u003cem>American Made\u003c/em> director Doug Liman claims the star performed all of Seal’s daredevil low-altitude flying scenes himself.\u003c/p>\n\u003cp>We’d \u003cem>infer\u003c/em> that, at this point. Among its other virtues, \u003cem>American Made\u003c/em> takes the longest-lived, most hands-on A-lister in the history of cinema and gives him a line — repeated twice in the movie — that sums up his range and staying power better than anything Maverick or Jerry Maguire or the top-knotted MRA guru he played in \u003cem>Magnolia\u003c/em> ever said: “I’m the gringo who always delivers.”\u003c/p>\n\u003cp>Undeniably. Incontrovertibly.\u003c/p>\n\u003cp>Disclosure: I have not seen \u003cem>The Mummy\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But I have seen \u003cem>American Made\u003c/em>, and I am here to tell you it’s everything you could want from a flashy true-crime biopic skewering the hypocrisy and malice of the Reagan Administration’s covert war in Central and South America. That included the C.I.A.’s recruitment of skilled, flexibly-scrupled pilots like Seal to work as snoops and gunrunners.\u003c/p>\n\u003cp>https://youtu.be/AEBIJRAkujM\u003c/p>\n\u003cp>Gary Spinelli’s screenplay takes liberties with the facts of Seal’s life, but not with the sheer scale of the conspiracy. Liman calls the film “a fun lie based on a true story.” That’s notable only because it’s a story to which the director has a personal connection: His father, Arthur Liman, was chief counsel of the Senate Iran-Contra committee of the late 1980s. By the time the elder Liman was among those questioning Oliver North about his role in government-sanctioned drug trafficking on live TV, Seal had already been dead for more than a year.\u003c/p>\n\u003cp>In this telling, Cruise’s Seal is so bored flying for TWA circa 1978 that he fakes an episode of turbulence, scaring a cabin full of passengers awake. The ubiquitous Irish actor Domhnall Gleeson, playing a white-collar spook who knows all about Seal’s sideline smuggling Cuban cigars, fast-talks him into serving his country while also indulging his need for speed, setting him up with a sleek Piper Aerostar 600 equipped with special cameras. The scenes between Gleeson and Cruise are especially fun: Cruise’s character is a huckster himself, so he knows he’s being taken. Game recognize game.\u003c/p>\n\u003cp>Seal is a reliable, daring pilot, but also easily led by the nose and good at keeping his mouth shut, so his employers turn a blind eye once he begins flying shipments of cocaine from Medellín, Colombia to Louisiana, dropping the bags in the swamp for pickup before landing. Liman shot on location in Colombia, and these scenes are alive with tension and detail, right down to the sweat stains that threaten to dissolve the fibers of Cruise’s enviable wardrobe of pearl-snap shirts. Seal forms a not-entirely-voluntary compact with young Pablo Escobar (Colombian actor Mauricio Mejía), soon to become the Steve Jobs of coke smuggling.\u003c/p>\n\u003cp>Liman and Spinelli do a good job with the practical how-tos of dope smuggling, and they make great comic hay of Seal’s increasingly desperate attempts to launder or just-plain-store his gym bags full of cash. (A FBI agent drives down the main street of tiny Mena, Arkansas, where the Agency has set up Seal and his family once the local cops drive him out of Louisiana, and finds nothing but banks with fresh paint on their signs.) As competing law-enforcement agencies close in, the Reagan administration’s shadow war — backing the Contras against the Sandinistas — becomes Seal’s saving grace. Liman works in real clips of First Lady Nancy Reagan urging American children to “just say no” and the President answering reporters’ questions about what he knew and when he knew it with bromides about how delicious his Thanksgiving turkey is going to be. A sub-two-hour movie covering an eight-year period inevitably means dollops of exposition, but Liman handles this adroitly, with a mix of animated segments and VHS video diaries from Cruise. Seal really made videos like this, so it doesn’t feel like cheating.\u003c/p>\n\u003cp>Cruise affects a mild Louisiana accent, but he hasn’t gained weight or shaved his hairline back or made any other awards-baiting attempt to resemble the historical Seal, who was almost a decade younger than Cruise when he died. He’s past all that now. The arguments for this are the same as the ones for casting Cruise as the tall, blonde literary antiheroes Lestat and Jack Reacher: His room-filling energy is more notable than any distinguishing physical feature. He’s a huckster. He has the liar’s superpower of being able to make himself believe anything he needs to believe.