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"content": "\u003cp>The lobby of a Silicon Valley tech company is not where you would expect to hear a soprano belting out a \u003ca href=\"http://www.npr.org/artists/90063951/giacomo-puccini\" target=\"_blank\" rel=\"noopener noreferrer\">Puccini\u003c/a> aria, but that was exactly what happened at the first performance of Arias in the Office.\u003c/p>\n\u003cp>With “Ch’il Bel Sogno,” soprano Katharine Gunnink kicked off the new pop-up series at Adobe’s San Jose headquarters at the beginning of August. The initiative by Opera San José aims to introduce people to the very concept of opera as something that can be fun and enjoyable.\u003c/p>\n\u003cp>“That’s the idea — to bring what we do, and the level at which we do it, to people who’ve heard it and are fans, or people who’ve never heard it,” explains Aaron Nicholson, director of Marketing and Development for Opera San José.\u003c/p>\n\u003cp>The free performance had the intended effect on Jyh-Jiun Liou, a software quality engineer for Adobe who has lived in nearby Sunnyvale for 25 years but had no clue Opera San José even existed.\u003c/p>\n\u003cfigure id=\"attachment_13806983\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806983\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-800x600.jpg\" alt=\"Trevor Neal performs for Adobe employees at the company's headquarters in San Jose, Calif. as part of Arias in the Office\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevor Neal performs for Adobe employees at the company’s headquarters in San Jose, Calif. as part of Arias in the Office \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Not a fan, but I really like it,” she remarked. “So if I see they will have a performance — maybe I will purchase a ticket.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the other end of the spectrum was Zori Sanchez, of Adobe’s finance department. Sanchez is a single ticket holder who says she “periodically” goes to the opera with friends. “I tend to go with people who kind of love it,” she says.\u003c/p>\n\u003cp>About 60 self-selecting attendees gathered in the Adobe lobby for the free performance — and more curious passers-by looked on. Such pop-up concerts in non-traditional venues, like parks and pubs, have helped a growing number of opera artists cultivate new fans.\u003c/p>\n\u003cp>Opera on Tap is a national non-profit focused on taking the art form beyond the opera house in the name of community outreach. “We can’t just expect that if we put together a great season, people will come,” says Indre Viskontas, a soprano with the San Francisco chapter. “We need to go to where they are and show them how awesome our art is. And then they’ll come to some of the bigger productions.”\u003c/p>\n\u003cfigure id=\"attachment_13806984\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-800x600.jpg\" alt=\"Adobe employees listen to Katharine Gunnick perform during the first performance of Arias at the Office.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adobe employees listen to Katharine Gunnick perform during the first performance of Arias at the Office. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>For workers at some Silicon Valley companies, Arias in the Office might very well be pleasantly surprising lunchtime entertainment. But for opera singers and performers, the pop-up series is not just a means of expanding their audience, but also continuing the relevance and vibrancy of their art form.\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=New+Pop-Up+Series+Treats+Silicon+Valley+Workers+To+Opera+At+The+Office&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The lobby of a Silicon Valley tech company is not where you would expect to hear a soprano belting out a \u003ca href=\"http://www.npr.org/artists/90063951/giacomo-puccini\" target=\"_blank\" rel=\"noopener noreferrer\">Puccini\u003c/a> aria, but that was exactly what happened at the first performance of Arias in the Office.\u003c/p>\n\u003cp>With “Ch’il Bel Sogno,” soprano Katharine Gunnink kicked off the new pop-up series at Adobe’s San Jose headquarters at the beginning of August. The initiative by Opera San José aims to introduce people to the very concept of opera as something that can be fun and enjoyable.\u003c/p>\n\u003cp>“That’s the idea — to bring what we do, and the level at which we do it, to people who’ve heard it and are fans, or people who’ve never heard it,” explains Aaron Nicholson, director of Marketing and Development for Opera San José.\u003c/p>\n\u003cp>The free performance had the intended effect on Jyh-Jiun Liou, a software quality engineer for Adobe who has lived in nearby Sunnyvale for 25 years but had no clue Opera San José even existed.\u003c/p>\n\u003cfigure id=\"attachment_13806983\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806983\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-800x600.jpg\" alt=\"Trevor Neal performs for Adobe employees at the company's headquarters in San Jose, Calif. as part of Arias in the Office\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_151-b0dc071ce1fee0bf3734a5e0916f8c01cf25c5c7-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Trevor Neal performs for Adobe employees at the company’s headquarters in San Jose, Calif. as part of Arias in the Office \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Not a fan, but I really like it,” she remarked. “So if I see they will have a performance — maybe I will purchase a ticket.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the other end of the spectrum was Zori Sanchez, of Adobe’s finance department. Sanchez is a single ticket holder who says she “periodically” goes to the opera with friends. “I tend to go with people who kind of love it,” she says.\u003c/p>\n\u003cp>About 60 self-selecting attendees gathered in the Adobe lobby for the free performance — and more curious passers-by looked on. Such pop-up concerts in non-traditional venues, like parks and pubs, have helped a growing number of opera artists cultivate new fans.\u003c/p>\n\u003cp>Opera on Tap is a national non-profit focused on taking the art form beyond the opera house in the name of community outreach. “We can’t just expect that if we put together a great season, people will come,” says Indre Viskontas, a soprano with the San Francisco chapter. “We need to go to where they are and show them how awesome our art is. And then they’ll come to some of the bigger productions.”\u003c/p>\n\u003cfigure id=\"attachment_13806984\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13806984\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-800x600.jpg\" alt=\"Adobe employees listen to Katharine Gunnick perform during the first performance of Arias at the Office.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/20170801_opera_jt_131-acb6491a973b523068c5e8572961bdc4e8cb3787-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Adobe employees listen to Katharine Gunnick perform during the first performance of Arias at the Office. \u003ccite>(James Tensuan/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003c/p>\n\u003cp>For workers at some Silicon Valley companies, Arias in the Office might very well be pleasantly surprising lunchtime entertainment. But for opera singers and performers, the pop-up series is not just a means of expanding their audience, but also continuing the relevance and vibrancy of their art form.\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=New+Pop-Up+Series+Treats+Silicon+Valley+Workers+To+Opera+At+The+Office&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you’ve seen the hit musical \u003cem>Hamilton\u003c/em> — or even if you’ve only heard about it — you might want to know more about the founding father who was the United States’ first Secretary of the Treasury. And if so, the Library of Congress just made it easier to go right to the source. \u003c/p>\n\u003cp>Before, if you wanted to see — for example — Alexander Hamilton’s letters to his wife, you had to travel to the Library of Congress in Washington, D.C., and even then, you’d have to view them on microfilm. Now, Julie Miller, the library’s curator of early American manuscripts, says the collection has been digitized. “The web site is meant to open these up to a much broader public,” she tells me — and given the increased interest in Hamilton, the timing is no accident.\u003c/p>\n\u003cp>Miller says the musical’s enormous popularity motivated the library to make almost 900 Hamilton documents available on the Internet. At a briefing, Miller and members of the library’s digital team lay out some of the original documents underneath a screen displaying the new website\u003c/p>\n\u003cp>“We’re going to start with something very, very early,” Miller says. “This is actually a famous letter.” In the letter, written when Hamilton was 12 years old, he expresses his desire for what he calls a larger life. “He has fantastically good handwriting,” she says, “because he was a clerk in a trader’s office on the docks in St. Croix, and part of being a clerk was learning how to write like that.”\u003c/p>\n\u003cp>Hamilton signs off with a youthful flourish, a signature that ends in a series of curlicues. Bill Kellum, of the library’s web division, says it’s that kind of detail that makes the digital collection so fascinating. “When you take the papers or the archives of a person and put them online, you get to see all of the things that are not famous, whether it’s their receipts, or their letters, or it’s correspondence that previous experts have thought unimportant, you get to see those … it really kind of humanizes a person.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>One of the most moving documents in the collection is a letter written by Hamilton to his wife Eliza, the night before his duel with Aaron Burr. Miller reads a bit of it for me: “It says, ‘This letter will not be delivered to you unless I shall first have terminated my earthly career’ … And then he says, ‘With my last idea, I shall cherish the sweet hope of meeting you in a better world.’ And I think this is what people know from the play: ‘Adieu, best of wives and best of women, embrace all my darling children for me.’ And that was the end of Alexander Hamilton.”\u003c/p>\n\u003cp>You can now see that letter — and more than 800 other documents from the Hamilton collection — \u003ca href=\"https://www.loc.gov/collections/alexander-hamilton-papers/about-this-collection/\" target=\"_blank\" rel=\"noopener\">on the Library of Congress web site\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced and edited for radio by Tom Cole and Andrew Limbong. Petra Mayer adapted it for the web.\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=I+Saved+Every+Letter+You+Wrote+Me%3A+The+Library+of+Congress+Digitizes+Hamilton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you’ve seen the hit musical \u003cem>Hamilton\u003c/em> — or even if you’ve only heard about it — you might want to know more about the founding father who was the United States’ first Secretary of the Treasury. And if so, the Library of Congress just made it easier to go right to the source. \u003c/p>\n\u003cp>Before, if you wanted to see — for example — Alexander Hamilton’s letters to his wife, you had to travel to the Library of Congress in Washington, D.C., and even then, you’d have to view them on microfilm. Now, Julie Miller, the library’s curator of early American manuscripts, says the collection has been digitized. “The web site is meant to open these up to a much broader public,” she tells me — and given the increased interest in Hamilton, the timing is no accident.\u003c/p>\n\u003cp>Miller says the musical’s enormous popularity motivated the library to make almost 900 Hamilton documents available on the Internet. At a briefing, Miller and members of the library’s digital team lay out some of the original documents underneath a screen displaying the new website\u003c/p>\n\u003cp>“We’re going to start with something very, very early,” Miller says. “This is actually a famous letter.” In the letter, written when Hamilton was 12 years old, he expresses his desire for what he calls a larger life. “He has fantastically good handwriting,” she says, “because he was a clerk in a trader’s office on the docks in St. Croix, and part of being a clerk was learning how to write like that.”\u003c/p>\n\u003cp>Hamilton signs off with a youthful flourish, a signature that ends in a series of curlicues. Bill Kellum, of the library’s web division, says it’s that kind of detail that makes the digital collection so fascinating. “When you take the papers or the archives of a person and put them online, you get to see all of the things that are not famous, whether it’s their receipts, or their letters, or it’s correspondence that previous experts have thought unimportant, you get to see those … it really kind of humanizes a person.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>One of the most moving documents in the collection is a letter written by Hamilton to his wife Eliza, the night before his duel with Aaron Burr. Miller reads a bit of it for me: “It says, ‘This letter will not be delivered to you unless I shall first have terminated my earthly career’ … And then he says, ‘With my last idea, I shall cherish the sweet hope of meeting you in a better world.’ And I think this is what people know from the play: ‘Adieu, best of wives and best of women, embrace all my darling children for me.’ And that was the end of Alexander Hamilton.”\u003c/p>\n\u003cp>You can now see that letter — and more than 800 other documents from the Hamilton collection — \u003ca href=\"https://www.loc.gov/collections/alexander-hamilton-papers/about-this-collection/\" target=\"_blank\" rel=\"noopener\">on the Library of Congress web site\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This story was produced and edited for radio by Tom Cole and Andrew Limbong. Petra Mayer adapted it for the web.\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=I+Saved+Every+Letter+You+Wrote+Me%3A+The+Library+of+Congress+Digitizes+Hamilton&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Baltimore Took Down Confederate Monuments. Now It Has To Decide What To Do With Them",
