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"content": "\u003cp>Journalist-turned-TV producer David Simon is particularly good at two things: exposing the mindless, brutal institutions and systems that grind many Americans down, and humanizing people who normally exist at the margins of polite conversation.\u003c/p>\n\u003cp>When Simon tackled those subjects in HBO’s \u003cem>The Wire\u003c/em>, he created one of the best series on television. Now he’s created the best new show of the 2017 fall season in HBO’s \u003cem>The Deuce \u003c/em>(debuting Sunday), a gritty, urban drama about the moment pornography became “street legal” in New York City, and the commodification of flesh became an industry. (Ed. note: This is a show about pornography, so, as you might expect, this review discusses adult themes.)\u003c/p>\n\u003cp>The setting for Simon’s latest urban fable is 1970s Times Square, before the days of Disney stores and chain restaurants. This is back when streetwalkers worked “The Deuce” (slang for West 42nd Street in Midtown) accepting occasional police roundups and overnight stays in a holding cell as the cost of doing business.\u003c/p>\n\u003cp>Because it’s Simon (working with \u003cem>Wire\u003c/em> buddies like \u003ca href=\"http://www.npr.org/2015/02/17/385765453/in-richard-prices-new-novel-haunted-cops-and-cases-they-couldnt-close\" target=\"_blank\" rel=\"noopener\">crime novelist Richard Price\u003c/a> and \u003cem>Deuce\u003c/em> co-creator \u003ca href=\"http://www.npr.org/2015/01/06/375166711/d-c-author-george-pelecanos-writes-what-he-knows-in-the-martini-shot\" target=\"_blank\" rel=\"noopener\">George Pelecanos\u003c/a>) the world created here is so accurately run-down and sleazy you want to take a shower after every episode. Prostitutes give oral sex in phone booths and cops shrug when they have a night where there’s only a couple of rapes in the neighborhood. In one impressive wide shot, a character walks across a sprawling street filled with period-specific cars as the city skyline rises in the distance, looking exactly like the time of \u003ca href=\"http://www.nytimes.com/2000/12/21/nyregion/john-v-lindsay-mayor-and-maverick-dies-at-79.html?mcubz=0\" target=\"_blank\" rel=\"noopener\">John Lindsay\u003c/a> and \u003ca href=\"http://www.rollingstone.com/music/features/inside-maxs-kansas-city-1976-punk-reissue-w481763\" target=\"_blank\" rel=\"noopener\">Max’s Kansas City\u003c/a>.\u003c/p>\n\u003cp>The show is also loosely based on reality, inspired by the real-life stories of two twin brothers who served as frontmen for the Gambino crime family in Manhattan. James Franco plays fictionalized versions of both men — Vincent, a straight-shooting bar manager, and Frankie, a charismatic, degenerate gambler. Vincent starts out as a typical Simon protagonist: He’s smart, working-class, unassuming and more than a little flawed, ground-down by two thankless jobs and a wayward wife. Opportunity comes knocking when a Gambino captain sets him up to run his own bar.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But Franco’s role isn’t the gimmick it might seem. He gives Vincent and Frankie markedly different attitudes — Vincent in particular becomes the guy you want to root for even when his wife’s cheating pushes him to leave her and their two kids for a room in a Times Square flophouse. Franco even directs two of the show’s eight episodes.\u003c/p>\n\u003cp>The real revelation here is Maggie Gyllenhaal, who shines as Candy, a prostitute who begins to see a way off the street by moving into porn films. Candy works independently, without the protection of the pimps who controlled most of the Deuce’s streetwalkers, and Gyllenhaal exposes herself both physically and emotionally. When one kid tries to get a freebie after their first session ends quickly, Candy is quick to school him: Car salesmen don’t give a customer an extra car just because he closes a sale quickly.\u003c/p>\n\u003cp>The sex in \u003cem>The Deuce\u003c/em> isn’t titillating, and that’s by design. It’s a business transaction: either a momentary pleasure sold by a prostitute or an awkward fantasy depicted in amateurish films. It is, however, explicit, with equal opportunity nudity (including at least three instances where male equipment is shown in an, um, excited state, which I have never seen on a TV series before).\u003c/p>\n\u003cp>It’s tough to imagine today, when the Internet offers 24-hour access to pornography, but in the early 1970s movies and magazines depicting sex were illegal. Then a Supreme Court decision tied such laws to local community standards, and suddenly pornography was legal in New York City. As one character, a porn director, explains, “There’s been a change in the law about community standards. Apparently, New York has none.”\u003c/p>\n\u003cp>Before long, police are pushing prostitutes off the streets and into mob-owned brothels, which pay the cops for protection. Porn movie producers are paying those same prostitutes a pittance to star in their movies, and pimps are fighting to stay in control as the sex trade transforms beneath their feet.\u003c/p>\n\u003cp>Along the way, we hear pimps speak earnestly about why even their women want them to fail; we watch weary cops pursue pointless busts to serve the agendas of those above them; and occasionally violent flares take the lives of characters we have come to care about.\u003c/p>\n\u003cp>Simon and Pelecanos were well aware of the fact that they’re two white men recreating a world in which women were brutally oppressed, so they took care to include female collaborators like writers \u003ca href=\"http://www.npr.org/2014/06/20/323214513/in-fever-towns-teen-tic-epidemic-gets-a-chilling-novelization\" target=\"_blank\" rel=\"noopener\">Megan Abbott\u003c/a> and Lisa Lutz, and director Michelle MacLaren. Maggie Gyllenhaal is also a producer on the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Almost every major character is a cog in someone else’s wheel struggling to stay afloat while wading through the muck of life on the Deuce. Those compelling, artfully drawn characters keep you enthralled even as the show goes about the slow business of showing how pimps, prostitutes, the mob and police helped turn a back-alley pursuit into a billion-dollar industry. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27The+Deuce%2C%27+Sex+Isn%27t+Titillating+%E2%80%94+It%27s+Business&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But Franco’s role isn’t the gimmick it might seem. He gives Vincent and Frankie markedly different attitudes — Vincent in particular becomes the guy you want to root for even when his wife’s cheating pushes him to leave her and their two kids for a room in a Times Square flophouse. Franco even directs two of the show’s eight episodes.\u003c/p>\n\u003cp>The real revelation here is Maggie Gyllenhaal, who shines as Candy, a prostitute who begins to see a way off the street by moving into porn films. Candy works independently, without the protection of the pimps who controlled most of the Deuce’s streetwalkers, and Gyllenhaal exposes herself both physically and emotionally. When one kid tries to get a freebie after their first session ends quickly, Candy is quick to school him: Car salesmen don’t give a customer an extra car just because he closes a sale quickly.