\u003c/p>\n\u003cp>\u003cem>American Made\u003c/em> is also a perfect fit for Liman, who began his career with the sweaty indie comedy \u003cem>Swingers,\u003c/em> was nearly fired from the franchise-launching \u003cem>The Bourne Identity\u003c/em> (Universal did not invite him back for the sequels), and found common cause with Cruise on \u003cem>Edge of Tomorrow\u003c/em>, one of the shrewdest and most original shoulda-been-a-blockbusters of the 21st century. He’s got almost as many misfires on his resume as hits, and that’s because he allows a perceptible measure of chaos into his movies. In the case of even a fictionalized biopic of a guy like Seal — a man who literally flew by the seat of his pants, low enough to brush the treetops, until what would eventually become known as the Medellín cartel caught up to him in a parking lot — that Demme-esque wildness is exactly the right method. And Liman is tireless: He shot, edited, and released the micro-budget war thriller \u003cem>The Wall\u003c/em> for Amazon Studios during the interval while \u003cem>American Made\u003c/em> was in postproduction. He’s at least as much a one-for-them, one-for-me guy as Christopher Nolan or Steven Soderbergh.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In\u003cem> American Made,\u003c/em> he’s found his shaggy-dog happy place: It’s one for us.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Slickness is a virtue in \u003cem>American Made\u003c/em>, a cheerfully blistering yarn starring Tom Cruise as real-life-TWA-pilot-turned-CIA-stooge-turned-cocaine-smuggler Barry Seal. Piquant and picaresque, it’s essentially a hybrid of \u003cem>Goodfellas\u003c/em> and \u003cem>Air America\u003c/em>. Those movies — one rightly revered, the other all but forgotten — were released about a month apart from one another back in 1990, a long-ago cinematic era when either one might nevertheless have starred… Tom Cruise.\u003c/p>\n\u003cp>He’d just scored an Oscar nomination playing real-life Vietnam vet-turned-antiwar activist Ron Kovic in \u003cem>Born on the Fourth of July\u003c/em>, then immediately re-upped with \u003cem>Top Gun\u003c/em> director Tony Scott for the NASCAR action flick \u003cem>Days of Thunder\u003c/em>. Sure, \u003cem>Goodfellas\u003c/em> was the \u003cem>best\u003c/em> American film of 1990, but \u003cem>Days of Thunder\u003c/em> grossed nearly twice as much. A few years shy of 30, Cruise had found the golden mean of artistic cred and bankability that few movie stars achieve. Four years later, no longer content to race stock cars at 200 miles per hour, he would earn his pilot’s license. \u003cem>American Made\u003c/em> director Doug Liman claims the star performed all of Seal’s daredevil low-altitude flying scenes himself.\u003c/p>\n\u003cp>We’d \u003cem>infer\u003c/em> that, at this point. Among its other virtues, \u003cem>American Made\u003c/em> takes the longest-lived, most hands-on A-lister in the history of cinema and gives him a line — repeated twice in the movie — that sums up his range and staying power better than anything Maverick or Jerry Maguire or the top-knotted MRA guru he played in \u003cem>Magnolia\u003c/em> ever said: “I’m the gringo who always delivers.”\u003c/p>\n\u003cp>Undeniably. Incontrovertibly.\u003c/p>\n\u003cp>Disclosure: I have not seen \u003cem>The Mummy\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But I have seen \u003cem>American Made\u003c/em>, and I am here to tell you it’s everything you could want from a flashy true-crime biopic skewering the hypocrisy and malice of the Reagan Administration’s covert war in Central and South America. That included the C.I.A.’s recruitment of skilled, flexibly-scrupled pilots like Seal to work as snoops and gunrunners.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/AEBIJRAkujM'\n title='//www.youtube.com/embed/AEBIJRAkujM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Gary Spinelli’s screenplay takes liberties with the facts of Seal’s life, but not with the sheer scale of the conspiracy. Liman calls the film “a fun lie based on a true story.” That’s notable only because it’s a story to which the director has a personal connection: His father, Arthur Liman, was chief counsel of the Senate Iran-Contra committee of the late 1980s. By the time the elder Liman was among those questioning Oliver North about his role in government-sanctioned drug trafficking on live TV, Seal had already been dead for more than a year.