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"content": "\u003cp>If you walked into Baltimore’s Wyman Park Dell two weeks ago, a statue of Confederate Gens. Robert E. Lee and Stonewall Jackson on horseback would have towered above you.\u003c/p>\n\u003cp>There’s an inscription on the base that reads, “They were great generals and Christian soldiers and waged war like gentlemen.” But now, there’s nothing atop the pedestal except for a few potted plants.\u003c/p>\n\u003cp>On Aug. 16, under the cover of darkness, Baltimore removed four statues of figures with Confederate ties \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/16/543851420/baltimore-removes-confederate-statues-one-day-after-voting-on-issue\">in a five-hour operation\u003c/a> ordered by Mayor Catherine Pugh.\u003c/p>\n\u003cp>The Lee-Jackson statue and three others are now in a city lot, covered and protected. The location is being kept secret. And Baltimore is trying to figure out what to do with them. Pugh says she has appointed a working group of city officials to weigh the options for where the statues should go.\u003c/p>\n\u003cp>Other cities across the U.S. that have taken down controversial monuments are grappling with the same questions.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“They’re coming down so fast, I don’t know if we have enough museums to house them or enough cemeteries to stick them in,” Pugh says of those works.\u003c/p>\n\u003cp>Baltimore’s mayor says she took action quickly and quietly because she was worried about violence in the aftermath of Charlottesville, Va., where plans to remove a statue of Lee became a rallying point for white nationalists.\u003c/p>\n\u003cp>Pugh says that because of safety concerns, only she and the contractor knew the removals were happening until right before the operation started.\u003c/p>\n\u003cp>The statues had already been a matter of city debate for years. In 2015, a panel of scholars heard comments from more than 200 people about whether the statues should stay or go and what should be done with them if they were removed.\u003c/p>\n\u003cp>“There were a wide variety of opinions about the statues and about how we should remember Baltimore’s complicated situation during the Civil War and how we should remember the Jim Crow era here,” says University of Baltimore history professor Elizabeth Nix, who was part of that commission. “Really, those statues are products of the Jim Crow era and not the Civil War.”\u003c/p>\n\u003cp>During the war, Maryland was a slaveholding state that never seceded from the Union. It had three times more soldiers who fought for the Union than for the Confederacy. And after the war, Nix says, many former Confederates moved to Baltimore.\u003c/p>\n\u003cp>“Those monuments that went up were definitely a message to the thriving black professional class that white supremacy still reigned in the city,” Nix said. In a deeply segregated city, these issues still resonate.\u003c/p>\n\u003cp>One of those four statues, for example, depicts Roger Brooke Taney, the chief justice of the United States who oversaw \u003ca href=\"https://www.oyez.org/cases/1850-1900/60us393\">the infamous Dred Scott Supreme Court decision\u003c/a>. While Taney wasn’t a Confederate figure, the statue is seen as having ties to the Confederate cause. His majority opinion in 1857 stated that African-Americans could not be considered citizens — and by extension the decision treated black people as property, not people.\u003c/p>\n\u003cp>“There is a difference between honoring people from history and having a memory of people from history,” Nix added. “So I think those statues can exist in the proper context, but where they were was not the proper context.”\u003c/p>\n\u003cfigure id=\"attachment_13806758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/baltimore-monument-800x449.jpg\" alt=\"Baltimore's statue of Confederate Gens. Robert E. Lee and Stonewall Jackson before it was removed (left); now, the platform is empty except for a few potted plants.\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13806758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baltimore’s statue of Confederate Gens. Robert E. Lee and Stonewall Jackson before it was removed (left); now, the platform is empty except for a few potted plants. \u003ccite>(Mark Goebel/Flickr; Merrit Kennedy/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She recommended placing the Lee-Jackson monument in context — at the Chancellorsville Civil War battlefield in Virginia.\u003cem> \u003c/em>The monument depicts the generals prior to that battle, where Jackson was fatally wounded.\u003c/p>\n\u003cp>Pugh says Baltimore officials are considering sending the four monuments to museums or Civil War cemeteries.\u003c/p>\n\u003cp>City Councilman Brandon Scott doesn’t want Confederate statues put on any public land: “Because you’re saying we don’t want it here because it’s disrespectful to the black people here, the women here, etc., but you send it there and those people have to see it each and every day.”\u003c/p>\n\u003cp>He has a more radical idea. “Personally I think that they should be melted down and repurposed for statues that can show true Baltimoreans and true American, great American history,” Scott says.\u003c/p>\n\u003cp>The councilman suggests that the materials could be used to depict people such as abolitionist leader Frederick Douglass or Thurgood Marshall, the first black Supreme Court justice.\u003c/p>\n\u003cp>That’s unlikely to happen, though, because the mayor says she doesn’t want to destroy the statues. “I think that we should be pushing love, respect, how we work together and move our country forward. That does not come in the context of where I’d like to see us go,” Pugh says.\u003c/p>\n\u003cp>Whatever the city decides to do with the monuments, there’s also the question of what to do with the empty pedestals where they once stood.\u003c/p>\n\u003cp>Pugh likes the idea of using these public spaces to honor people who have made positive contributions to Baltimore. She also doesn’t want people to forget what stood there before.\u003c/p>\n\u003cp>“Because I think it is important that people know what did stand there and why. And the reasons for which they came down,” Pugh says. She says proposals are coming in from artists, and reads an email aloud off her phone from an African-American artist who wants to paint the pedestals in a way that would educate people about the site’s history.\u003c/p>\n\u003cp>“I think that’s an awesome proposal,” Pugh says, “But these kinds of decisions should not be made alone.” She says there is no timeline yet for determining what will happen to the statues or the sites.\u003c/p>\n\u003cp>Dereck Mangus works at the Baltimore Museum of Art, down the street from the Lee Jackson site. He eats his lunch here every day and says he has never seen so many visitors looking at the empty space.\u003c/p>\n\u003cp>“It’s just sort of funny in a way, people wanting to see that which is no longer there,” Mangus says.\u003c/p>\n\u003cp>Charles Hopwood, a retired city employee, is one of those visitors. “Keeping it empty makes a statement on its own,” he says as he looks up at the pedestal. “And have a little sign in front of it with a picture of what was here and what isn’t.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“That’s making a historical statement on its own.” \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=Baltimore+Took+Down+Confederate+Monuments.+Now+It+Has+To+Decide+What+To+Do+With+Them&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you walked into Baltimore’s Wyman Park Dell two weeks ago, a statue of Confederate Gens. Robert E. Lee and Stonewall Jackson on horseback would have towered above you.\u003c/p>\n\u003cp>There’s an inscription on the base that reads, “They were great generals and Christian soldiers and waged war like gentlemen.” But now, there’s nothing atop the pedestal except for a few potted plants.\u003c/p>\n\u003cp>On Aug. 16, under the cover of darkness, Baltimore removed four statues of figures with Confederate ties \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/16/543851420/baltimore-removes-confederate-statues-one-day-after-voting-on-issue\">in a five-hour operation\u003c/a> ordered by Mayor Catherine Pugh.\u003c/p>\n\u003cp>The Lee-Jackson statue and three others are now in a city lot, covered and protected. The location is being kept secret. And Baltimore is trying to figure out what to do with them. Pugh says she has appointed a working group of city officials to weigh the options for where the statues should go.\u003c/p>\n\u003cp>Other cities across the U.S. that have taken down controversial monuments are grappling with the same questions.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“They’re coming down so fast, I don’t know if we have enough museums to house them or enough cemeteries to stick them in,” Pugh says of those works.\u003c/p>\n\u003cp>Baltimore’s mayor says she took action quickly and quietly because she was worried about violence in the aftermath of Charlottesville, Va., where plans to remove a statue of Lee became a rallying point for white nationalists.\u003c/p>\n\u003cp>Pugh says that because of safety concerns, only she and the contractor knew the removals were happening until right before the operation started.\u003c/p>\n\u003cp>The statues had already been a matter of city debate for years. In 2015, a panel of scholars heard comments from more than 200 people about whether the statues should stay or go and what should be done with them if they were removed.\u003c/p>\n\u003cp>“There were a wide variety of opinions about the statues and about how we should remember Baltimore’s complicated situation during the Civil War and how we should remember the Jim Crow era here,” says University of Baltimore history professor Elizabeth Nix, who was part of that commission. “Really, those statues are products of the Jim Crow era and not the Civil War.”\u003c/p>\n\u003cp>During the war, Maryland was a slaveholding state that never seceded from the Union. It had three times more soldiers who fought for the Union than for the Confederacy. And after the war, Nix says, many former Confederates moved to Baltimore.\u003c/p>\n\u003cp>“Those monuments that went up were definitely a message to the thriving black professional class that white supremacy still reigned in the city,” Nix said. In a deeply segregated city, these issues still resonate.\u003c/p>\n\u003cp>One of those four statues, for example, depicts Roger Brooke Taney, the chief justice of the United States who oversaw \u003ca href=\"https://www.oyez.org/cases/1850-1900/60us393\">the infamous Dred Scott Supreme Court decision\u003c/a>. While Taney wasn’t a Confederate figure, the statue is seen as having ties to the Confederate cause. His majority opinion in 1857 stated that African-Americans could not be considered citizens — and by extension the decision treated black people as property, not people.\u003c/p>\n\u003cp>“There is a difference between honoring people from history and having a memory of people from history,” Nix added. “So I think those statues can exist in the proper context, but where they were was not the proper context.”