\u003c/p>\n\u003cp>The sex in \u003cem>The Deuce\u003c/em> isn’t titillating, and that’s by design. It’s a business transaction: either a momentary pleasure sold by a prostitute or an awkward fantasy depicted in amateurish films. It is, however, explicit, with equal opportunity nudity (including at least three instances where male equipment is shown in an, um, excited state, which I have never seen on a TV series before).\u003c/p>\n\u003cp>It’s tough to imagine today, when the Internet offers 24-hour access to pornography, but in the early 1970s movies and magazines depicting sex were illegal. Then a Supreme Court decision tied such laws to local community standards, and suddenly pornography was legal in New York City. As one character, a porn director, explains, “There’s been a change in the law about community standards. Apparently, New York has none.”\u003c/p>\n\u003cp>Before long, police are pushing prostitutes off the streets and into mob-owned brothels, which pay the cops for protection. Porn movie producers are paying those same prostitutes a pittance to star in their movies, and pimps are fighting to stay in control as the sex trade transforms beneath their feet.\u003c/p>\n\u003cp>Along the way, we hear pimps speak earnestly about why even their women want them to fail; we watch weary cops pursue pointless busts to serve the agendas of those above them; and occasionally violent flares take the lives of characters we have come to care about.\u003c/p>\n\u003cp>Simon and Pelecanos were well aware of the fact that they’re two white men recreating a world in which women were brutally oppressed, so they took care to include female collaborators like writers \u003ca href=\"http://www.npr.org/2014/06/20/323214513/in-fever-towns-teen-tic-epidemic-gets-a-chilling-novelization\" target=\"_blank\" rel=\"noopener\">Megan Abbott\u003c/a> and Lisa Lutz, and director Michelle MacLaren. Maggie Gyllenhaal is also a producer on the show.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Almost every major character is a cog in someone else’s wheel struggling to stay afloat while wading through the muck of life on the Deuce. Those compelling, artfully drawn characters keep you enthralled even as the show goes about the slow business of showing how pimps, prostitutes, the mob and police helped turn a back-alley pursuit into a billion-dollar industry. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27The+Deuce%2C%27+Sex+Isn%27t+Titillating+%E2%80%94+It%27s+Business&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Martin Shkreli, the “pharma bro” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/04/541658697/pharma-bro-martin-shkreli-convicted-of-securities-fraud\" target=\"_blank\" rel=\"noopener\">convicted\u003c/a> in early August of securities fraud, is claiming he’s prepared to sell the sole copy of a one-of-a-kind Wu-Tang Clan album.\u003c/p>\n\u003cp>After \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/09/459059359/sole-copy-of-latest-wu-tang-album-was-sold-to-pharma-bro\" target=\"_blank\" rel=\"noopener\">buying\u003c/a> \u003cem>Once Upon A Time In Shaolin… \u003c/em>in late 2015 in an auction set up by Wu-Tang co-founder and producer RZA, Shkreli has posted the album on \u003ca href=\"http://www.ebay.com/itm/132319745117\">eBay\u003c/a>.\u003c/p>\n\u003cp>In a listing for the record, Shkreli writes he has “not carefully listened to the album.” As of Wednesday morning, the double-CD had received 199 bids, the highest being $100,000. (Shkreli paid an “undisclosed figure in the millions,” according to the sale’s \u003ca href=\"https://paddle8.com/about/press/wu-tang-sold\" target=\"_blank\" rel=\"noopener\">press release\u003c/a>.)\u003c/p>\n\u003cp>Half of the money generated from the sale will go to “medical research,” he writes, though he also reserved the right to cancel the auction and destroy the album’s only copy instead.\u003c/p>\n\u003cp>Shkreli encourages the buyer of \u003cem>Once Upon A Time In Shaolin…\u003c/em> to do something he has yet to do — release the music on the internet. Shkreli hopes “someone with a bigger heart for music can be found for this one-of-a-kind piece and makes it available for the world to hear.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Pharma+Bro%27+Martin+Shkreli+Lists+His+Wu-Tang+Album+On+eBay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Martin Shkreli, the “pharma bro” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/04/541658697/pharma-bro-martin-shkreli-convicted-of-securities-fraud\" target=\"_blank\" rel=\"noopener\">convicted\u003c/a> in early August of securities fraud, is claiming he’s prepared to sell the sole copy of a one-of-a-kind Wu-Tang Clan album.\u003c/p>\n\u003cp>After \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/12/09/459059359/sole-copy-of-latest-wu-tang-album-was-sold-to-pharma-bro\" target=\"_blank\" rel=\"noopener\">buying\u003c/a> \u003cem>Once Upon A Time In Shaolin… \u003c/em>in late 2015 in an auction set up by Wu-Tang co-founder and producer RZA, Shkreli has posted the album on \u003ca href=\"http://www.ebay.com/itm/132319745117\">eBay\u003c/a>.\u003c/p>\n\u003cp>In a listing for the record, Shkreli writes he has “not carefully listened to the album.” As of Wednesday morning, the double-CD had received 199 bids, the highest being $100,000. (Shkreli paid an “undisclosed figure in the millions,” according to the sale’s \u003ca href=\"https://paddle8.com/about/press/wu-tang-sold\" target=\"_blank\" rel=\"noopener\">press release\u003c/a>.)\u003c/p>\n\u003cp>Half of the money generated from the sale will go to “medical research,” he writes, though he also reserved the right to cancel the auction and destroy the album’s only copy instead.\u003c/p>\n\u003cp>Shkreli encourages the buyer of \u003cem>Once Upon A Time In Shaolin…\u003c/em> to do something he has yet to do — release the music on the internet. Shkreli hopes “someone with a bigger heart for music can be found for this one-of-a-kind piece and makes it available for the world to hear.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Pharma+Bro%27+Martin+Shkreli+Lists+His+Wu-Tang+Album+On+eBay&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>\u003cstrong>Updated at 8:20 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>John Ashbery, a Pulitzer Prize-winning poet known for his surrealist, confounding works, has died at age 90.\u003c/p>\n\u003cp>The poet died of natural causes in his Hudson, N.Y., home early Sunday, confirms Farrar, Straus & Giroux, the publicist for a new Ashbery biography.\u003c/p>\n\u003cp>His 1975 collection, \u003cem>Self-Portrait in a Convex Mirror\u003c/em>, what many consider his masterpiece\u003cem>,\u003c/em> won a rare trifecta of the literary world: the Pulitzer Prize, the National Book Award and the National Book Critics Circle prize. The title poem was a mediation on Parmigianino’s 16th century Italian painting of the same name. In 2012, Former President Barack Obama recognized Ashbery with the National Humanities Medal.