\u003c/p>\n\u003cp>In this telling, Cruise’s Seal is so bored flying for TWA circa 1978 that he fakes an episode of turbulence, scaring a cabin full of passengers awake. The ubiquitous Irish actor Domhnall Gleeson, playing a white-collar spook who knows all about Seal’s sideline smuggling Cuban cigars, fast-talks him into serving his country while also indulging his need for speed, setting him up with a sleek Piper Aerostar 600 equipped with special cameras. The scenes between Gleeson and Cruise are especially fun: Cruise’s character is a huckster himself, so he knows he’s being taken. Game recognize game.\u003c/p>\n\u003cp>Seal is a reliable, daring pilot, but also easily led by the nose and good at keeping his mouth shut, so his employers turn a blind eye once he begins flying shipments of cocaine from Medellín, Colombia to Louisiana, dropping the bags in the swamp for pickup before landing. Liman shot on location in Colombia, and these scenes are alive with tension and detail, right down to the sweat stains that threaten to dissolve the fibers of Cruise’s enviable wardrobe of pearl-snap shirts. Seal forms a not-entirely-voluntary compact with young Pablo Escobar (Colombian actor Mauricio Mejía), soon to become the Steve Jobs of coke smuggling.\u003c/p>\n\u003cp>Liman and Spinelli do a good job with the practical how-tos of dope smuggling, and they make great comic hay of Seal’s increasingly desperate attempts to launder or just-plain-store his gym bags full of cash. (A FBI agent drives down the main street of tiny Mena, Arkansas, where the Agency has set up Seal and his family once the local cops drive him out of Louisiana, and finds nothing but banks with fresh paint on their signs.) As competing law-enforcement agencies close in, the Reagan administration’s shadow war — backing the Contras against the Sandinistas — becomes Seal’s saving grace. Liman works in real clips of First Lady Nancy Reagan urging American children to “just say no” and the President answering reporters’ questions about what he knew and when he knew it with bromides about how delicious his Thanksgiving turkey is going to be. A sub-two-hour movie covering an eight-year period inevitably means dollops of exposition, but Liman handles this adroitly, with a mix of animated segments and VHS video diaries from Cruise. Seal really made videos like this, so it doesn’t feel like cheating.\u003c/p>\n\u003cp>Cruise affects a mild Louisiana accent, but he hasn’t gained weight or shaved his hairline back or made any other awards-baiting attempt to resemble the historical Seal, who was almost a decade younger than Cruise when he died. He’s past all that now. The arguments for this are the same as the ones for casting Cruise as the tall, blonde literary antiheroes Lestat and Jack Reacher: His room-filling energy is more notable than any distinguishing physical feature. He’s a huckster. He has the liar’s superpower of being able to make himself believe anything he needs to believe.\u003c/p>\n\u003cp>\u003cem>American Made\u003c/em> is also a perfect fit for Liman, who began his career with the sweaty indie comedy \u003cem>Swingers,\u003c/em> was nearly fired from the franchise-launching \u003cem>The Bourne Identity\u003c/em> (Universal did not invite him back for the sequels), and found common cause with Cruise on \u003cem>Edge of Tomorrow\u003c/em>, one of the shrewdest and most original shoulda-been-a-blockbusters of the 21st century. He’s got almost as many misfires on his resume as hits, and that’s because he allows a perceptible measure of chaos into his movies. In the case of even a fictionalized biopic of a guy like Seal — a man who literally flew by the seat of his pants, low enough to brush the treetops, until what would eventually become known as the Medellín cartel caught up to him in a parking lot — that Demme-esque wildness is exactly the right method. And Liman is tireless: He shot, edited, and released the micro-budget war thriller \u003cem>The Wall\u003c/em> for Amazon Studios during the interval while \u003cem>American Made\u003c/em> was in postproduction. He’s at least as much a one-for-them, one-for-me guy as Christopher Nolan or Steven Soderbergh.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In\u003cem> American Made,\u003c/em> he’s found his shaggy-dog happy place: It’s one for us.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Hugh Hefner created \u003cem>Playboy\u003c/em> at his kitchen table in Chicago. The magazine was blamed for (or credited with) setting off a cultural revolution in America, but within a few years Hefner was branded a male chauvinist. He was a proponent of free speech and a champion of civil rights who was decried as a merchant of smut.