\u003c/p>\n\u003cfigure id=\"attachment_13806758\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/baltimore-monument-800x449.jpg\" alt=\"Baltimore's statue of Confederate Gens. Robert E. Lee and Stonewall Jackson before it was removed (left); now, the platform is empty except for a few potted plants.\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13806758\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/baltimore-monument-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Baltimore’s statue of Confederate Gens. Robert E. Lee and Stonewall Jackson before it was removed (left); now, the platform is empty except for a few potted plants. \u003ccite>(Mark Goebel/Flickr; Merrit Kennedy/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>She recommended placing the Lee-Jackson monument in context — at the Chancellorsville Civil War battlefield in Virginia.\u003cem> \u003c/em>The monument depicts the generals prior to that battle, where Jackson was fatally wounded.\u003c/p>\n\u003cp>Pugh says Baltimore officials are considering sending the four monuments to museums or Civil War cemeteries.\u003c/p>\n\u003cp>City Councilman Brandon Scott doesn’t want Confederate statues put on any public land: “Because you’re saying we don’t want it here because it’s disrespectful to the black people here, the women here, etc., but you send it there and those people have to see it each and every day.”\u003c/p>\n\u003cp>He has a more radical idea. “Personally I think that they should be melted down and repurposed for statues that can show true Baltimoreans and true American, great American history,” Scott says.\u003c/p>\n\u003cp>The councilman suggests that the materials could be used to depict people such as abolitionist leader Frederick Douglass or Thurgood Marshall, the first black Supreme Court justice.\u003c/p>\n\u003cp>That’s unlikely to happen, though, because the mayor says she doesn’t want to destroy the statues. “I think that we should be pushing love, respect, how we work together and move our country forward. That does not come in the context of where I’d like to see us go,” Pugh says.\u003c/p>\n\u003cp>Whatever the city decides to do with the monuments, there’s also the question of what to do with the empty pedestals where they once stood.\u003c/p>\n\u003cp>Pugh likes the idea of using these public spaces to honor people who have made positive contributions to Baltimore. She also doesn’t want people to forget what stood there before.\u003c/p>\n\u003cp>“Because I think it is important that people know what did stand there and why. And the reasons for which they came down,” Pugh says. She says proposals are coming in from artists, and reads an email aloud off her phone from an African-American artist who wants to paint the pedestals in a way that would educate people about the site’s history.\u003c/p>\n\u003cp>“I think that’s an awesome proposal,” Pugh says, “But these kinds of decisions should not be made alone.” She says there is no timeline yet for determining what will happen to the statues or the sites.\u003c/p>\n\u003cp>Dereck Mangus works at the Baltimore Museum of Art, down the street from the Lee Jackson site. He eats his lunch here every day and says he has never seen so many visitors looking at the empty space.\u003c/p>\n\u003cp>“It’s just sort of funny in a way, people wanting to see that which is no longer there,” Mangus says.\u003c/p>\n\u003cp>Charles Hopwood, a retired city employee, is one of those visitors. “Keeping it empty makes a statement on its own,” he says as he looks up at the pedestal. “And have a little sign in front of it with a picture of what was here and what isn’t.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“That’s making a historical statement on its own.” \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=Baltimore+Took+Down+Confederate+Monuments.+Now+It+Has+To+Decide+What+To+Do+With+Them&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>MTV is the TV network most widely associated with short attention spans. So it makes sense that its Video Music Awards would function as a jarring and disjointed jumble of moments — a howl of protest followed immediately by a singer’s tears of joy, or a heartfelt speech by a grieving mother giving way to a performance of “Da Ya Think I’m Sexy” by Rod Stewart and DNCE. In such a barrage, it’s unfair to expect any one performance, speech or spectacle to rise above the others, especially as the telecast stretched past three hours.\u003c/p>\n\u003cp>But rise they did: Kendrick Lamar’s riveting opening medley, with its copious flames, unfolded like a fire emoji come to life. Always a highlight of performance-driven awards shows, Pink followed a career-spanning greatest-hits set with a gorgeous speech. Lorde danced to her own song without bothering to lip-sync the words — an act that felt bold, even subversive, in the moment.\u003c/p>\n\u003cp>Aaaaaaaand then there was the other stuff, from Taylor Swift’s hotly anticipated video for “Look What You Made Me Do” — which devolved quickly into a mismatched mishmash of dull and recycled provocation — to Katy Perry’s game but thudding hosting job. Ed Sheeran winning Artist of the Year over Kendrick Lamar seemed almost perverse, if altogether predictable, after their respective performances, though Lamar thankfully took the biggest prize at the end of the night.\u003c/p>\n\u003cp>In the world of the VMAs, awards themselves are almost incidental, but here we go. Lamar led the field with six wins, though four of his prizes were of the technical variety, for the visually dazzling, Dave Meyers-directed video that accompanies “HUMBLE.” (Lamar and Meyers also took Video of the Year and Best Hip Hop Video.) Elsewhere, Khalid won the Artist to Watch Award, while other prizes went to Fifth Harmony and Gucci Mane (Best Pop Video), Zedd and Alessia Cara (Best Electronic Dance Video), Taylor Swift and Zayn (Best Collaboration), and Best Rock Video (Twenty One Pilots). \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=Kendrick+Lamar+Wins+Big+In+The+VMAs%27+Jarring+Jumble+Of+Moments&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>MTV is the TV network most widely associated with short attention spans. So it makes sense that its Video Music Awards would function as a jarring and disjointed jumble of moments — a howl of protest followed immediately by a singer’s tears of joy, or a heartfelt speech by a grieving mother giving way to a performance of “Da Ya Think I’m Sexy” by Rod Stewart and DNCE. In such a barrage, it’s unfair to expect any one performance, speech or spectacle to rise above the others, especially as the telecast stretched past three hours.\u003c/p>\n\u003cp>But rise they did: Kendrick Lamar’s riveting opening medley, with its copious flames, unfolded like a fire emoji come to life. Always a highlight of performance-driven awards shows, Pink followed a career-spanning greatest-hits set with a gorgeous speech. Lorde danced to her own song without bothering to lip-sync the words — an act that felt bold, even subversive, in the moment.\u003c/p>\n\u003cp>Aaaaaaaand then there was the other stuff, from Taylor Swift’s hotly anticipated video for “Look What You Made Me Do” — which devolved quickly into a mismatched mishmash of dull and recycled provocation — to Katy Perry’s game but thudding hosting job. Ed Sheeran winning Artist of the Year over Kendrick Lamar seemed almost perverse, if altogether predictable, after their respective performances, though Lamar thankfully took the biggest prize at the end of the night.\u003c/p>\n\u003cp>In the world of the VMAs, awards themselves are almost incidental, but here we go. Lamar led the field with six wins, though four of his prizes were of the technical variety, for the visually dazzling, Dave Meyers-directed video that accompanies “HUMBLE.” (Lamar and Meyers also took Video of the Year and Best Hip Hop Video.) Elsewhere, Khalid won the Artist to Watch Award, while other prizes went to Fifth Harmony and Gucci Mane (Best Pop Video), Zedd and Alessia Cara (Best Electronic Dance Video), Taylor Swift and Zayn (Best Collaboration), and Best Rock Video (Twenty One Pilots). \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=Kendrick+Lamar+Wins+Big+In+The+VMAs%27+Jarring+Jumble+Of+Moments&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Tobe Hooper, Director Of 'Chain Saw Massacre,' Dies at 74",
"headTitle": "Tobe Hooper, Director Of ‘Chain Saw Massacre,’ Dies at 74 | KQED",
"content": "\u003cp>Tobe Hooper, who directed the influential horror movie \u003cem>The Texas Chain Saw Massacre,\u003c/em> died on Saturday in Los Angeles.\u003c/p>\n\u003cp>The LA County coroner’s office confirmed the death to NPR, but did not provide a cause.\u003c/p>\n\u003cp>Hooper was a little-known, barely-funded filmmaker when he made the movie that echoed through the horror genre for years to come.\u003c/p>\n\u003cp>In 2004, \u003cem>Texas Monthly\u003c/em> magazine \u003ca href=\"http://www.texasmonthly.com/articles/they-came-they-sawed/\" target=\"_blank\" rel=\"noopener\">reported on\u003c/a> the movie’s improbable production (and lasting financial woes.) The production crew was astonishingly green — it was the cinematographer’s first feature film. There was precisely one chainsaw in the prop collection. The cast members were starving, exhausted and bruised, surrounded by rotting animal parts in the middle of a meltingly hot Texas summer. And Hooper was driving them crazy with his direction.\u003c/p>\n\u003cp>“There’s reason to believe that Hooper was manipulating many of the details, to an almost obsessive degree,” the magazine wrote. “He \u003cem>wanted\u003c/em> the actors to feel irritable and off-balance.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hooper got want he wanted. The film felt real in a way that audiences found both unsettling and deeply compelling. It was even marketed (falsely) as being based on a “true story.”\u003c/p>\n\u003cp>The movie’s premise is distinctly grisly: a cannibalistic family that kills, skins and eats human beings, turning them into sausages. They live in an isolated house stacked high with bits of corpses. The most infamous character, Leatherface, wears human faces as masks.\u003c/p>\n\u003cp>But despite the subject matter, there’s very little blood, guts or gore. In fact, Hooper once told NPR’s Terry Gross that he was aiming for a PG rating — seriously.\u003c/p>\n\u003cp>During production, as he was deciding how to frame various shots, he’d ask the Motion Picture Association of America, for tips on what would factor in his favor as they picked a rating.\u003c/p>\n\u003cp>“I called the MPAA and told them what I was doing and said, ‘Now, how can I make this PG? I know the concept is rough but let’s hypothetically talk about a sequence … for instance where, uh, a big guy hangs a girl up on a meathook. And if you don’t see penetration, and you see the girl hanging on the meathook, and you’ve suggested penetration in a kind of Hitchcock way, you know. what will I get? Does that get an R? Does that get an X? Or how about PG?’ ”\u003c/p>\n\u003cp>The movie ultimately received an R rating. “Had I not sincerely tried to go for a PG, the picture may have been an X,” Hooper told Gross.\u003c/p>\n\u003cp>Once it was released, the movie made its way into the canon of great horror films — eventually. The Associated Press describes the decidedly mixed initial reaction:\u003c/p>\n\u003cblockquote>\n\u003cp>“The film was controversial. Several countries banned it, though the independent film — aided by its gory reputation and lightning fast word-of-mouth — grossed $30.8 million, playing for eight years in drive-ins and theaters. Still, \u003cem>The Texas Chain Saw Massacre\u003c/em> wasn’t as explicitly grisly as it was reputed to be; much of its humor-sprinkled horror was summoned by the filmmaking and the buzz of one terrifying power tool.\u003c/p>\n\u003cp>“[John] Carpenter, the \u003cem>Halloween\u003c/em> director, on Sunday called it ‘a seminal work in horror cinema.’ William Friedkin, director of \u003cem>The Exorcist\u003c/em>, recalled Hooper as “a kind, warm-hearted man who made the most terrifying film ever.”\u003c/p>\n\u003cp>“\u003cem>The Texas Chain Saw Massacre\u003c/em> wasn’t received too kindly by critics. Harper’s, for one, called it ‘a vile little piece of sick crap.’ Roger Ebert said it was ‘without any apparent purpose, unless the creation of disgust and fright is a purpose.’ But its renown steadily grew, and many appreciated its harrowing craft, comparing it to Alfred Hitchcock’s \u003cem>Pyscho … The Texas Chain Saw Massacre\u003c/em> was selected to the Director’s Fortnight of the 1975 Cannes Film Festival. Later, it would become part of the permanent collection at New York’s Museum of Modern Art.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Leatherface has lived on in a number of spinoffs; the franchise is still going. Hooper himself went on to direct Steven Spielberg’s \u003cem>Poltergeist, \u003c/em>another horror classic. He also directed a TV adaptation of Stephen King’s \u003cem>Salems Lot.