\u003c/p>\n\u003cp>From an early age, his tendency to reject poetic conventions evolved under the influences of music, like John Cage, and visual art, particularly that of abstract expressionist painters.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/09/03/arts/john-ashbery-dead-prize-winning-poet.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">identified the relationship\u003c/a>, “If the verse is challenging, that was in part Mr. Ashbery’s aim — to compel readers to rethink their presumptions about poetry, just as the Abstract Expressionists asked viewers to discard their preconceptions about painting.”\u003c/p>\n\u003cp>“My ambition was to be a painter,” he told Ashbery \u003ca href=\"https://www.theparisreview.org/interviews/3014/john-ashbery-the-art-of-poetry-no-33-john-ashbery\" target=\"_blank\" rel=\"noopener\">told Peter Stitt\u003c/a> of the Paris Review. He took painting classes in his preteen years, but “found that poetry was easier than painting.” Meanwhile, he began consuming modern poetry.\u003c/p>\n\u003cp>He cut his teeth on a Louis Untermeyer anthology, he tells Stitt. In the way many critics found Ashbery’s poetry indecipherable, “I didn’t understand much of it at first … I guess it was just a desire to emulate that started me writing poetry.”\u003c/p>\n\u003cp>While his enigmatic poems confounded literary critics and peers, his experimental style reinvented literature for a generation of writers.\u003c/p>\n\u003cp>Ashbery’s first book puzzled admired poet W.H. Auden. (\u003ca href=\"https://books.google.com/books?id=gu_nTkN6i-gC&pg=PA214&lpg=PA214&dq=My+poetry+imitates+or+reproduces+the+way+knowledge+or+awareness+come+to+me,+which+is+by+fits+and+starts+and+by+indirection.+I+don%E2%80%99t+think+poetry+arranged+in+neat+patterns+would+reflect+that+situation.+My+poetry+is+disjunct,+but+then+so+is+life.&source=bl&ots=nnMHYV1jZf&sig=u9Jdx4NjYimQYTVLibBaOcoZOAE&hl=en&sa=X&ved=0ahUKEwjGqt2IiorWAhVp34MKHZJpA9YQ6AEILzAC#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener\">Ashbery considered\u003c/a> Auden “one of the writers who most formed my language as a poet.”) As \u003ca href=\"https://www.nytimes.com/2017/09/03/arts/john-ashbery-dead-prize-winning-poet.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">the Times notes\u003c/a>, when Auden selected Ashbery as the Yale Younger Poets Prize winner for \u003cem>Some Trees \u003c/em>(1956), he later “confessed that he had not understood a word of it.” \u003c/p>\n\u003cp>In fact, Ashbery joked to The Associated Press in 2008 that, were he to verbify his last name, it would mean “to confuse the hell out of people.”\u003c/p>\n\u003cp>His unorthodox work, \u003ca href=\"https://www.poetryfoundation.org/poets/john-ashbery\">Ashbery once told\u003c/a> the London \u003cem>Times\u003c/em>, is fluctuant because life itself is\u003cem>:\u003c/em> “I don’t find any direct statements in life. My poetry imitates or reproduces the way knowledge or awareness come to me, which is by fits and starts and by indirection. I don’t think poetry arranged in neat patterns would reflect that situation. My poetry is disjunct, but then so is life.”\u003c/p>\n\u003cp>He described poetry as a “marginal occupation” within society, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4542617\">in a 2005 interview\u003c/a> with \u003cem>Weekend Edition\u003c/em> host Scott Simon. Critics have told him they’ve found his work inaccessible to a mainstream audience, he said, but his themes regarding the human experience, such as doubt and uncertainty, address many.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wish that they were as accessible to as many people as possible,” he told Simon. “They are not, I wouldn’t say, private. What they are is about the privacy of all of us and the difficulty of our own thinking and coming to conclusions. And in that way they are, I think, accessible if anybody cares to access them.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Ashbery%2C+Celebrated+And+Experimental+Poet+Of+The+20th+Century%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/09/03/arts/john-ashbery-dead-prize-winning-poet.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">identified the relationship\u003c/a>, “If the verse is challenging, that was in part Mr. Ashbery’s aim — to compel readers to rethink their presumptions about poetry, just as the Abstract Expressionists asked viewers to discard their preconceptions about painting.”\u003c/p>\n\u003cp>“My ambition was to be a painter,” he told Ashbery \u003ca href=\"https://www.theparisreview.org/interviews/3014/john-ashbery-the-art-of-poetry-no-33-john-ashbery\" target=\"_blank\" rel=\"noopener\">told Peter Stitt\u003c/a> of the Paris Review. He took painting classes in his preteen years, but “found that poetry was easier than painting.” Meanwhile, he began consuming modern poetry.\u003c/p>\n\u003cp>He cut his teeth on a Louis Untermeyer anthology, he tells Stitt. In the way many critics found Ashbery’s poetry indecipherable, “I didn’t understand much of it at first … I guess it was just a desire to emulate that started me writing poetry.”\u003c/p>\n\u003cp>While his enigmatic poems confounded literary critics and peers, his experimental style reinvented literature for a generation of writers.\u003c/p>\n\u003cp>Ashbery’s first book puzzled admired poet W.H. Auden. (\u003ca href=\"https://books.google.com/books?id=gu_nTkN6i-gC&pg=PA214&lpg=PA214&dq=My+poetry+imitates+or+reproduces+the+way+knowledge+or+awareness+come+to+me,+which+is+by+fits+and+starts+and+by+indirection.+I+don%E2%80%99t+think+poetry+arranged+in+neat+patterns+would+reflect+that+situation.+My+poetry+is+disjunct,+but+then+so+is+life.&source=bl&ots=nnMHYV1jZf&sig=u9Jdx4NjYimQYTVLibBaOcoZOAE&hl=en&sa=X&ved=0ahUKEwjGqt2IiorWAhVp34MKHZJpA9YQ6AEILzAC#v=onepage&q&f=false\" target=\"_blank\" rel=\"noopener\">Ashbery considered\u003c/a> Auden “one of the writers who most formed my language as a poet.”) As \u003ca href=\"https://www.nytimes.com/2017/09/03/arts/john-ashbery-dead-prize-winning-poet.html?mcubz=3\" target=\"_blank\" rel=\"noopener\">the Times notes\u003c/a>, when Auden selected Ashbery as the Yale Younger Poets Prize winner for \u003cem>Some Trees \u003c/em>(1956), he later “confessed that he had not understood a word of it.” \u003c/p>\n\u003cp>In fact, Ashbery joked to The Associated Press in 2008 that, were he to verbify his last name, it would mean “to confuse the hell out of people.”\u003c/p>\n\u003cp>His unorthodox work, \u003ca href=\"https://www.poetryfoundation.org/poets/john-ashbery\">Ashbery once told\u003c/a> the London \u003cem>Times\u003c/em>, is fluctuant because life itself is\u003cem>:\u003c/em> “I don’t find any direct statements in life. My poetry imitates or reproduces the way knowledge or awareness come to me, which is by fits and starts and by indirection. I don’t think poetry arranged in neat patterns would reflect that situation. My poetry is disjunct, but then so is life.”