\u003c/p>\n\u003cp>Hefner died Wednesday at the age of 91, the magazine announced in a statement, writing that he “peacefully passed away today from natural causes at his home, The Playboy Mansion, surrounded by loved ones.”\u003c/p>\n\u003cp>“My father lived an exceptional and impactful life as a media and cultural pioneer and a leading voice behind some of the most significant social and cultural movements of our time in advocating free speech, civil rights and sexual freedom,” Hefner’s son Cooper, now the company’s chief creative officer, wrote in the company’s statment. “He defined a lifestyle and ethos that lie at the heart of the Playboy brand.”\u003c/p>\n\u003cp>\u003cem>Playboy\u003c/em> published outstanding writers (Joseph Heller, Margaret Atwood, Norman Mailer) and distinctive interviews with acclaimed and controversial figures, including Fidel Castro, Miles Davis and Malcolm X.\u003cstrong> \u003c/strong>But who are we kidding? The magazine made millions because serious pieces were printed on the flip side of pictures of naked women.\u003c/p>\n\u003cp>In 2007, Hefner told NPR, “The playmate of the month, the centerfold, came directly out of the influences of pinup photography and art from World War II and before. But what set them apart was what I described at the time as the girl next door: It all comes from that notion of being a fresh, wholesome, all-American person, and — in the context of the playmate — a sexual icon. The recognition … that nice girls like sex, too. Very revolutionary in the 1950s.”\u003c/p>\n\u003ch3>“I Get It For The Articles”\u003c/h3>\n\u003cp>In 1952, Hefner was working as a cartoonist for \u003cem>Esquire\u003c/em> magazine in Chicago. When he was turned down for a $5 raise, he decided to try something new: Hefner gathered $8,000 from 50 investors, including his mother, to create a prototype for a new magazine. He found a 5-year-old shot of a nude model in the files of a Chicago calendar company, and bought it for $500. The model was Marilyn Monroe, before she had become a star, and the magazine sold out in days.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Michael Hainey, who has worked as an editor at \u003cem>GQ\u003c/em> and \u003cem>Esquire\u003c/em>, says, “The joke about \u003cem>Playboy\u003c/em> is: ‘I get it for the articles.’ But in fact the journalism in it was profound. … [Hefner] was experimenting always with publishing controversial, cutting-edge stuff.”\u003c/p>\n\u003cp>In 1955, \u003cem>Playboy\u003c/em> published Charles Beaumont’s “\u003ca href=\"https://lostgayfiction.wordpress.com/2011/12/04/the-crooked-man-by-charles-beaumont/\">The Crooked Man\u003c/a>,” a short story set a future where the majority of the population is gay and heterosexual men are persecuted. It was originally rejected by \u003cem>Esquire\u003c/em>. “He always paid top dollar for fiction, published a lot of authors who never would’ve found an audience,” Hainey says. ” … He fought a lot of battles in terms of the First Amendment and free speech.”\u003c/p>\n\u003cp>The 1950s were a buttoned-down time, but \u003cem>Playboy\u003c/em> was \u003cem>un\u003c/em>buttoned — all about jazz, booze and swinging. The magazine’s success led Hefner to create Playboy Clubs in Chicago in 1960. He hired black comics like Dick Gregory and Bill Cosby at a time when most clubs were segregated, and he gave gigs to comic Lenny Bruce despite his many obscenity charges.\u003c/p>\n\u003cp>But Hefner’s profile as a hip, liberal activist was cracked by the rise of feminism in the 1970s, when he and \u003cem>Playboy\u003c/em> were accused of demeaning women as sex objects. In 2003, on \u003cem>Playboy\u003c/em>‘s 50th anniversary, Hefner told NPR, “I recognize that I remain — even after half a century — a controversial figure, but America has always had conflicts related to things related to sex. In other words, we remain essentially a very Puritan people.”\u003c/p>\n\u003cp>He also reframed the sex object criticism, saying, “I think you ought to talk to the women who’ve been in the magazine and see how they feel about that. I mean, what is more Puritan than somebody who has a strong opinion about somebody else’s life and who disapproves of it because somehow or other it’s not their particular way?”