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Variety \u003c/em>\u003ca href=\"http://variety.com/2017/film/news/tobe-hooper-dead-dies-texas-chain-saw-massacre-poltergeist-director-dies-1202539868/\" target=\"_blank\" rel=\"noopener\">writes\u003c/a> that Hooper continued to work on TV and film until just a few years ago, although “none of the films had the impact of his early works.”\u003c/p>\n\u003cp>But \u003cem>Massacre\u003c/em> — credited as one of the founding films of the slasher genre — had a lasting effect on horror movies and filmmakers. That wasn’t intentional, the director said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t think I set out to change the genre consciously,” Hooper told Gross in 1988. “I simply made a film that I wanted to see.” \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=Tobe+Hooper%2C+Director+Of+%27Chain+Saw+Massacre%2C%27+Dies+At+74&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tobe Hooper, who directed the influential horror movie \u003cem>The Texas Chain Saw Massacre,\u003c/em> died on Saturday in Los Angeles.\u003c/p>\n\u003cp>The LA County coroner’s office confirmed the death to NPR, but did not provide a cause.\u003c/p>\n\u003cp>Hooper was a little-known, barely-funded filmmaker when he made the movie that echoed through the horror genre for years to come.\u003c/p>\n\u003cp>In 2004, \u003cem>Texas Monthly\u003c/em> magazine \u003ca href=\"http://www.texasmonthly.com/articles/they-came-they-sawed/\" target=\"_blank\" rel=\"noopener\">reported on\u003c/a> the movie’s improbable production (and lasting financial woes.) The production crew was astonishingly green — it was the cinematographer’s first feature film. There was precisely one chainsaw in the prop collection. The cast members were starving, exhausted and bruised, surrounded by rotting animal parts in the middle of a meltingly hot Texas summer. And Hooper was driving them crazy with his direction.\u003c/p>\n\u003cp>“There’s reason to believe that Hooper was manipulating many of the details, to an almost obsessive degree,” the magazine wrote. “He \u003cem>wanted\u003c/em> the actors to feel irritable and off-balance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hooper got want he wanted. The film felt real in a way that audiences found both unsettling and deeply compelling. It was even marketed (falsely) as being based on a “true story.”\u003c/p>\n\u003cp>The movie’s premise is distinctly grisly: a cannibalistic family that kills, skins and eats human beings, turning them into sausages. They live in an isolated house stacked high with bits of corpses. The most infamous character, Leatherface, wears human faces as masks.\u003c/p>\n\u003cp>But despite the subject matter, there’s very little blood, guts or gore. In fact, Hooper once told NPR’s Terry Gross that he was aiming for a PG rating — seriously.\u003c/p>\n\u003cp>During production, as he was deciding how to frame various shots, he’d ask the Motion Picture Association of America, for tips on what would factor in his favor as they picked a rating.\u003c/p>\n\u003cp>“I called the MPAA and told them what I was doing and said, ‘Now, how can I make this PG? I know the concept is rough but let’s hypothetically talk about a sequence … for instance where, uh, a big guy hangs a girl up on a meathook. And if you don’t see penetration, and you see the girl hanging on the meathook, and you’ve suggested penetration in a kind of Hitchcock way, you know. what will I get? Does that get an R? Does that get an X? Or how about PG?’ ”\u003c/p>\n\u003cp>The movie ultimately received an R rating. “Had I not sincerely tried to go for a PG, the picture may have been an X,” Hooper told Gross.\u003c/p>\n\u003cp>Once it was released, the movie made its way into the canon of great horror films — eventually. The Associated Press describes the decidedly mixed initial reaction:\u003c/p>\n\u003cblockquote>\n\u003cp>“The film was controversial. Several countries banned it, though the independent film — aided by its gory reputation and lightning fast word-of-mouth — grossed $30.8 million, playing for eight years in drive-ins and theaters. Still, \u003cem>The Texas Chain Saw Massacre\u003c/em> wasn’t as explicitly grisly as it was reputed to be; much of its humor-sprinkled horror was summoned by the filmmaking and the buzz of one terrifying power tool.\u003c/p>\n\u003cp>“[John] Carpenter, the \u003cem>Halloween\u003c/em> director, on Sunday called it ‘a seminal work in horror cinema.’ William Friedkin, director of \u003cem>The Exorcist\u003c/em>, recalled Hooper as “a kind, warm-hearted man who made the most terrifying film ever.”\u003c/p>\n\u003cp>“\u003cem>The Texas Chain Saw Massacre\u003c/em> wasn’t received too kindly by critics. Harper’s, for one, called it ‘a vile little piece of sick crap.’ Roger Ebert said it was ‘without any apparent purpose, unless the creation of disgust and fright is a purpose.’ But its renown steadily grew, and many appreciated its harrowing craft, comparing it to Alfred Hitchcock’s \u003cem>Pyscho … The Texas Chain Saw Massacre\u003c/em> was selected to the Director’s Fortnight of the 1975 Cannes Film Festival. Later, it would become part of the permanent collection at New York’s Museum of Modern Art.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Leatherface has lived on in a number of spinoffs; the franchise is still going. Hooper himself went on to direct Steven Spielberg’s \u003cem>Poltergeist, \u003c/em>another horror classic. He also directed a TV adaptation of Stephen King’s \u003cem>Salems Lot.\u003c/em>\u003c/p>\n\u003cp>\u003cem>Variety \u003c/em>\u003ca href=\"http://variety.com/2017/film/news/tobe-hooper-dead-dies-texas-chain-saw-massacre-poltergeist-director-dies-1202539868/\" target=\"_blank\" rel=\"noopener\">writes\u003c/a> that Hooper continued to work on TV and film until just a few years ago, although “none of the films had the impact of his early works.”\u003c/p>\n\u003cp>But \u003cem>Massacre\u003c/em> — credited as one of the founding films of the slasher genre — had a lasting effect on horror movies and filmmakers. That wasn’t intentional, the director said.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t think I set out to change the genre consciously,” Hooper told Gross in 1988. “I simply made a film that I wanted to see.” \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=Tobe+Hooper%2C+Director+Of+%27Chain+Saw+Massacre%2C%27+Dies+At+74&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The production notes for \u003cem>Patti Cake$\u003c/em> describe the movie’s heroine as “plain and plus-sized.” Plus-sized she may be, but neither Patti Dombrowski, an aspiring rapper in her 20s, nor Danielle Macdonald, the gifted non-rapper who plays her, is plain in any sense unless your definition of beauty begins and ends with Angelina Jolie. The Australian actress, who by the way has expressive green eyes, a fetchingly unruly tangle of blonde curls and a relaxed ease in her own skin, was the best thing about Amy Berg’s nerveless 2015 thriller, \u003cem>Every Secret Thing\u003c/em>, in which she played an acerbic piece of teenaged work. And she’s easily the best thing about \u003cem>Patti Cake$\u003c/em>, a sweet, conventional dramedy gussied up in the grit of New Jersey rap.\u003c/p>\n\u003cp>We meet Patti tending bar, sweeping floors, and fielding an overload of other adult burdens in a working class suburb of New Jersey. Her mother, Barb, played with slatternly brio by cabaret artist and comedian Bridget Everett, is a former rocker who sings like an angel but is drowning in bitterness and booze, and she’s too jealous and dismissive of Patti’s chosen medium to be of any use. The deck is fully stacked against Patti, or Killa P as she means to call herself when she finally breaks into the mostly male, mostly black, mostly inhospitable rap scene whose incumbents — including a nasty specimen she has a crush on — see nothing wrong in calling her Dumbo.\u003c/p>\n\u003cp>https://youtu.be/L-591Dqa48g\u003c/p>\n\u003cp>Team Patti, alas, is cobbled together from a bunch of crudely constructed counter-intuitive types who rarely flesh out into plausible humans. The great Cathy Moriarty surely deserves better than Patti’s unconditionally supportive but ailing Nana, who’s little more than a visual gag in a slightly skewed wig, bellowing ballsy epithets from a wheelchair. The same goes for Patti’s producing partner Jheri, a Southeast-Asian R&B singer and drugstore employee amiably mugged by non-pro actor Siddharth Dhananjay. Not for nothing does Patti, on a disconsolate but mythic wander through thorny woods, stumble on a cabin cluttered with the creative projects of Basterd (Mamoudou Athie), a shy and alienated scion of much wealthier suburbia who styles himself an anarchist and, it turns out, makes music too.\u003c/p>\n\u003cp>Director Geremy Jasper, a music video producer, keeps sidetracking us into fantasy sequences meant to signal Patti’s dreams of upward mobility and a more glittering life than the crushingly mundane world she’s marooned in by class and bad luck. They’re fine, but the director’s strongest impulses are solidly realist, in the loving, rough and ready sense of place he shows for the hometown which he, too, dreamed of escaping and which now feeds his imagination.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>For all its jittery attitude and outsider milieu, though, the movie is too bent on pleasing crowds to cohere into a point of view. Indeed the most transgressive thing about \u003cem>Patti Cake$\u003c/em> is the whiteness of its heroine in a black world. While the bit parts are manned by local rappers, this is a story more about gender than it is about race, and Jasper ventures only a little way out on a ledge with that. When all seems lost for Patti, help comes from a black female rapper who has known rejection herself. And such is Macdonald’s range — all the way from vulnerable to mouthy to indomitable (she’s pretty good with Jasper’s feminist rap lyrics too) — that she rises above type to make us wish both Patti, and the versatile actor who plays her, the success they both deserve.\u003c/p>\n\n",
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"content": "\u003cp>A concert in Rotterdam was canceled after Dutch police received a tip about a possible terror plot at the venue.\u003c/p>\n\u003cp>The American garage rock band \u003ca href=\"http://www.npr.org/artists/334987846/allah-las\" target=\"_blank\" rel=\"noopener\">Allah-Las\u003c/a> was scheduled to perform on Wednesday night, but the event was called off after a warning from Spanish authorities led to the arrest of two men who officials suspected might be planning an attack, according to NPR’s Soraya Sarhaddi Nelson.\u003c/p>\n\u003cp>As Soraya reported for NPR’s Newscast unit:\u003c/p>\n\u003cblockquote>\n\u003cp>“Dutch police say they contained the driver of a Spanish-registered van carrying some gas bottles near the venue where the Los Angeles band the Allah-Las was scheduled to play.\u003c/p>\n\u003cp>“Officials say it’s unclear at this point whether the man, who says he is a mechanic and was intoxicated at the time of his arrest, was involved in any plot. Investigators say he had a logical explanation for why he had the gas bottles in his van. A search of his home turned up no evidence.\u003c/p>\n\u003cp>“Dutch broadcaster \u003ca href=\"https://nos.nl/\" target=\"_blank\" rel=\"noopener\">NOS\u003c/a> reported police also arrested a second man, who is 22 [years old], at his home in the southern Netherlands in connection with the alleged plot.”\u003c/p>\n\u003c/blockquote>\n\u003cp>There is no apparent connection between the warning and the \u003ca href=\"http://www.npr.org/2017/08/21/545071274/spanish-police-focus-on-imam-linked-to-perpetrators-of-barcelona-attack\" target=\"_blank\" rel=\"noopener\">terrorist attacks last week in Spain\u003c/a>.\u003c/p>\n\u003cp>Dutch police said the man driving the van was arrested \u003ca href=\"https://www.politie.nl/nieuws/2017/augustus/24/07-terror-threat-concert-venue-rotterdam-man-arrested-in-brabant.html\" target=\"_blank\" rel=\"noopener\">around 9:30 p.m. local time\u003c/a>, just two hours after the Dutch police received the alert from Spanish law enforcement, \u003ca href=\"http://www.dw.com/en/rotterdam-allah-las-concert-canceled-two-people-arrested/a-40212155\" target=\"_blank\" rel=\"noopener\">according to Deutsche Welle\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There was concrete information from the Spanish police that an attack would be committed on that date, at this place and against this rock band,” Rotterdam’s police chief, Frank Paauw, told the German broadcaster. “The information about the threat was so specific on the location of the event that with that arrest we can conclude that the threat is gone.”