\u003c/p>\n\u003cp>He described poetry as a “marginal occupation” within society, \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=4542617\">in a 2005 interview\u003c/a> with \u003cem>Weekend Edition\u003c/em> host Scott Simon. Critics have told him they’ve found his work inaccessible to a mainstream audience, he said, but his themes regarding the human experience, such as doubt and uncertainty, address many.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I wish that they were as accessible to as many people as possible,” he told Simon. “They are not, I wouldn’t say, private. What they are is about the privacy of all of us and the difficulty of our own thinking and coming to conclusions. And in that way they are, I think, accessible if anybody cares to access them.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=John+Ashbery%2C+Celebrated+And+Experimental+Poet+Of+The+20th+Century%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In a little more than a week since its release, Taylor Swift’s new single, “Look What You Made Me Do,” has ridden a wave of attention into record-breaking metrics. Driven by an expertly cryptic promotional campaign, the first single from Swift’s forthcoming album \u003cem>Reputation\u003c/em> set first-day records on YouTube and Spotify and drew the biggest weekly streaming and sales numbers for a single yet this year, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7950114/taylor-swift-look-what-you-made-me-do-number-one-hot-100\">according\u003c/a> to \u003cem>Billboard. \u003c/em>\u003c/p>\n\u003cp>Now, “Look” is the new No. 1 song in the country. It broke Adele’s record (of 61.6 million plays) for most-streamed debut week by a female artist, with 84.4 million U.S. streams. And, in what must be a bitter disappointment for Luis Fonsi and Daddy Yankee, Swift displaced “Despacito” atop the Hot 100, where it has sat for four months. If “Despacito” had lasted one more week at No. 1, it \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7942306/despacito-hot-100-number-one-ties-record-luis-fonsi-daddy-yankee-justin-bieber\">would have set\u003c/a> an all-time record for most weeks at the top of the chart.\u003c/p>\n\u003cp>Swift is the first woman to top the Hot 100 chart this year.\u003c/p>\n\u003cp>As mentioned, “Look” also set records the first day it was released, breaking Spotify’s high-water mark for first-day streams — set by her friend Ed Sheeran earlier this year — with 10,129,087 plays in a single day. It was also the most streams generated by any song in one day since Spotify launched.\u003c/p>\n\u003cp>On video sites, “Look” also broke first-day numbers, drawing in 43.2 million plays on YouTube its first day of release, unseating PSY’s 2013 single “Gentleman.” Over on Vevo, the song also broke first-day views with more than 30 million.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, Swift released another new song this past Sunday — the more generally focused but equally self-examining and faux-lectro-luxe “… Ready For It?” — but all anyone seems to care about is “Look What You Made Me Do.” That new single drew 3.74 million plays on Spotify in the two days since its release over the long weekend — numbers that would be impressive for anyone, if that anyone hadn’t done what “Look” just did. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=3tmd-ClpJxA\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift%27s+%27Look+What+You+Made+Me+Do%27+Breaks+Records%2C+Stops+%27Despacito%27+Short&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a little more than a week since its release, Taylor Swift’s new single, “Look What You Made Me Do,” has ridden a wave of attention into record-breaking metrics. Driven by an expertly cryptic promotional campaign, the first single from Swift’s forthcoming album \u003cem>Reputation\u003c/em> set first-day records on YouTube and Spotify and drew the biggest weekly streaming and sales numbers for a single yet this year, \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7950114/taylor-swift-look-what-you-made-me-do-number-one-hot-100\">according\u003c/a> to \u003cem>Billboard. \u003c/em>\u003c/p>\n\u003cp>Now, “Look” is the new No. 1 song in the country. It broke Adele’s record (of 61.6 million plays) for most-streamed debut week by a female artist, with 84.4 million U.S. streams. And, in what must be a bitter disappointment for Luis Fonsi and Daddy Yankee, Swift displaced “Despacito” atop the Hot 100, where it has sat for four months. If “Despacito” had lasted one more week at No. 1, it \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7942306/despacito-hot-100-number-one-ties-record-luis-fonsi-daddy-yankee-justin-bieber\">would have set\u003c/a> an all-time record for most weeks at the top of the chart.\u003c/p>\n\u003cp>Swift is the first woman to top the Hot 100 chart this year.\u003c/p>\n\u003cp>As mentioned, “Look” also set records the first day it was released, breaking Spotify’s high-water mark for first-day streams — set by her friend Ed Sheeran earlier this year — with 10,129,087 plays in a single day. It was also the most streams generated by any song in one day since Spotify launched.\u003c/p>\n\u003cp>On video sites, “Look” also broke first-day numbers, drawing in 43.2 million plays on YouTube its first day of release, unseating PSY’s 2013 single “Gentleman.” Over on Vevo, the song also broke first-day views with more than 30 million.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, Swift released another new song this past Sunday — the more generally focused but equally self-examining and faux-lectro-luxe “… Ready For It?” — but all anyone seems to care about is “Look What You Made Me Do.” That new single drew 3.74 million plays on Spotify in the two days since its release over the long weekend — numbers that would be impressive for anyone, if that anyone hadn’t done what “Look” just did. \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/3tmd-ClpJxA'\n title='//www.youtube.com/embed/3tmd-ClpJxA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Taylor+Swift%27s+%27Look+What+You+Made+Me+Do%27+Breaks+Records%2C+Stops+%27Despacito%27+Short&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Walter Becker, co-founder of \u003ca href=\"http://www.npr.org/artists/15231985/steely-dan\" target=\"_blank\" rel=\"noopener\">Steely Dan\u003c/a>, died Sunday at the age of 67, according to his website.\u003c/p>\n\u003cp>The news was later confirmed by his longtime bandmate \u003ca href=\"http://www.npr.org/artists/15120953/donald-fagen\" target=\"_blank\" rel=\"noopener\">Donald Fagen\u003c/a>. In a statement, Fagen said “I intend to keep the music we created together alive as long as I can with the Steely Dan band.”\u003c/p>\n\u003cp>No other details were offered, but the guitarist, bassist and songwriter had been in poor health, and didn’t participate in two Steely Dan concerts in July. Fagen told reporters in August that Becker had undergone a medical procedure that prevented him from touring.\u003c/p>\n\u003cp>Becker had performed with Steely Dan as recently as April.