\u003c/p>\n\u003cp>As popular culture changed, \u003cem>Playboy\u003c/em> was caught between critics, who considered Hefner the emblem of anti-feminism, and competitors like Larry Flynt’s \u003cem>Hustler\u003c/em>, who were explicit to the point of raunchy. Circulation declined, Playboy Clubs closed and in the 1980s Hefner handed control of the magazine over to his daughter, Christie Hefner. She told NPR in 2003 that she believes the enterprise her father founded didn’t demean women. In fact, it elevated the struggle for civil rights and free speech.\u003c/p>\n\u003cp>She said, “If you want to reduce the magazine to its center three pages, then, in effect, you’ve objectified the magazine as much as anything else.”\u003c/p>\n\u003ch3>“Sex Was Handed To Us By The Powers That Be”\u003c/h3>\n\u003cp>Hugh Hefner spent the last decades of his life more as a cultural symbol than a force. He relocated to a Southern Californian mansion (complete with a koi pond, game room, grotto and movie theater) to host lavish parties. But the host reportedly mostly stayed in his bedroom suite, working in silk pajamas on his round bed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the time of his 2003 NPR interview, Hefner shared his mansion with seven women, all young enough to be his granddaughters. But the man who set out to surround himself with sexuality and extravagance looked isolated and lonely. He said his eventful life had convinced him romance was an illusion:\u003c/p>\n\u003cblockquote>\n\u003cp>Sex was handed to us by the powers that be, but romance is something that we invented, that is unique to humankind. And what’s interesting about the Western romantic tradition, of course, is that some of the classics are, you know, \u003cem>Romeo and Juliet,\u003c/em> where everybody dies. … In the fairy tales it’s pursuit, and then ‘they lived happily ever after.’ But we never really deal with “they lived happily ever after.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Playboy%27+Founder+Hugh+Hefner%2C+Champion+Of+Free+Speech+And+%27Smut%27%2C+Dies+At+91&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Michael Hainey, who has worked as an editor at \u003cem>GQ\u003c/em> and \u003cem>Esquire\u003c/em>, says, “The joke about \u003cem>Playboy\u003c/em> is: ‘I get it for the articles.’ But in fact the journalism in it was profound. … [Hefner] was experimenting always with publishing controversial, cutting-edge stuff.”\u003c/p>\n\u003cp>In 1955, \u003cem>Playboy\u003c/em> published Charles Beaumont’s “\u003ca href=\"https://lostgayfiction.wordpress.com/2011/12/04/the-crooked-man-by-charles-beaumont/\">The Crooked Man\u003c/a>,” a short story set a future where the majority of the population is gay and heterosexual men are persecuted. It was originally rejected by \u003cem>Esquire\u003c/em>. “He always paid top dollar for fiction, published a lot of authors who never would’ve found an audience,” Hainey says. ” … He fought a lot of battles in terms of the First Amendment and free speech.”\u003c/p>\n\u003cp>The 1950s were a buttoned-down time, but \u003cem>Playboy\u003c/em> was \u003cem>un\u003c/em>buttoned — all about jazz, booze and swinging. The magazine’s success led Hefner to create Playboy Clubs in Chicago in 1960. He hired black comics like Dick Gregory and Bill Cosby at a time when most clubs were segregated, and he gave gigs to comic Lenny Bruce despite his many obscenity charges.\u003c/p>\n\u003cp>But Hefner’s profile as a hip, liberal activist was cracked by the rise of feminism in the 1970s, when he and \u003cem>Playboy\u003c/em> were accused of demeaning women as sex objects. In 2003, on \u003cem>Playboy\u003c/em>‘s 50th anniversary, Hefner told NPR, “I recognize that I remain — even after half a century — a controversial figure, but America has always had conflicts related to things related to sex. In other words, we remain essentially a very Puritan people.”\u003c/p>\n\u003cp>He also reframed the sex object criticism, saying, “I think you ought to talk to the women who’ve been in the magazine and see how they feel about that. I mean, what is more Puritan than somebody who has a strong opinion about somebody else’s life and who disapproves of it because somehow or other it’s not their particular way?”\u003c/p>\n\u003cp>As popular culture changed, \u003cem>Playboy\u003c/em> was caught between critics, who considered Hefner the emblem of anti-feminism, and competitors like Larry Flynt’s \u003cem>Hustler\u003c/em>, who were explicit to the point of raunchy. Circulation declined, Playboy Clubs closed and in the 1980s Hefner handed control of the magazine over to his daughter, Christie Hefner. She told NPR in 2003 that she believes the enterprise her father founded didn’t demean women. In fact, it elevated the struggle for civil rights and free speech.