\u003c/p>\n\u003cp>About 1,000 people had been expected at \u003ca href=\"http://www.maassilo.com/zalen-overzicht/\">Maassilo\u003c/a>, the venue where the concert was scheduled to take place, according to Deutsche Welle. \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/08/24/world/europe/rotterdam-allah-las-van-concert-maassilo.html?_r=0\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that police transported members of Allah-Las away from the venue when the event was canceled.\u003c/p>\n\u003cp>In an email to NPR, a spokesperson for the Allah-Las’ record label, Mexican Summer, confirmed that a possible terror threat had led to the canceled event, adding, “The band is unharmed and are very grateful to the Rotterdam Police and other responsible agencies for detecting the potential threat before anyone was hurt.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band is scheduled to perform in Warsaw, Poland, on Thursday. \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=Rotterdam+Concert+Canceled+After+Terror+Plot+Warning&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A concert in Rotterdam was canceled after Dutch police received a tip about a possible terror plot at the venue.\u003c/p>\n\u003cp>The American garage rock band \u003ca href=\"http://www.npr.org/artists/334987846/allah-las\" target=\"_blank\" rel=\"noopener\">Allah-Las\u003c/a> was scheduled to perform on Wednesday night, but the event was called off after a warning from Spanish authorities led to the arrest of two men who officials suspected might be planning an attack, according to NPR’s Soraya Sarhaddi Nelson.\u003c/p>\n\u003cp>As Soraya reported for NPR’s Newscast unit:\u003c/p>\n\u003cblockquote>\n\u003cp>“Dutch police say they contained the driver of a Spanish-registered van carrying some gas bottles near the venue where the Los Angeles band the Allah-Las was scheduled to play.\u003c/p>\n\u003cp>“Officials say it’s unclear at this point whether the man, who says he is a mechanic and was intoxicated at the time of his arrest, was involved in any plot. Investigators say he had a logical explanation for why he had the gas bottles in his van. A search of his home turned up no evidence.\u003c/p>\n\u003cp>“Dutch broadcaster \u003ca href=\"https://nos.nl/\" target=\"_blank\" rel=\"noopener\">NOS\u003c/a> reported police also arrested a second man, who is 22 [years old], at his home in the southern Netherlands in connection with the alleged plot.”\u003c/p>\n\u003c/blockquote>\n\u003cp>There is no apparent connection between the warning and the \u003ca href=\"http://www.npr.org/2017/08/21/545071274/spanish-police-focus-on-imam-linked-to-perpetrators-of-barcelona-attack\" target=\"_blank\" rel=\"noopener\">terrorist attacks last week in Spain\u003c/a>.\u003c/p>\n\u003cp>Dutch police said the man driving the van was arrested \u003ca href=\"https://www.politie.nl/nieuws/2017/augustus/24/07-terror-threat-concert-venue-rotterdam-man-arrested-in-brabant.html\" target=\"_blank\" rel=\"noopener\">around 9:30 p.m. local time\u003c/a>, just two hours after the Dutch police received the alert from Spanish law enforcement, \u003ca href=\"http://www.dw.com/en/rotterdam-allah-las-concert-canceled-two-people-arrested/a-40212155\" target=\"_blank\" rel=\"noopener\">according to Deutsche Welle\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There was concrete information from the Spanish police that an attack would be committed on that date, at this place and against this rock band,” Rotterdam’s police chief, Frank Paauw, told the German broadcaster. “The information about the threat was so specific on the location of the event that with that arrest we can conclude that the threat is gone.”\u003c/p>\n\u003cp>About 1,000 people had been expected at \u003ca href=\"http://www.maassilo.com/zalen-overzicht/\">Maassilo\u003c/a>, the venue where the concert was scheduled to take place, according to Deutsche Welle. \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/08/24/world/europe/rotterdam-allah-las-van-concert-maassilo.html?_r=0\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> that police transported members of Allah-Las away from the venue when the event was canceled.\u003c/p>\n\u003cp>In an email to NPR, a spokesperson for the Allah-Las’ record label, Mexican Summer, confirmed that a possible terror threat had led to the canceled event, adding, “The band is unharmed and are very grateful to the Rotterdam Police and other responsible agencies for detecting the potential threat before anyone was hurt.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The band is scheduled to perform in Warsaw, Poland, on Thursday. \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=Rotterdam+Concert+Canceled+After+Terror+Plot+Warning&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In Reckoning With Confederate Monuments, Other Countries Could Provide Examples",
"headTitle": "In Reckoning With Confederate Monuments, Other Countries Could Provide Examples | KQED",
"content": "\u003cp>Last year, the Southern Poverty Law Center conducted \u003ca href=\"https://www.splcenter.org/20160421/whose-heritage-public-symbols-confederacy\">a study\u003c/a> on public symbols of the Confederacy. The center found more than 700 Confederate monuments on public land in the U.S. — with nearly 300 in Georgia, Virginia and North Carolina alone.\u003c/p>\n\u003cp>Around the country, a fresh push is on to remove Confederate statues, the great majority of which were erected \u003ca href=\"http://www.npr.org/2017/08/20/544266880/confederate-statues-were-built-to-further-a-white-supremacist-future\" target=\"_blank\" rel=\"noopener\">well after the Civil War\u003c/a>.\u003c/p>\n\u003cp>A protest linked to the proposed removal of a Robert E. Lee statue in Charlottesville, Va., became a scene of violence, and officials elsewhere are moving swiftly to remove statues, hoping to keep their own towns and universities from becoming similarly embroiled. Monuments in cities including \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/16/543851420/baltimore-removes-confederate-statues-one-day-after-voting-on-issue\" target=\"_blank\" rel=\"noopener\">Baltimore\u003c/a>, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/18/544407092/maryland-state-house-removes-statue-of-judge-who-wrote-dred-scott-decision\" target=\"_blank\" rel=\"noopener\">Annapolis\u003c/a>, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/21/544942064/confederate-statues-are-coming-down-at-the-university-of-texas\" target=\"_blank\" rel=\"noopener\">Austin\u003c/a>, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/17/544235556/watch-protesters-try-to-surrender-in-solidarity-with-confederate-statue-topplers\" target=\"_blank\" rel=\"noopener\">Durham\u003c/a> and \u003ca href=\"http://www.npr.org/2017/05/20/529232823/with-lee-statues-removal-another-battle-of-new-orleans-comes-to-a-close\" target=\"_blank\" rel=\"noopener\">New Orleans\u003c/a> have already been taken down.\u003c/p>\n\u003cp>Though the controversy surrounding Confederate monuments is uniquely American, the U.S. is not alone in reckoning with public symbols of the past.\u003c/p>\n\u003cp>\u003cstrong>Taiwan\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Taiwan has its own figure who lost a civil war, and whose cause retains support: Chiang Kai-shek, the then-president of the Republic of China who fled to Taiwan in 1949 after losing to the Communist army.\u003c/p>\n\u003cp>“Statues of Chiang were erected all over Taiwan in an effort to cultivate allegiance to his government and a sense of national identity among the local population,” \u003ca href=\"https://www.nytimes.com/2017/08/22/world/asia/taiwan-statues-chiang-kai-shek-park.html?_r=0\" target=\"_blank\" rel=\"noopener\">explains\u003c/a> \u003cem>The New York Times\u003c/em>. But as Taiwan transitioned to democracy, many wanted the monuments to come down.\u003c/p>\n\u003cp>“We don’t want to be part of China, and Chiang Kai-shek represents the idea that China possesses Taiwan,” historian Chen Yi-shen told the newspaper.\u003c/p>\n\u003cp>So what to do with the statues? Taiwan opted to move more than 200 of them to a park in the northern part of the island, near Chiang’s mausoleum.\u003c/p>\n\u003cp>But thousands more remain elsewhere on the island. Proposals to move the rest of them to the park have met resistance.\u003c/p>\n\u003cp>In April, a statue of Chiang in Taipai was \u003ca href=\"http://www.taipeitimes.com/News/front/archives/2017/04/23/2003669253\">found decapitated\u003c/a> and splashed with red paint.\u003c/p>\n\u003cfigure id=\"attachment_13806315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-800x600.jpg\" alt=\"Workers dismantle an enormous monument to Lenin in Zaporizhia, Ukraine, in March 2016. It was the largest remaining Lenin statue in the country.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13806315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f.jpg 1983w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers dismantle an enormous monument to Lenin in Zaporizhia, Ukraine, in March 2016. It was the largest remaining Lenin statue in the country. \u003ccite>(Prylepa Leksander/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Ukraine\u003c/strong>\u003c/p>\n\u003cp>Ukraine’s Institute of National Remembrance says it has removed every one of the 1,320 statues of Lenin in the country, \u003cem>The Times\u003c/em> of London \u003ca href=\"https://www.thetimes.co.uk/article/ukraine-removes-all-1-320-statues-of-lenin-wqsz8b6nh\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>, and destroyed another 1,069 Soviet-era monuments.\u003c/p>\n\u003cp>“The removal of the statues is part of a ban on Soviet-era symbols that was signed into law by President Poroshenko in May 2015,” the newspaper explains. “As well as the removal of statues and monuments, the law orders the renaming of thousands of streets, squares, towns and cities. However, the law cannot be enforced in those parts of eastern Ukraine under the control of Kremlin-backed rebels.”\u003c/p>\n\u003cp>Most of the statues remained in place after the Soviet Union collapsed in 1991, but they’ve since been toppled in waves.\u003c/p>\n\u003cp>Some came down during the 2004 Orange Revolution, others in late 2013 during demonstrations against Ukraine’s president, and the rest since the new law went into effect.\u003c/p>\n\u003cp>“Most places have been renamed after Ukrainian heroes, but in the western region of Zakarpattia the authorities paid homage to the Beatles — changing Lenin Street to Lennon Street,” the \u003cem>Times\u003c/em> reports.\u003c/p>\n\u003cfigure id=\"attachment_13806316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-800x599.jpg\" alt=\"Students cheer as the Cecil Rhodes statue is removed from the University of Cape Town in South Africa in April 2015.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13806316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-1920x1438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students cheer as the Cecil Rhodes statue is removed from the University of Cape Town in South Africa in April 2015. \u003ccite>(Charlie Shoemaker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>South Africa\u003c/strong>\u003c/p>\n\u003cp>A statue of British colonialist Cecil Rhodes became the subject of student protests at the University of Cape Town in 2015.\u003c/p>\n\u003cp>“Rhodes bequeathed the land on which the university was built, but he also slaughtered Africans by the thousands in colonial conquest and helped lay the foundations of apartheid in South Africa,” \u003ca href=\"http://www.npr.org/sections/goatsandsoda/2015/03/28/395608605/why-south-african-students-say-the-statue-of-rhodes-must-fall\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> NPR’s Don Boroughs.\u003c/p>\n\u003cp>One of the leaders of the Rhodes Must Fall movement, Kgotsi Chikane, told NPR the statue needed to come down “not just because it makes people feel uncomfortable, but because it’s the biggest symbol of the institutionalization of racism. That’s why we wouldn’t want to pull it down ourselves. We want the university to acknowledge this.”\u003c/p>\n\u003cp>After a month of demonstrations, the mainly white university council voted to take down the statue – a move Agence France Presse \u003ca href=\"https://www.theguardian.com/world/2015/apr/09/university-cape-town-removes-statue-cecil-rhodes-celebration-afrikaner-protest\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> was welcomed by the government. “It marks a significant … shift where the country deals with its ugly past in a positive and constructive way,” a spokesman for the arts and culture ministry told the wire service.