\u003c/p>\n\u003cp>Walter Carl Becker founded Steely Dan with singer and songwriter Donald Fagen in 1972, and with the help of many talented session musicians, the band released a string of popular and critically-acclaimed albums that combined rock, jazz and studio wizardry in unprecedented fashion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Becker was careful to distance his music from the “fusion” wave that was taking shape in jazz at the time.\u003c/p>\n\u003cp>“[M]ost of the things that go into the fusion category are premeditated efforts to take incompatible musics and put them together,” Becker told the New York Times \u003ca href=\"http://www.nytimes.com/1977/10/09/archives/americas-finest-mayberock-nonband-steely-dan.html?mcubz=0\" target=\"_blank\" rel=\"noopener\">in 1977\u003c/a>. “We try not to do that. There’s a certain attitude concerning improvisation that we got from jazz, where musicians are a little freer to play around what’s different from most rock today, in which the players seem very constricted. But this is the beginning and end of it as far as comparing what we’re doing to jazz.”\u003c/p>\n\u003cp>During the band’s initial run from 1972 to 1981, Steely Dan released six Top 20 albums and scored three Top 10 singles. The band’s best-selling album, 1977’s \u003cem>Aja\u003c/em>, is widely regarded as one of the best rock albums in history.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ea3Bofkmwlc\u003c/p>\n\u003cp>The band temporarily disbanded in 1981, during which time Becker focused on producing records rather than making them himself. But Steely Dan’s popularity never waned, and Becker and Fagen regrouped in 1993, primarily as a touring band. It wasn’t until 2000 that the duo would release their comeback album, \u003cem>Two Against Nature\u003c/em>, which won four Grammy Awards, including Album Of The Year.\u003c/p>\n\u003cp>Becker and Fagen were inducted into the Rock & Roll Hall Of Fame a year later.\u003c/p>\n\u003cp>Becker also recorded two solo albums, 1994’s \u003cem>11 Tracks Of Whack\u003c/em> and 2008’s \u003cem>Circus Money\u003c/em>, and produced Fagen’s 1993 album,\u003cem> Kamakiriad\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story. We’ll update with further information as it becomes available.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Steely+Dan%27s+Walter+Becker+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Walter Becker, co-founder of \u003ca href=\"http://www.npr.org/artists/15231985/steely-dan\" target=\"_blank\" rel=\"noopener\">Steely Dan\u003c/a>, died Sunday at the age of 67, according to his website.\u003c/p>\n\u003cp>The news was later confirmed by his longtime bandmate \u003ca href=\"http://www.npr.org/artists/15120953/donald-fagen\" target=\"_blank\" rel=\"noopener\">Donald Fagen\u003c/a>. In a statement, Fagen said “I intend to keep the music we created together alive as long as I can with the Steely Dan band.”\u003c/p>\n\u003cp>No other details were offered, but the guitarist, bassist and songwriter had been in poor health, and didn’t participate in two Steely Dan concerts in July. Fagen told reporters in August that Becker had undergone a medical procedure that prevented him from touring.\u003c/p>\n\u003cp>Becker had performed with Steely Dan as recently as April.\u003c/p>\n\u003cp>Walter Carl Becker founded Steely Dan with singer and songwriter Donald Fagen in 1972, and with the help of many talented session musicians, the band released a string of popular and critically-acclaimed albums that combined rock, jazz and studio wizardry in unprecedented fashion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Becker was careful to distance his music from the “fusion” wave that was taking shape in jazz at the time.\u003c/p>\n\u003cp>“[M]ost of the things that go into the fusion category are premeditated efforts to take incompatible musics and put them together,” Becker told the New York Times \u003ca href=\"http://www.nytimes.com/1977/10/09/archives/americas-finest-mayberock-nonband-steely-dan.html?mcubz=0\" target=\"_blank\" rel=\"noopener\">in 1977\u003c/a>. “We try not to do that. There’s a certain attitude concerning improvisation that we got from jazz, where musicians are a little freer to play around what’s different from most rock today, in which the players seem very constricted. But this is the beginning and end of it as far as comparing what we’re doing to jazz.”\u003c/p>\n\u003cp>During the band’s initial run from 1972 to 1981, Steely Dan released six Top 20 albums and scored three Top 10 singles. The band’s best-selling album, 1977’s \u003cem>Aja\u003c/em>, is widely regarded as one of the best rock albums in history.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ea3Bofkmwlc'\n title='//www.youtube.com/embed/ea3Bofkmwlc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The band temporarily disbanded in 1981, during which time Becker focused on producing records rather than making them himself. But Steely Dan’s popularity never waned, and Becker and Fagen regrouped in 1993, primarily as a touring band. It wasn’t until 2000 that the duo would release their comeback album, \u003cem>Two Against Nature\u003c/em>, which won four Grammy Awards, including Album Of The Year.\u003c/p>\n\u003cp>Becker and Fagen were inducted into the Rock & Roll Hall Of Fame a year later.\u003c/p>\n\u003cp>Becker also recorded two solo albums, 1994’s \u003cem>11 Tracks Of Whack\u003c/em> and 2008’s \u003cem>Circus Money\u003c/em>, and produced Fagen’s 1993 album,\u003cem> Kamakiriad\u003c/em>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story. We’ll update with further information as it becomes available.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Steely+Dan%27s+Walter+Becker+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Houston's Jazz Envoys Describe a Vibrant Scene Deluged, and Worry for its Future",
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"content": "\u003cp>Kendrick Scott opened his first set on Tuesday night, at the Jazz Standard in New York City, with a pensive new composition titled “Home.” It had a bittersweet melody, a waft of dark harmony, and a beat defined both by chop and flow. “I’m just going to send this out as a meditation for everybody in Houston, Texas right now,” said Scott, a drummer, as he introduced the tune.\u003c/p>\n\u003cp>His band, Kendrick Scott Oracle, is stocked with serious talent, each musician a distinguished leader in his own right. Among them is guitarist Mike Moreno who, like Scott, originally hails from Houston, and has been keeping an anxious watch on the events of the past week.\u003c/p>\n\u003cp>The catastrophic wake of Hurricane Harvey has stretched across East Texas and into Louisiana, taking lives and uprooting tens of thousands of others, while causing billions of dollars in damage and disruption. But the flooding in Houston has been a specific worry for that city’s jazz diaspora, which includes some of the most important artists of the present era.\u003c/p>\n\u003cp>In effect, there’s no way to tell the story of jazz in our time without \u003ca href=\"http://www.npr.org/2016/06/23/483271411/beyond-country-and-blues-the-jazz-legacy-of-houston-texas\">talking about Houston\u003c/a>, even though it doesn’t have the legacy sheen of a place like New Orleans, Chicago or New York. “You can’t point to a jazz club, really, in Houston,” pianist Robert Glasper, a three-time Grammy winner, said by phone this week. “But Houston probably has more jazz musicians that are relevant on the scene now than any other city.”