\u003c/p>\n\u003cp>She said, “If you want to reduce the magazine to its center three pages, then, in effect, you’ve objectified the magazine as much as anything else.”\u003c/p>\n\u003ch3>“Sex Was Handed To Us By The Powers That Be”\u003c/h3>\n\u003cp>Hugh Hefner spent the last decades of his life more as a cultural symbol than a force. He relocated to a Southern Californian mansion (complete with a koi pond, game room, grotto and movie theater) to host lavish parties. But the host reportedly mostly stayed in his bedroom suite, working in silk pajamas on his round bed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At the time of his 2003 NPR interview, Hefner shared his mansion with seven women, all young enough to be his granddaughters. But the man who set out to surround himself with sexuality and extravagance looked isolated and lonely. He said his eventful life had convinced him romance was an illusion:\u003c/p>\n\u003cblockquote>\n\u003cp>Sex was handed to us by the powers that be, but romance is something that we invented, that is unique to humankind. And what’s interesting about the Western romantic tradition, of course, is that some of the classics are, you know, \u003cem>Romeo and Juliet,\u003c/em> where everybody dies. … In the fairy tales it’s pursuit, and then ‘they lived happily ever after.’ But we never really deal with “they lived happily ever after.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Playboy%27+Founder+Hugh+Hefner%2C+Champion+Of+Free+Speech+And+%27Smut%27%2C+Dies+At+91&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Trump, Taking Aim at Athletes' Knees, Draws Musicians to the Floor, too",
"headTitle": "Trump, Taking Aim at Athletes’ Knees, Draws Musicians to the Floor, too | KQED",
"content": "\u003cp>Donald Trump has revivified the silent protest begun last year by football player Colin Kaepernick, who began to kneel during the performance of the national anthem at the beginning of football games to draw attention to racially motivated violence and unrest in the country.\u003c/p>\n\u003cp>Saturday night, music legend Stevie Wonder told the crowd gathered in Central Park: “Tonight, I’m taking a knee for America … but not just one knee — I’m taking both knees.” Wonder’s brief speech was met with deafening applause.\u003c/p>\n\u003cp>Trump began the national anthem argument on Friday, telling an Alabama audience Friday night during a stump speech, \u003ca href=\"http://www.npr.org/2017/09/24/553214114/trump-embroiled-in-two-controversies-about-professional-sports-race-and-culture\">to enthusiastic applause\u003c/a>, “Wouldn’t you love to see one of these NFL owners, when somebody disrespects our flag, to say, ‘Get that son of a bitch off the field right now’?”\u003c/p>\n\u003cp>In 17 tweets or retweets since that remark, Trump has directed withering criticism at players and the NFL over players’ participation in the kneeling protest, praised NASCAR, called for a boycott of the sports league and reprised his \u003cem>Apprentice \u003c/em>catchphrase “you’re fired” as a suggestion for team owners’ response to players’ participation. In doing so, Trump seems to have placed the bellows on an already divisive flame, igniting some strong words from musicians.\u003c/p>\n\u003cp>Trump made his remarks in parallel with two music events, the Global Citizen Festival — held in Central Park’s Great Lawn to “spur music fans and change-makers alike to take action to help benefit the world’s poor” — and A Concert For Charlottesville — a concert organized in response to the turmoil in that city last month. Both events drew high-profile artists to stages that were guaranteed to draw sizable attention. In reacting to Trump’s comments, the protest begun by Kaepernick immediately reached a new high water-mark of visibility.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Performing in Charlottesville on Sunday night, Pharrell told the audience: “I’m in Virginia right now — I’m \u003cem>home\u003c/em>. Nobody tell me what to do — if I want to get on my knees right now, for the people of my city, for the people of my state — that’s what that flag is for.”\u003c/p>\n\u003cp>Wonder also appeared in Virginia, extending his comments from Saturday. “I’ve seen people hating people. They tell the children who watch them to be good. I’ve seen people killing people in churches, mosques, synoagogues and temples. I’ve seen hate marching down the street disguised as a cry for equality. If I can see it, dammit, I know \u003cem>you\u003c/em> can see it.