\u003c/p>\n\u003cp>Inspired by the students in Cape Town, a \u003ca href=\"https://www.nytimes.com/2016/01/30/world/europe/oxford-university-oriel-college-cecil-rhodes-statue.html\">similar debate unfolded\u003c/a> over a statue of Rhodes at Oxford University in England. But the college — home to \u003ca href=\"http://www.rhodesscholar.org/\">Rhodes’ namesake scholarship\u003c/a> — decided to keep its monument in place.\u003c/p>\n\u003cp>“What’s positive about this whole Rhodes Must Fall movement is that it’s drawing attention to our history,” Oxford vice chancellor Louise Richardson \u003ca href=\"https://www.ft.com/content/49e70004-b9f2-11e5-b151-8e15c9a029fb#axzz3ycCHQsOh\" target=\"_blank\" rel=\"noopener\">told\u003c/a> the \u003cem>Financial Times\u003c/em>. “We need to confront our history. We can’t pretend it didn’t happen, and I think if this encourages students to go to the Bodleian and look at the archives of the Rhodes period, there are some fabulous archives there both about colonialism and about the contemporary anti-Rhodes movement when he was alive.”\u003c/p>\n\u003cfigure id=\"attachment_13806317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-800x599.jpg\" alt='A woman takes pictures of the installation \"Beyond The Wall\" by German artist Stefan Roloff mounted on remnants of the former Berlin Wall earlier this month.' width=\"800\" height=\"599\" class=\"size-medium wp-image-13806317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-1920x1438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman takes pictures of the installation “Beyond The Wall” by German artist Stefan Roloff mounted on remnants of the former Berlin Wall earlier this month. \u003ccite>(Axel Schmidt/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Germany\u003c/strong>\u003c/p>\n\u003cp>The Berlin Wall came down in 1989. Well, most of it.\u003c/p>\n\u003cp>Berlin has preserved a section of the wall, creating what it says is “the longest-open air gallery in the world.”\u003c/p>\n\u003cp>Just after the wall fell, artists from 21 countries began painting on it, according to \u003ca href=\"https://www.visitberlin.de/en/east-side-gallery\" target=\"_blank\" rel=\"noopener\">Berlin’s official tourism site\u003c/a>: “In more than a hundred paintings on what was the east side of the wall, the artists commented on the political changes in 1989/90. Some of the works at the East Side Gallery are particularly popular, such as Dmitri Vrubel’s \u003cem>Fraternal Kiss\u003c/em>\u003cstrong> \u003c/strong>and Birgit Kinders’ Trabant breaking through the wall.”\u003c/p>\n\u003cp>A new exhibit by German-American artist Stefan Roloff \u003ca href=\"https://www.reuters.com/article/us-germany-art-idUSKBN1AQ1MW\" target=\"_blank\" rel=\"noopener\">opened on the wall\u003c/a> this month, with photos of soldiers who patrolled the wall and the stories of those who lived behind it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Elsewhere in Berlin, Adolf Hitler’s underground bunker is marked only by a small sign outside a parking lot. “One reason for not preserving Hitler’s bunker was that it was feared that the site might become a place of pilgrimage for neo-Nazis; a place of violence and shameless celebration of a history that should be shameful,” NPR’s Maggie Penman \u003ca href=\"http://www.npr.org/sections/codeswitch/2017/08/16/543808019/the-view-of-charlottesville-from-berlin\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Reckoning+With+Confederate+Monuments%2C+Other+Countries+Could+Provide+Examples&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last year, the Southern Poverty Law Center conducted \u003ca href=\"https://www.splcenter.org/20160421/whose-heritage-public-symbols-confederacy\">a study\u003c/a> on public symbols of the Confederacy. The center found more than 700 Confederate monuments on public land in the U.S. — with nearly 300 in Georgia, Virginia and North Carolina alone.\u003c/p>\n\u003cp>Around the country, a fresh push is on to remove Confederate statues, the great majority of which were erected \u003ca href=\"http://www.npr.org/2017/08/20/544266880/confederate-statues-were-built-to-further-a-white-supremacist-future\" target=\"_blank\" rel=\"noopener\">well after the Civil War\u003c/a>.\u003c/p>\n\u003cp>A protest linked to the proposed removal of a Robert E. Lee statue in Charlottesville, Va., became a scene of violence, and officials elsewhere are moving swiftly to remove statues, hoping to keep their own towns and universities from becoming similarly embroiled. Monuments in cities including \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/16/543851420/baltimore-removes-confederate-statues-one-day-after-voting-on-issue\" target=\"_blank\" rel=\"noopener\">Baltimore\u003c/a>, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/18/544407092/maryland-state-house-removes-statue-of-judge-who-wrote-dred-scott-decision\" target=\"_blank\" rel=\"noopener\">Annapolis\u003c/a>, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/21/544942064/confederate-statues-are-coming-down-at-the-university-of-texas\" target=\"_blank\" rel=\"noopener\">Austin\u003c/a>, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/17/544235556/watch-protesters-try-to-surrender-in-solidarity-with-confederate-statue-topplers\" target=\"_blank\" rel=\"noopener\">Durham\u003c/a> and \u003ca href=\"http://www.npr.org/2017/05/20/529232823/with-lee-statues-removal-another-battle-of-new-orleans-comes-to-a-close\" target=\"_blank\" rel=\"noopener\">New Orleans\u003c/a> have already been taken down.\u003c/p>\n\u003cp>Though the controversy surrounding Confederate monuments is uniquely American, the U.S. is not alone in reckoning with public symbols of the past.\u003c/p>\n\u003cp>\u003cstrong>Taiwan\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Taiwan has its own figure who lost a civil war, and whose cause retains support: Chiang Kai-shek, the then-president of the Republic of China who fled to Taiwan in 1949 after losing to the Communist army.\u003c/p>\n\u003cp>“Statues of Chiang were erected all over Taiwan in an effort to cultivate allegiance to his government and a sense of national identity among the local population,” \u003ca href=\"https://www.nytimes.com/2017/08/22/world/asia/taiwan-statues-chiang-kai-shek-park.html?_r=0\" target=\"_blank\" rel=\"noopener\">explains\u003c/a> \u003cem>The New York Times\u003c/em>. But as Taiwan transitioned to democracy, many wanted the monuments to come down.\u003c/p>\n\u003cp>“We don’t want to be part of China, and Chiang Kai-shek represents the idea that China possesses Taiwan,” historian Chen Yi-shen told the newspaper.\u003c/p>\n\u003cp>So what to do with the statues? Taiwan opted to move more than 200 of them to a park in the northern part of the island, near Chiang’s mausoleum.\u003c/p>\n\u003cp>But thousands more remain elsewhere on the island. Proposals to move the rest of them to the park have met resistance.\u003c/p>\n\u003cp>In April, a statue of Chiang in Taipai was \u003ca href=\"http://www.taipeitimes.com/News/front/archives/2017/04/23/2003669253\">found decapitated\u003c/a> and splashed with red paint.\u003c/p>\n\u003cfigure id=\"attachment_13806315\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-800x600.jpg\" alt=\"Workers dismantle an enormous monument to Lenin in Zaporizhia, Ukraine, in March 2016. It was the largest remaining Lenin statue in the country.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13806315\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-516153618-3eec2a26289aed0e2650e4950e2bf673e4a08d7f.jpg 1983w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Workers dismantle an enormous monument to Lenin in Zaporizhia, Ukraine, in March 2016. It was the largest remaining Lenin statue in the country. \u003ccite>(Prylepa Leksander/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Ukraine\u003c/strong>\u003c/p>\n\u003cp>Ukraine’s Institute of National Remembrance says it has removed every one of the 1,320 statues of Lenin in the country, \u003cem>The Times\u003c/em> of London \u003ca href=\"https://www.thetimes.co.uk/article/ukraine-removes-all-1-320-statues-of-lenin-wqsz8b6nh\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>, and destroyed another 1,069 Soviet-era monuments.\u003c/p>\n\u003cp>“The removal of the statues is part of a ban on Soviet-era symbols that was signed into law by President Poroshenko in May 2015,” the newspaper explains. “As well as the removal of statues and monuments, the law orders the renaming of thousands of streets, squares, towns and cities. However, the law cannot be enforced in those parts of eastern Ukraine under the control of Kremlin-backed rebels.”\u003c/p>\n\u003cp>Most of the statues remained in place after the Soviet Union collapsed in 1991, but they’ve since been toppled in waves.\u003c/p>\n\u003cp>Some came down during the 2004 Orange Revolution, others in late 2013 during demonstrations against Ukraine’s president, and the rest since the new law went into effect.\u003c/p>\n\u003cp>“Most places have been renamed after Ukrainian heroes, but in the western region of Zakarpattia the authorities paid homage to the Beatles — changing Lenin Street to Lennon Street,” the \u003cem>Times\u003c/em> reports.\u003c/p>\n\u003cfigure id=\"attachment_13806316\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-800x599.jpg\" alt=\"Students cheer as the Cecil Rhodes statue is removed from the University of Cape Town in South Africa in April 2015.\" width=\"800\" height=\"599\" class=\"size-medium wp-image-13806316\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-1920x1438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-469050932-62c30325bfafee8fffcb992af3b5208a7fb72826-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Students cheer as the Cecil Rhodes statue is removed from the University of Cape Town in South Africa in April 2015. \u003ccite>(Charlie Shoemaker/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>South Africa\u003c/strong>\u003c/p>\n\u003cp>A statue of British colonialist Cecil Rhodes became the subject of student protests at the University of Cape Town in 2015.\u003c/p>\n\u003cp>“Rhodes bequeathed the land on which the university was built, but he also slaughtered Africans by the thousands in colonial conquest and helped lay the foundations of apartheid in South Africa,” \u003ca href=\"http://www.npr.org/sections/goatsandsoda/2015/03/28/395608605/why-south-african-students-say-the-statue-of-rhodes-must-fall\" target=\"_blank\" rel=\"noopener\">reported\u003c/a> NPR’s Don Boroughs.\u003c/p>\n\u003cp>One of the leaders of the Rhodes Must Fall movement, Kgotsi Chikane, told NPR the statue needed to come down “not just because it makes people feel uncomfortable, but because it’s the biggest symbol of the institutionalization of racism. That’s why we wouldn’t want to pull it down ourselves. We want the university to acknowledge this.”\u003c/p>\n\u003cp>After a month of demonstrations, the mainly white university council voted to take down the statue – a move Agence France Presse \u003ca href=\"https://www.theguardian.com/world/2015/apr/09/university-cape-town-removes-statue-cecil-rhodes-celebration-afrikaner-protest\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> was welcomed by the government. “It marks a significant … shift where the country deals with its ugly past in a positive and constructive way,” a spokesman for the arts and culture ministry told the wire service.\u003c/p>\n\u003cp>Inspired by the students in Cape Town, a \u003ca href=\"https://www.nytimes.com/2016/01/30/world/europe/oxford-university-oriel-college-cecil-rhodes-statue.html\">similar debate unfolded\u003c/a> over a statue of Rhodes at Oxford University in England. But the college — home to \u003ca href=\"http://www.rhodesscholar.org/\">Rhodes’ namesake scholarship\u003c/a> — decided to keep its monument in place.\u003c/p>\n\u003cp>“What’s positive about this whole Rhodes Must Fall movement is that it’s drawing attention to our history,” Oxford vice chancellor Louise Richardson \u003ca href=\"https://www.ft.com/content/49e70004-b9f2-11e5-b151-8e15c9a029fb#axzz3ycCHQsOh\" target=\"_blank\" rel=\"noopener\">told\u003c/a> the \u003cem>Financial Times\u003c/em>. “We need to confront our history. We can’t pretend it didn’t happen, and I think if this encourages students to go to the Bodleian and look at the archives of the Rhodes period, there are some fabulous archives there both about colonialism and about the contemporary anti-Rhodes movement when he was alive.”\u003c/p>\n\u003cfigure id=\"attachment_13806317\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-800x599.jpg\" alt='A woman takes pictures of the installation \"Beyond The Wall\" by German artist Stefan Roloff mounted on remnants of the former Berlin Wall earlier this month.' width=\"800\" height=\"599\" class=\"size-medium wp-image-13806317\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-800x599.