\u003c/p>\n\u003cp>Those musicians all have families back home, and in the days since Harvey made landfall last week, a lot of energy has been devoted to checking up on them, and on each other. Glasper’s father, who lives in Beaumont, lost a friend to floodwaters there. But Glasper, like the half-dozen other musicians I spoke with, considers his family fortunate. “We’ve been on a thread of text messages making sure everybody is cool,” he said, “me and Jamire Williams, Eric Harland, Chris Dave, Kendrick, Jason Moran.”\u003c/p>\n\u003cfigure id=\"attachment_13807247\" class=\"wp-caption alignright\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730.jpe\" alt=\"Brenda Harland, the mother of Eric Harland, took this photo from her porch in the Pleasantville neighborhood of Houston.\" width=\"639\" height=\"479\" class=\"size-full wp-image-13807247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730.jpe 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-520x390.jpe 520w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Harland, the mother of Eric Harland, took this photo from her porch in the Pleasantville neighborhood of Houston. \u003ccite>(Brenda Harlan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notwithstanding Moran, another pianist, every name Glasper lists is an esteemed drummer-bandleader who has helped evolve the pulse of the music. Harland, the big brother of the bunch, was alarmed to see pictures taken by his mother on Saturday, as water was rising around his childhood home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“There was a moment when I realized I couldn’t get back there,” he said on Wednesday night, after his efforts to travel to Houston from New York were forestalled. (He made it as far as Dallas-Fort Worth.) “You just want to cry, but you can’t. I’m not the one going through it; if anybody should be crying, it’s them.”\u003c/p>\n\u003cp>Harland’s mother was evacuated by FEMA before the flooding worsened, and she’ll be assessing the damage in the coming days. She resides in the Pleasantville neighborhood of northeast Houston, which is also where Moran’s grandfather lives. (He made it out safely too.)\u003c/p>\n\u003cp>“I have maybe hundreds of family members in Houston,” said Moran, who among other things is the artistic director for jazz at the Kennedy Center. “Nearly all of them are, miraculously, OK. But I have so much concern about how the city rebuilds after this. And it’s not only physically, but psychologically — the trauma of having all this water inundate a livelihood. Kind of like what we saw happen with Hurricane Katrina in New Orleans. These are bastions of southern creativity that could, all of a sudden, be washed away.”\u003c/p>\n\u003cp>That fretful focus on the near-future is a prevailing theme now. “What concerns me is the aftermath,” said pianist Helen Sung. She grew up in southwest Houston, which saw \u003ca href=\"https://www.youtube.com/watch?v=aIx2Cnp6dxU\">considerable flooding from Brays Bayou\u003c/a>. (Her parents, first-generation immigrants, are safe.)\u003c/p>\n\u003cp>Kendrick Scott was raised partly in Meyerland, another area that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/29/547036574/18-000-pounds-of-sandbags-werent-enough-to-protect-this-houston-home\">experienced devastating flooding\u003c/a>. (He said his father, in Missouri City, had been shut in by water but was well-provisioned.) Scott has a unique perspective on the cultural implications of the storm, as a longtime associate of New Orleans-born trumpeter and composer Terence Blanchard.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/100771911/100865759\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>On the 2007 Blue Note album \u003cem>A Tale of God’s Will (A Requiem for Katrina), \u003c/em>Scott helped Blanchard create a poignant reflection on the devastation of Hurricane Katrina. And before his set at the Jazz Standard, 12 years to the day after the breach of levees in New Orleans, Scott voiced wariness about any comparison between that moment and this one.\u003c/p>\n\u003cp>“I’m actually searching my feelings to see how I feel,” he said. “I need more information. It’s been so dark that I’ve just been talking to my family, instead of looking at the news.”\u003c/p>\n\u003cp>Houston’s jazz infrastructure is a curious thing, at once diffuse and deeply entrenched. There are a handful of clubs that feature jazz, with a focus on local talent. Cezanne, on the second floor of a building in the Montrose neighborhood, plans to reopen this Friday with the Bruce Saunders Quartet. Also back in business are Café 4212 and Phil & Derek’s Restaurant and Jazz Bar. But assessing the recovery of the scene isn’t as simple as ticking off a list of venues.\u003c/p>\n\u003cp>“Jazz musicians in the city play \u003cem>everywhere\u003c/em>,” said Moran. “They play at the restaurant, they play at the church, they play at the bar. Or the theaters downtown, like the Wortham. And people live \u003cem>all\u003c/em> over the city.”\u003c/p>\n\u003cp>Downtown Houston’s theater district, the second-largest in the nation, was flooded with water from Buffalo Bayou; earlier this week the \u003cem>Houston Chronicle\u003c/em> \u003ca href=\"http://www.chron.com/entertainment/arts-theater/article/Shades-of-Allison-Houston-Theatre-District-12113867.php\">drew a parallel to Tropical Storm Allison\u003c/a>, which submerged much of the district in 2001. The Wortham Center, home to the Houston Ballet and Houston Grand Opera, saw floodwaters in its underground spaces, including storage areas and dressing rooms.\u003c/p>\n\u003cp>The Wortham Center is home to much of the concert programming by Da Camera of Houston, which specializes in jazz and chamber music. “We are a member of Theater District Houston, which consists of seven presenting organizations,” said Sarah Rothenberg, Da Camera’s artistic and general director. “We’ve been having conference calls since Monday about the state of the buildings. It’s too soon to know anything.”\u003c/p>\n\u003cp>Da Camera has been a major conduit between ex-Houstonians and the city’s jazz community. A few years ago, the organization initiated the \u003ca href=\"https://www.dacamera.com/learn/homecoming-residency/\">Jason Moran Homecoming Residency\u003c/a>, an annual program that brought Moran not only into concert halls but also (and more to the point) into local schools. “These are students who are in elementary and middle school who had gotten curious about music,” Moran said. “All these future musicians who will now have to watch their parents deal with trying to get their lives back together.”\u003c/p>\n\u003cp>The more fortunate among them will likely attend the High School for the Performing and Visual Arts (HSPVA), which has been the single most important factor in Houston’s ascendant influence on the jazz landscape. The school’s legendary former band director, Robert “Doc” Morgan, mentored more than one generation of musicians now in circulation.