\u003c/p>\n\u003cp>“But see it not with your eyes — feel it in your spirit, with your soul.\u003c/p>\n\u003cp>“So the question is — what are we going to do about it? To make a difference? We \u003cem>must\u003c/em>, all of us in the world, \u003cem>be \u003c/em>the difference.”\u003c/p>\n\u003cp>According \u003ca href=\"http://variety.com/2017/digital/news/nfl-trump-protests-twitter-social-media-social-media-analytics-1202569818/\" target=\"_blank\" rel=\"noopener\">to \u003cem>Variety\u003c/em>\u003c/a>, 2.5 million tweets were sent on Sunday regarding #TakeAKnee and #TakeTheKnee.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The protest was spread across genres — and countries. Pearl Jam’s Eddie Vedder \u003ca href=\"https://twitter.com/PearlJam/status/912136135278768128\" target=\"_blank\" rel=\"noopener\">took a knee\u003c/a> during a Tennessee performance; roots artist Rhiannon Giddens and her band dropped during a performance Sunday night in Nashville; John Legend \u003ca href=\"https://www.instagram.com/p/BZcFXEWgnK5/?hl=en&taken-by=johnlegend\" target=\"_blank\" rel=\"noopener\">did so\u003c/a> during a tour stop in Hamburg, Germany; J. Cole \u003ca href=\"https://twitter.com/JColeNC/status/911975177919090688\" target=\"_blank\" rel=\"noopener\">praised\u003c/a> athletes’ participation and encouraged a counter-boycott of the NFL over Kaepernick’s continued unemployment, which many conclude is due to the protest he began; Cardi B., the nascent rapper who today unseated Taylor Swift atop the Hot 100, \u003ca href=\"https://twitter.com/iamcardib/status/911982452155052037\" target=\"_blank\" rel=\"noopener\">asked\u003c/a> “when are they going to hire Kaepernick?”; De La Soul’s Posdnuos \u003ca href=\"http://www.nme.com/news/music/de-la-soul-join-take-knee-protests-life-beautiful-performance-2144305\" target=\"_blank\" rel=\"noopener\">took part\u003c/a> during a performance in Las Vegas; Meghan Linsey, a former contestant on \u003cem>The Voice\u003c/em>, and her band ended their performance of the national anthem during Sunday’s game between the Seahawks and the Titans by \u003ca href=\"https://www.youtube.com/watch?v=Gf0IGCuFD2Q\" target=\"_blank\" rel=\"noopener\">descending\u003c/a> to one knee; national anthem singer Rico Lavelle \u003ca href=\"http://www.freep.com/story/sports/nfl/lions/2017/09/25/detroit-lions-anthem-singer-rico-lavelle/699994001/\" target=\"_blank\" rel=\"noopener\">did the same\u003c/a> in Detroit, as well. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Trump%2C+Taking+Aim+At+Athletes%27+Knees%2C+Draws+Musicians+To+The+Floor%2C+Too+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Donald Trump has revivified the silent protest begun last year by football player Colin Kaepernick, who began to kneel during the performance of the national anthem at the beginning of football games to draw attention to racially motivated violence and unrest in the country.\u003c/p>\n\u003cp>Saturday night, music legend Stevie Wonder told the crowd gathered in Central Park: “Tonight, I’m taking a knee for America … but not just one knee — I’m taking both knees.” Wonder’s brief speech was met with deafening applause.\u003c/p>\n\u003cp>Trump began the national anthem argument on Friday, telling an Alabama audience Friday night during a stump speech, \u003ca href=\"http://www.npr.org/2017/09/24/553214114/trump-embroiled-in-two-controversies-about-professional-sports-race-and-culture\">to enthusiastic applause\u003c/a>, “Wouldn’t you love to see one of these NFL owners, when somebody disrespects our flag, to say, ‘Get that son of a bitch off the field right now’?”\u003c/p>\n\u003cp>In 17 tweets or retweets since that remark, Trump has directed withering criticism at players and the NFL over players’ participation in the kneeling protest, praised NASCAR, called for a boycott of the sports league and reprised his \u003cem>Apprentice \u003c/em>catchphrase “you’re fired” as a suggestion for team owners’ response to players’ participation. In doing so, Trump seems to have placed the bellows on an already divisive flame, igniting some strong words from musicians.\u003c/p>\n\u003cp>Trump made his remarks in parallel with two music events, the Global Citizen Festival — held in Central Park’s Great Lawn to “spur music fans and change-makers alike to take action to help benefit the world’s poor” — and A Concert For Charlottesville — a concert organized in response to the turmoil in that city last month. Both events drew high-profile artists to stages that were guaranteed to draw sizable attention. In reacting to Trump’s comments, the protest begun by Kaepernick immediately reached a new high water-mark of visibility.