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-768x575.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-1020x764.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-1920x1438.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-1180x884.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-960x719.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/gettyimages-829017238-ba57262a1fb98bbedac94f8d2cba6deef8c815c4-520x389.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman takes pictures of the installation “Beyond The Wall” by German artist Stefan Roloff mounted on remnants of the former Berlin Wall earlier this month. \u003ccite>(Axel Schmidt/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Germany\u003c/strong>\u003c/p>\n\u003cp>The Berlin Wall came down in 1989. Well, most of it.\u003c/p>\n\u003cp>Berlin has preserved a section of the wall, creating what it says is “the longest-open air gallery in the world.”\u003c/p>\n\u003cp>Just after the wall fell, artists from 21 countries began painting on it, according to \u003ca href=\"https://www.visitberlin.de/en/east-side-gallery\" target=\"_blank\" rel=\"noopener\">Berlin’s official tourism site\u003c/a>: “In more than a hundred paintings on what was the east side of the wall, the artists commented on the political changes in 1989/90. Some of the works at the East Side Gallery are particularly popular, such as Dmitri Vrubel’s \u003cem>Fraternal Kiss\u003c/em>\u003cstrong> \u003c/strong>and Birgit Kinders’ Trabant breaking through the wall.”\u003c/p>\n\u003cp>A new exhibit by German-American artist Stefan Roloff \u003ca href=\"https://www.reuters.com/article/us-germany-art-idUSKBN1AQ1MW\" target=\"_blank\" rel=\"noopener\">opened on the wall\u003c/a> this month, with photos of soldiers who patrolled the wall and the stories of those who lived behind it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elsewhere in Berlin, Adolf Hitler’s underground bunker is marked only by a small sign outside a parking lot. “One reason for not preserving Hitler’s bunker was that it was feared that the site might become a place of pilgrimage for neo-Nazis; a place of violence and shameless celebration of a history that should be shameful,” NPR’s Maggie Penman \u003ca href=\"http://www.npr.org/sections/codeswitch/2017/08/16/543808019/the-view-of-charlottesville-from-berlin\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+Reckoning+With+Confederate+Monuments%2C+Other+Countries+Could+Provide+Examples&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A lot of people already know the story of \u003cem>Friday Night Lights\u003c/em>, in which a West Texas high school fights for the state football title. It started as \u003ca href=\"http://www.npr.org/2015/08/03/428085798/reflecting-on-football-and-addiction-as-friday-night-lights-turns-25\" target=\"_blank\" rel=\"noopener\">a nonfiction book\u003c/a>, then it became a movie (with Billy Bob Thornton as the coach) and finally a TV series. In the film, Thornton tells his team that to win state, they’ll have to beat “a team of monsters” from Carter High School in Dallas (which they fail to do). \u003c/p>\n\u003cp>Carter High School is really an afterthought in \u003cem>Friday Night Lights —\u003c/em> the evil, thug-like team that stole a championship. But if you look at the real team’s journey to the 1988 state title, you’ll find a story about race and the pressures young athletes face — a story Adam Hootnick explores in his documentary \u003cem>What Carter Lost\u003c/em>.\u003c/p>\n\u003cp>“The number of scholarships they got, the number of guys who went on to play some form of professional football — by every measure this was one of the greats,” Hootnick says of the school’s reputation. \u003c/p>\n\u003cp>Carter served a black, middle-class neighborhood in Dallas. According to Hootnick, it was “mostly two-parent families, mostly professionals. … The joke was the student parking lot was a heck of a lot nicer than the teacher parking lot.”\u003c/p>\n\u003cp>But there was trouble during that season’s playoffs when questions arose about a Carter player’s algebra grade. The other, mostly white schools fought a legal battle to kick Carter out of the playoffs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There is no question that if Carter had been one of the predominantly white schools that was always there, everything would have been handled differently,” Hootnick says.\u003c/p>\n\u003cp>Parents, teachers and school officials fought back, and in the end Carter was allowed to play. Carter won the state title — but the story doesn’t end there.\u003c/p>\n\u003cp>“After the roller coaster of this season and postseason,” Hootnick explains, “you had a few guys on that team really, to my mind, inexplicably going and joining an armed robbery ring for pretty much no reason. You know, they were middle-class kids, they had cars, they had all the clothes they want. But I think they weren’t ready for the adventure to be done. … I think at some level they were chasing a rush.”\u003c/p>\n\u003cp>The players were arrested, tried and convicted. \u003c/p>\n\u003cp>“I don’t think you can fall much further,” Hootnick says, “and I say that in part because of the level of the pedestal that, as a Texas high school football star, that’s almost as big as it gets.”\u003c/p>\n\u003cp>In the film, Hootnick interviews Texas high school football stars who went on to play professionally. He says, “These guys talk about the fact that no matter how far they went after playing big time Texas high school football, there was no crowd that felt more intense, there was no game that felt bigger than their biggest games in their Texas high school careers. So the level of attention and adoration and intensity around that experience — for a lot of people, that’s the top. And so to fall from grace like that, that’s a long way down.”\u003c/p>\n\u003cp>In the end, six Carter players served time in prison. Many of them talk in the documentary about how much they lost and how they’ve tried to rebuild their lives. \u003c/p>\n\u003cp>Carter was ultimately stripped of its 1988 state title, and there’s no doubt that the Carter community’s fight to defend its reputation got a lot harder because of what those young men did. To Hootnick, some of the story’s unsung heroes are the parents who fought to keep the team in the playoffs.\u003c/p>\n\u003cp>“I think that fight for them was not just about wanting to see their football team win, but about resisting being caricatured in a way, and saying, ‘We’re not cheaters. We’re not thugs.’ … So the way that those parents were undercut after everything they did to keep that team on the field and to try to put forward their version of who they were — to have that all undone, you know, I think that’s the story that’s never been told.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Emily Ochsenschlager and Jessica Smith produced and edited this interview for broadcast, and Nicole Cohen adapted it for the Web.\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=%27What+Carter+Lost%27+Tells+The+True+Story+Of+%27Friday+Night+Lights%27+Football+Rivals&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A lot of people already know the story of \u003cem>Friday Night Lights\u003c/em>, in which a West Texas high school fights for the state football title. It started as \u003ca href=\"http://www.npr.org/2015/08/03/428085798/reflecting-on-football-and-addiction-as-friday-night-lights-turns-25\" target=\"_blank\" rel=\"noopener\">a nonfiction book\u003c/a>, then it became a movie (with Billy Bob Thornton as the coach) and finally a TV series. In the film, Thornton tells his team that to win state, they’ll have to beat “a team of monsters” from Carter High School in Dallas (which they fail to do). \u003c/p>\n\u003cp>Carter High School is really an afterthought in \u003cem>Friday Night Lights —\u003c/em> the evil, thug-like team that stole a championship. But if you look at the real team’s journey to the 1988 state title, you’ll find a story about race and the pressures young athletes face — a story Adam Hootnick explores in his documentary \u003cem>What Carter Lost\u003c/em>.\u003c/p>\n\u003cp>“The number of scholarships they got, the number of guys who went on to play some form of professional football — by every measure this was one of the greats,” Hootnick says of the school’s reputation. \u003c/p>\n\u003cp>Carter served a black, middle-class neighborhood in Dallas. According to Hootnick, it was “mostly two-parent families, mostly professionals. … The joke was the student parking lot was a heck of a lot nicer than the teacher parking lot.”\u003c/p>\n\u003cp>But there was trouble during that season’s playoffs when questions arose about a Carter player’s algebra grade. The other, mostly white schools fought a legal battle to kick Carter out of the playoffs.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There is no question that if Carter had been one of the predominantly white schools that was always there, everything would have been handled differently,” Hootnick says.\u003c/p>\n\u003cp>Parents, teachers and school officials fought back, and in the end Carter was allowed to play. Carter won the state title — but the story doesn’t end there.\u003c/p>\n\u003cp>“After the roller coaster of this season and postseason,” Hootnick explains, “you had a few guys on that team really, to my mind, inexplicably going and joining an armed robbery ring for pretty much no reason. You know, they were middle-class kids, they had cars, they had all the clothes they want. But I think they weren’t ready for the adventure to be done. … I think at some level they were chasing a rush.”\u003c/p>\n\u003cp>The players were arrested, tried and convicted. \u003c/p>\n\u003cp>“I don’t think you can fall much further,” Hootnick says, “and I say that in part because of the level of the pedestal that, as a Texas high school football star, that’s almost as big as it gets.”\u003c/p>\n\u003cp>In the film, Hootnick interviews Texas high school football stars who went on to play professionally. He says, “These guys talk about the fact that no matter how far they went after playing big time Texas high school football, there was no crowd that felt more intense, there was no game that felt bigger than their biggest games in their Texas high school careers. So the level of attention and adoration and intensity around that experience — for a lot of people, that’s the top. And so to fall from grace like that, that’s a long way down.”\u003c/p>\n\u003cp>In the end, six Carter players served time in prison. Many of them talk in the documentary about how much they lost and how they’ve tried to rebuild their lives. \u003c/p>\n\u003cp>Carter was ultimately stripped of its 1988 state title, and there’s no doubt that the Carter community’s fight to defend its reputation got a lot harder because of what those young men did. To Hootnick, some of the story’s unsung heroes are the parents who fought to keep the team in the playoffs.\u003c/p>\n\u003cp>“I think that fight for them was not just about wanting to see their football team win, but about resisting being caricatured in a way, and saying, ‘We’re not cheaters. We’re not thugs.’ … So the way that those parents were undercut after everything they did to keep that team on the field and to try to put forward their version of who they were — to have that all undone, you know, I think that’s the story that’s never been told.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Emily Ochsenschlager and Jessica Smith produced and edited this interview for broadcast, and Nicole Cohen adapted it for the Web.\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=%27What+Carter+Lost%27+Tells+The+True+Story+Of+%27Friday+Night+Lights%27+Football+Rivals&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just over a month after publishing \u003ca href=\"https://www.buzzfeed.com/jimderogatis/parents-told-police-r-kelly-is-keeping-women-in-a-cult\" target=\"_blank\" rel=\"noopener\">a report\u003c/a> in which the parents of a young woman alleged their daughter was “brainwashed” by R. Kelly, and in which a former personal assistant of the singer referred to him as a “puppet master,” \u003cem>BuzzFeed\u003c/em> has \u003ca href=\"https://www.buzzfeed.com/jimderogatis/r-kelly-underage-woman-speaks-out\" target=\"_blank\" rel=\"noopener\">published another\u003c/a> article about the Chicago-born singer with more serious allegations.\u003c/p>\n\u003cp>The article by Chicago reporter Jim DeRogatis, who has reported on R. Kelly’s alleged sexual misconduct for nearly two decades, details the claims of Jerhonda Pace. DeRogatis writes that he was provided documentation of financial settlements reached as part of a nondisclosure agreement between Pace and Kelly.