\u003c/p>\n\u003cfigure id=\"attachment_13807246\" class=\"wp-caption aligncenter\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7.jpg\" alt=\"Houston's High School for the Performing and Visual Arts jazz ensemble in 1997. From left to right, Mark Kelly, Kendrick Scott, Mckenzie Smith, George Rambow, Dustin Drews, Robert Morgan, director, Walter Smith III, Mike Moreno, Richard Cruz, and Robert Glasper.\" width=\"692\" height=\"519\" class=\"size-full wp-image-13807246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7.jpg 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-520x390.jpg 520w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">Houston’s High School for the Performing and Visual Arts jazz ensemble in 1997. From left to right, Mark Kelly, Kendrick Scott, Mckenzie Smith, George Rambow, Dustin Drews, Robert Morgan, director, Walter Smith III, Mike Moreno, Richard Cruz, and Robert Glasper. \u003ccite>(Courtesy of Mike Moreno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A photograph from 1997 depicts the HSPVA Jazz Octet, with members including Glasper, Scott, Moreno, saxophonist Walter Smith III, and bassist Mark Kelly. (Kelly is now a member of The Roots, which serves as a reminder that the HSPVA’s impact extends far beyond jazz — and not just as the \u003cem>alma mater \u003c/em>of Beyoncé.)\u003c/p>\n\u003cp>There’s a strong pipeline from HSPVA to jazz conservatory programs. Several years ago, alumni established \u003ca href=\"https://docfestjazz.org/\">DocFest\u003c/a>, a reunion concert that raises money for the Helen and Bob Morgan Jazz Scholarship Fund at the New School in New York. This year’s DocFest, featuring keyboardist Bob James, was originally scheduled for this Friday, and had to be postponed.\u003c/p>\n\u003cp>But Warren Sneed, the current director of jazz studies at HSPVA, said that school was scheduled to resume on Sept. 11. “I’ve heard from my principal that there was some minor flooding but nothing that wasn’t manageable,” he said.\u003c/p>\n\u003cp>Sneed, who lives south of Meyerland, has been keeping track of students and former students, some of whom have endured serious flooding. “If you live in Houston, you’re going to know somebody who was affected by the flood,” he said. (Chris Walker, one of the alums who started DocFest, lives in a neighborhood that received mandatory evacuation orders.)\u003c/p>\n\u003cp>Still, Sneed spoke with resilient understatement on the city’s recovery. “I don’t see a mass exodus of musicians or anything like that,” he said. “There really is a cool vibe in the city about working together and getting things back on track.”\u003c/p>\n\u003cp>Moreno, among others, echoed this sentiment. “The city’s going to bounce back, there’s no doubt about it,” he said. “Some of my friends in Houston have been going out and doing what they can to help.”\u003c/p>\n\u003cp>Musicians in the Houston diaspora, meanwhile, are weighing options — and in some cases, looking ahead to their return. This year is the 30\u003csup>th\u003c/sup> anniversary of Da Camera, with a new season that happens to bear the theme “No Place Like Home.” The first jazz concert in the series, on Oct. 6, will feature the Robert Glasper Experiment. Future concerts on the calendar include Harland (with saxophonist Charles Lloyd) and Sung (with the Mingus Big Band).\u003c/p>\n\u003cp>“We’re living in a time where the whole idea of home is so fragile,” Rothenberg said. “As soon as you talk about home you’re also talking about its opposite — homelessness and exile. These things feel even more powerful now, as this city looks around and so many of our Houstonians do not have a home.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>At the same time, musicians like Scott are looking to Houston with at least an idea of home clear in mind. Moran put it this way: “We who love Houston so much, who have departed the city and carried its name outside to the rest of the world, we owe a great debt to the city. And it might be our time to figure out a way to do something concrete.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO and Jazz At Lincoln Center. To see more, visit \u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\">WBGO and Jazz At Lincoln Center\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Houston%27s+Jazz+Envoys+Describe+A+Vibrant+Scene+Deluged%2C+And+Worry+For+Its+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kendrick Scott opened his first set on Tuesday night, at the Jazz Standard in New York City, with a pensive new composition titled “Home.” It had a bittersweet melody, a waft of dark harmony, and a beat defined both by chop and flow. “I’m just going to send this out as a meditation for everybody in Houston, Texas right now,” said Scott, a drummer, as he introduced the tune.\u003c/p>\n\u003cp>His band, Kendrick Scott Oracle, is stocked with serious talent, each musician a distinguished leader in his own right. Among them is guitarist Mike Moreno who, like Scott, originally hails from Houston, and has been keeping an anxious watch on the events of the past week.\u003c/p>\n\u003cp>The catastrophic wake of Hurricane Harvey has stretched across East Texas and into Louisiana, taking lives and uprooting tens of thousands of others, while causing billions of dollars in damage and disruption. But the flooding in Houston has been a specific worry for that city’s jazz diaspora, which includes some of the most important artists of the present era.\u003c/p>\n\u003cp>In effect, there’s no way to tell the story of jazz in our time without \u003ca href=\"http://www.npr.org/2016/06/23/483271411/beyond-country-and-blues-the-jazz-legacy-of-houston-texas\">talking about Houston\u003c/a>, even though it doesn’t have the legacy sheen of a place like New Orleans, Chicago or New York. “You can’t point to a jazz club, really, in Houston,” pianist Robert Glasper, a three-time Grammy winner, said by phone this week. “But Houston probably has more jazz musicians that are relevant on the scene now than any other city.”\u003c/p>\n\u003cp>Those musicians all have families back home, and in the days since Harvey made landfall last week, a lot of energy has been devoted to checking up on them, and on each other. Glasper’s father, who lives in Beaumont, lost a friend to floodwaters there. But Glasper, like the half-dozen other musicians I spoke with, considers his family fortunate. “We’ve been on a thread of text messages making sure everybody is cool,” he said, “me and Jamire Williams, Eric Harland, Chris Dave, Kendrick, Jason Moran.”\u003c/p>\n\u003cfigure id=\"attachment_13807247\" class=\"wp-caption alignright\" style=\"max-width: 639px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730.jpe\" alt=\"Brenda Harland, the mother of Eric Harland, took this photo from her porch in the Pleasantville neighborhood of Houston.