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Performing in Charlottesville on Sunday night, Pharrell told the audience: “I’m in Virginia right now — I’m \u003cem>home\u003c/em>. Nobody tell me what to do — if I want to get on my knees right now, for the people of my city, for the people of my state — that’s what that flag is for.”\u003c/p>\n\u003cp>Wonder also appeared in Virginia, extending his comments from Saturday. “I’ve seen people hating people. They tell the children who watch them to be good. I’ve seen people killing people in churches, mosques, synoagogues and temples. I’ve seen hate marching down the street disguised as a cry for equality. If I can see it, dammit, I know \u003cem>you\u003c/em> can see it.\u003c/p>\n\u003cp>“But see it not with your eyes — feel it in your spirit, with your soul.\u003c/p>\n\u003cp>“So the question is — what are we going to do about it? To make a difference? We \u003cem>must\u003c/em>, all of us in the world, \u003cem>be \u003c/em>the difference.”\u003c/p>\n\u003cp>According \u003ca href=\"http://variety.com/2017/digital/news/nfl-trump-protests-twitter-social-media-social-media-analytics-1202569818/\" target=\"_blank\" rel=\"noopener\">to \u003cem>Variety\u003c/em>\u003c/a>, 2.5 million tweets were sent on Sunday regarding #TakeAKnee and #TakeTheKnee.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The protest was spread across genres — and countries. Pearl Jam’s Eddie Vedder \u003ca href=\"https://twitter.com/PearlJam/status/912136135278768128\" target=\"_blank\" rel=\"noopener\">took a knee\u003c/a> during a Tennessee performance; roots artist Rhiannon Giddens and her band dropped during a performance Sunday night in Nashville; John Legend \u003ca href=\"https://www.instagram.com/p/BZcFXEWgnK5/?hl=en&taken-by=johnlegend\" target=\"_blank\" rel=\"noopener\">did so\u003c/a> during a tour stop in Hamburg, Germany; J. Cole \u003ca href=\"https://twitter.com/JColeNC/status/911975177919090688\" target=\"_blank\" rel=\"noopener\">praised\u003c/a> athletes’ participation and encouraged a counter-boycott of the NFL over Kaepernick’s continued unemployment, which many conclude is due to the protest he began; Cardi B., the nascent rapper who today unseated Taylor Swift atop the Hot 100, \u003ca href=\"https://twitter.com/iamcardib/status/911982452155052037\" target=\"_blank\" rel=\"noopener\">asked\u003c/a> “when are they going to hire Kaepernick?”; De La Soul’s Posdnuos \u003ca href=\"http://www.nme.com/news/music/de-la-soul-join-take-knee-protests-life-beautiful-performance-2144305\" target=\"_blank\" rel=\"noopener\">took part\u003c/a> during a performance in Las Vegas; Meghan Linsey, a former contestant on \u003cem>The Voice\u003c/em>, and her band ended their performance of the national anthem during Sunday’s game between the Seahawks and the Titans by \u003ca href=\"https://www.youtube.com/watch?v=Gf0IGCuFD2Q\" target=\"_blank\" rel=\"noopener\">descending\u003c/a> to one knee; national anthem singer Rico Lavelle \u003ca href=\"http://www.freep.com/story/sports/nfl/lions/2017/09/25/detroit-lions-anthem-singer-rico-lavelle/699994001/\" target=\"_blank\" rel=\"noopener\">did the same\u003c/a> in Detroit, as well. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Trump%2C+Taking+Aim+At+Athletes%27+Knees%2C+Draws+Musicians+To+The+Floor%2C+Too+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Above the Ballet, Where the Tutus Are Made",
"headTitle": "Above the Ballet, Where the Tutus Are Made | KQED",
"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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"title": "Lido Pimienta Takes the Polaris Prize Over Leonard Cohen, Feist",
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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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"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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"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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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"perspectives": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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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.",
"airtime": "MON-FRI 2pm-3pm",
"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": {
"id": "reveal",
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