\u003cstrong> \u003c/strong>Pace, who risks legal retaliation from Kelly by going public, says those settlements were brokered for her by the attorney Susan E. Loggans, something Loggans tells \u003cem>BuzzFeed \u003c/em>she has done “numerous” times in separate cases.\u003c/p>\n\u003cp>According to DeRogatis, Pace claims she began a sexual relationship with Kelly while still a minor, after meeting him outside the courthouse where she attended the 2008 trial of Kelly in which he was acquitted of sex with a minor. Pace claims that she was physically and mentally abused by Kelly at least once during the relationship.\u003c/p>\n\u003cp>In a statement to NPR, Kelly’s publicist Trevian Kutti writes that “Mr. Kelly again denies any and all wrong doing \u003cem>[sic]\u003c/em> and is taking appropriate legal action to protect himself from ongoing defamation.”\u003c/p>\n\u003cp>“I just really hope I can help these women out,” Pace tells DeRogatis, referring to women still involved with Kelly. Another alleged victim of Kelly’s, Jocelyn Savage, posted \u003ca href=\"https://www.buzzfeed.com/talalansari/joycelyn-savage-video?utm_term=.ookgBnyDm#.dhGXA6dna\" target=\"_blank\" rel=\"noopener\">a video\u003c/a> saying she was “fine.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>A federal investigation of Kelly is alleged in the article; contacted by NPR, the FBI would not, per policy, confirm or deny that it is investigating the singer.\u003c/p>\n\u003cp>Two weeks ago, several concerts in Kelly’s upcoming tour were canceled for unknown reasons. As well, the Board of Commissioners of Fulton County, Ga. requested that Kelly’s Aug. 25 concert at the Wolf Creek Amphitheatre \u003ca href=\"http://www.npr.org/sections/therecord/2017/08/03/541452295/fulton-county-georgia-has-asked-live-nation-to-cancel-an-r-kelly-concert\" target=\"_blank\" rel=\"noopener\">be canceled\u003c/a>; the county owns that venue, but it is managed by Live Nation — tickets for the concert are still \u003ca href=\"https://concerts1.livenation.com/r-kelly-atlanta-georgia-08-25-2017/event/0E0052B9956E22A8?c=LNSM_Atlanta__FB_R_Kelly___1_06022017\">for sale\u003c/a>.\u003c/p>\n\u003cp>Dontaye Carter, the director of public affairs for the Fulton County District Attorney’s Office, tells NPR it has R. Kelly’s case file, which it received from the Johns Creek Police Department, but that there is no active investigation underway. “At this time, we are only reviewing that file. If any change occurs, we will inform the media.”\u003c/p>\n\u003cp>Live Nation, Kelly’s tour promoter which fully controls the management of Wolf Creek Amphitheater, declined to comment on the allegations or Fulton County’s request for Friday’s show to be canceled.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kelly’s record label, RCA, declined to comment on the fresh allegations or whether they would affect his relationship with the company. Sony Music, which owns RCA, also declined to comment. \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=Breaking+Confidentiality%2C+R.+Kelly+Accuser+Goes+Public+Claiming+Underage+Relationship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just over a month after publishing \u003ca href=\"https://www.buzzfeed.com/jimderogatis/parents-told-police-r-kelly-is-keeping-women-in-a-cult\" target=\"_blank\" rel=\"noopener\">a report\u003c/a> in which the parents of a young woman alleged their daughter was “brainwashed” by R. Kelly, and in which a former personal assistant of the singer referred to him as a “puppet master,” \u003cem>BuzzFeed\u003c/em> has \u003ca href=\"https://www.buzzfeed.com/jimderogatis/r-kelly-underage-woman-speaks-out\" target=\"_blank\" rel=\"noopener\">published another\u003c/a> article about the Chicago-born singer with more serious allegations.\u003c/p>\n\u003cp>The article by Chicago reporter Jim DeRogatis, who has reported on R. Kelly’s alleged sexual misconduct for nearly two decades, details the claims of Jerhonda Pace. DeRogatis writes that he was provided documentation of financial settlements reached as part of a nondisclosure agreement between Pace and Kelly.\u003cstrong> \u003c/strong>Pace, who risks legal retaliation from Kelly by going public, says those settlements were brokered for her by the attorney Susan E. Loggans, something Loggans tells \u003cem>BuzzFeed \u003c/em>she has done “numerous” times in separate cases.\u003c/p>\n\u003cp>According to DeRogatis, Pace claims she began a sexual relationship with Kelly while still a minor, after meeting him outside the courthouse where she attended the 2008 trial of Kelly in which he was acquitted of sex with a minor. Pace claims that she was physically and mentally abused by Kelly at least once during the relationship.\u003c/p>\n\u003cp>In a statement to NPR, Kelly’s publicist Trevian Kutti writes that “Mr. Kelly again denies any and all wrong doing \u003cem>[sic]\u003c/em> and is taking appropriate legal action to protect himself from ongoing defamation.”\u003c/p>\n\u003cp>“I just really hope I can help these women out,” Pace tells DeRogatis, referring to women still involved with Kelly. Another alleged victim of Kelly’s, Jocelyn Savage, posted \u003ca href=\"https://www.buzzfeed.com/talalansari/joycelyn-savage-video?utm_term=.ookgBnyDm#.dhGXA6dna\" target=\"_blank\" rel=\"noopener\">a video\u003c/a> saying she was “fine.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>A federal investigation of Kelly is alleged in the article; contacted by NPR, the FBI would not, per policy, confirm or deny that it is investigating the singer.\u003c/p>\n\u003cp>Two weeks ago, several concerts in Kelly’s upcoming tour were canceled for unknown reasons. As well, the Board of Commissioners of Fulton County, Ga. requested that Kelly’s Aug. 25 concert at the Wolf Creek Amphitheatre \u003ca href=\"http://www.npr.org/sections/therecord/2017/08/03/541452295/fulton-county-georgia-has-asked-live-nation-to-cancel-an-r-kelly-concert\" target=\"_blank\" rel=\"noopener\">be canceled\u003c/a>; the county owns that venue, but it is managed by Live Nation — tickets for the concert are still \u003ca href=\"https://concerts1.livenation.com/r-kelly-atlanta-georgia-08-25-2017/event/0E0052B9956E22A8?c=LNSM_Atlanta__FB_R_Kelly___1_06022017\">for sale\u003c/a>.\u003c/p>\n\u003cp>Dontaye Carter, the director of public affairs for the Fulton County District Attorney’s Office, tells NPR it has R. Kelly’s case file, which it received from the Johns Creek Police Department, but that there is no active investigation underway. “At this time, we are only reviewing that file. If any change occurs, we will inform the media.”\u003c/p>\n\u003cp>Live Nation, Kelly’s tour promoter which fully controls the management of Wolf Creek Amphitheater, declined to comment on the allegations or Fulton County’s request for Friday’s show to be canceled.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Kelly’s record label, RCA, declined to comment on the fresh allegations or whether they would affect his relationship with the company. Sony Music, which owns RCA, also declined to comment. \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=Breaking+Confidentiality%2C+R.+Kelly+Accuser+Goes+Public+Claiming+Underage+Relationship&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sonny Burgess, Sun Records Rockabilly Star, Has Died at 88",
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"content": "\u003cp>Rockabilly singer, songwriter and guitarist Sonny Burgess — who became one of Sun Records’ stars with his raucous and unbridled whoops and howls, accompanied by his furious guitar — died at age 88, on Aug. 18 in Little Rock, Ark. Burgess’ son John told the \u003cem>\u003ca href=\"https://www.nytimes.com/2017/08/21/arts/music/sonny-burgess-rockabilly-wild-man-is-dead-at-88.html?mcubz=0\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em> that the cause of death was complications from a fall, but the \u003cem>\u003ca href=\"http://www.arkansasonline.com/news/2017/aug/20/sonny-burgess-20170820-1/\" target=\"_blank\" rel=\"noopener\">Arkansas Democrat-Gazette\u003c/a>\u003c/em> noted Burgess had also been struggling with issues related to diabetes.\u003c/p>\n\u003cp>In recent years, Burgess was one of the hosts of a weekly program for member station \u003ca href=\"http://kasu.org/\">KASU\u003c/a> at Arkansas State University in Jonesboro, Ark.; the show was named \u003ca href=\"http://kasu.org/programs/we-wanna-boogie\" target=\"_blank\" rel=\"noopener\">\u003cem>We Wanna Boogie\u003c/em>\u003c/a>, after one of the songs on Burgess’ first recording for Sun Records.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=hvPonm9Mkks\u003c/p>\n\u003cp>“He had a true R&B voice, like a tenor sax in full cry — short on subtlety and delicate shadings, but a magnificent rock’n’roll instrument,” music historians Colin Escott and Martin Hawkins wrote in their 1991 book\u003cem> \u003ca href=\"https://books.google.com/books?id=XpknDwAAQBAJ&printsec=frontcover&dq=good+rockin%27+tonight&hl=en&sa=X&ved=0ahUKEwjQg4XflevVAhWFRCYKHf_zBbAQ6AEIKDAA#v=onepage&q=good%20rockin'%20tonight&f=false\" target=\"_blank\" rel=\"noopener\">Good Rockin’ Tonight: Sun Records And The Birth Of Rock ‘N’ Roll\u003c/a>\u003c/em>. They continued, “Burgess’ vocals were complemented by his guitar playing: rough, intense and blues-drenched.”\u003c/p>\n\u003cp>Born May 28, 1929, Burgess was raised on a farm near Newport, Arkansas. He grew up listening to shows from the Grand Ole Opry, and started out playing with friends in local bars and dance halls in a band they called The Rocky Road Ramblers. His original dream was to be a professional baseball player, but after a couple of years spent in the minor leagues, Burgess entered the U.S. Army, and served in West Germany during the Korean War.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After his return to the U.S., Burgess re-grouped his band, which he renamed The Moonlighters, with an eye to auditioning for Sam Philips’ Sun Records in Memphis. They didn’t find immediate success, but by 1955 — his band expanded at Philips’ urging and renamed once more, this time as The Pacers — Burgess was sharing dates with the likes of Elvis Presley and Johnny Cash.\u003c/p>\n\u003cp>With all the elements that Philips had been looking for finally in place, The Pacers went to Memphis in 1956 to audition again at Sun. Philips promptly had them record two sides: “We Wanna Boogie” and “Red Headed Woman.”\u003c/p>\n\u003cp>The record was a hit, and live audiences loved their frantic energy and showmanship — but a string of follow-ups for Sun fared poorly, as did a single for Philips International. Burgess’ career as a frontman continued to dwindle, and by 1959, he was playing in country singer Conway Twitty’s band. Within a dozen years, he had left the music business altogether, and pulled together a new life for himself and his family by working as a traveling salesman.\u003c/p>\n\u003cp>In the 1990s, however, European fans’ enthusiasm for rediscovering old Americana was a vehicle for Burgess’ contributions to resurface, and he enjoyed a resurgent musical career. He recorded two albums in his sixties: 1992’s \u003cem>Tennessee Border\u003c/em>, for Hightone Records, and 1996’s \u003cem>Sonny Burgess \u003c/em>on Rounder Records, produced by Garry Tallent of the E Street Band and featuring a previously unreleased Bruce Springsteen tune called “Tiger Rose.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zPY4nX3nWLY\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Burgess eventually reunited with The Pacers, who were inducted in 2002 into the Rockabilly Hall of Fame and played dates in the U.S., Canada, Japan, Europe and Australia. \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=Sonny+Burgess%2C+Sun+Records+Rockabilly+Star%2C+Has+Died+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"order": 9
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"id": "freakonomics-radio",
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"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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},
"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"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.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"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",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
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"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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"filters": [
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},
"cuisine": {
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}