\" width=\"639\" height=\"479\" class=\"size-full wp-image-13807247\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730.jpe 639w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/flood-retouch-31661b65ba88e34b8388eaa2d8f64b4ff9f3c730-520x390.jpe 520w\" sizes=\"(max-width: 639px) 100vw, 639px\">\u003cfigcaption class=\"wp-caption-text\">Brenda Harland, the mother of Eric Harland, took this photo from her porch in the Pleasantville neighborhood of Houston. \u003ccite>(Brenda Harlan)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Notwithstanding Moran, another pianist, every name Glasper lists is an esteemed drummer-bandleader who has helped evolve the pulse of the music. Harland, the big brother of the bunch, was alarmed to see pictures taken by his mother on Saturday, as water was rising around his childhood home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“There was a moment when I realized I couldn’t get back there,” he said on Wednesday night, after his efforts to travel to Houston from New York were forestalled. (He made it as far as Dallas-Fort Worth.) “You just want to cry, but you can’t. I’m not the one going through it; if anybody should be crying, it’s them.”\u003c/p>\n\u003cp>Harland’s mother was evacuated by FEMA before the flooding worsened, and she’ll be assessing the damage in the coming days. She resides in the Pleasantville neighborhood of northeast Houston, which is also where Moran’s grandfather lives. (He made it out safely too.)\u003c/p>\n\u003cp>“I have maybe hundreds of family members in Houston,” said Moran, who among other things is the artistic director for jazz at the Kennedy Center. “Nearly all of them are, miraculously, OK. But I have so much concern about how the city rebuilds after this. And it’s not only physically, but psychologically — the trauma of having all this water inundate a livelihood. Kind of like what we saw happen with Hurricane Katrina in New Orleans. These are bastions of southern creativity that could, all of a sudden, be washed away.”\u003c/p>\n\u003cp>That fretful focus on the near-future is a prevailing theme now. “What concerns me is the aftermath,” said pianist Helen Sung. She grew up in southwest Houston, which saw \u003ca href=\"https://www.youtube.com/watch?v=aIx2Cnp6dxU\">considerable flooding from Brays Bayou\u003c/a>. (Her parents, first-generation immigrants, are safe.)\u003c/p>\n\u003cp>Kendrick Scott was raised partly in Meyerland, another area that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/29/547036574/18-000-pounds-of-sandbags-werent-enough-to-protect-this-houston-home\">experienced devastating flooding\u003c/a>. (He said his father, in Missouri City, had been shut in by water but was well-provisioned.) Scott has a unique perspective on the cultural implications of the storm, as a longtime associate of New Orleans-born trumpeter and composer Terence Blanchard.\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/100771911/100865759\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>On the 2007 Blue Note album \u003cem>A Tale of God’s Will (A Requiem for Katrina), \u003c/em>Scott helped Blanchard create a poignant reflection on the devastation of Hurricane Katrina. And before his set at the Jazz Standard, 12 years to the day after the breach of levees in New Orleans, Scott voiced wariness about any comparison between that moment and this one.\u003c/p>\n\u003cp>“I’m actually searching my feelings to see how I feel,” he said. “I need more information. It’s been so dark that I’ve just been talking to my family, instead of looking at the news.”\u003c/p>\n\u003cp>Houston’s jazz infrastructure is a curious thing, at once diffuse and deeply entrenched. There are a handful of clubs that feature jazz, with a focus on local talent. Cezanne, on the second floor of a building in the Montrose neighborhood, plans to reopen this Friday with the Bruce Saunders Quartet. Also back in business are Café 4212 and Phil & Derek’s Restaurant and Jazz Bar. But assessing the recovery of the scene isn’t as simple as ticking off a list of venues.\u003c/p>\n\u003cp>“Jazz musicians in the city play \u003cem>everywhere\u003c/em>,” said Moran. “They play at the restaurant, they play at the church, they play at the bar. Or the theaters downtown, like the Wortham. And people live \u003cem>all\u003c/em> over the city.”\u003c/p>\n\u003cp>Downtown Houston’s theater district, the second-largest in the nation, was flooded with water from Buffalo Bayou; earlier this week the \u003cem>Houston Chronicle\u003c/em> \u003ca href=\"http://www.chron.com/entertainment/arts-theater/article/Shades-of-Allison-Houston-Theatre-District-12113867.php\">drew a parallel to Tropical Storm Allison\u003c/a>, which submerged much of the district in 2001. The Wortham Center, home to the Houston Ballet and Houston Grand Opera, saw floodwaters in its underground spaces, including storage areas and dressing rooms.\u003c/p>\n\u003cp>The Wortham Center is home to much of the concert programming by Da Camera of Houston, which specializes in jazz and chamber music. “We are a member of Theater District Houston, which consists of seven presenting organizations,” said Sarah Rothenberg, Da Camera’s artistic and general director. “We’ve been having conference calls since Monday about the state of the buildings. It’s too soon to know anything.”\u003c/p>\n\u003cp>Da Camera has been a major conduit between ex-Houstonians and the city’s jazz community. A few years ago, the organization initiated the \u003ca href=\"https://www.dacamera.com/learn/homecoming-residency/\">Jason Moran Homecoming Residency\u003c/a>, an annual program that brought Moran not only into concert halls but also (and more to the point) into local schools. “These are students who are in elementary and middle school who had gotten curious about music,” Moran said. “All these future musicians who will now have to watch their parents deal with trying to get their lives back together.”\u003c/p>\n\u003cp>The more fortunate among them will likely attend the High School for the Performing and Visual Arts (HSPVA), which has been the single most important factor in Houston’s ascendant influence on the jazz landscape. The school’s legendary former band director, Robert “Doc” Morgan, mentored more than one generation of musicians now in circulation.\u003c/p>\n\u003cfigure id=\"attachment_13807246\" class=\"wp-caption aligncenter\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7.jpg\" alt=\"Houston's High School for the Performing and Visual Arts jazz ensemble in 1997. From left to right, Mark Kelly, Kendrick Scott, Mckenzie Smith, George Rambow, Dustin Drews, Robert Morgan, director, Walter Smith III, Mike Moreno, Richard Cruz, and Robert Glasper.\" width=\"692\" height=\"519\" class=\"size-full wp-image-13807246\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7.jpg 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/09/hspva-jazz-ensemble-c7dfa1d94888cb9877001df811e51e03f41029e7-520x390.jpg 520w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">Houston’s High School for the Performing and Visual Arts jazz ensemble in 1997. From left to right, Mark Kelly, Kendrick Scott, Mckenzie Smith, George Rambow, Dustin Drews, Robert Morgan, director, Walter Smith III, Mike Moreno, Richard Cruz, and Robert Glasper. \u003ccite>(Courtesy of Mike Moreno)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A photograph from 1997 depicts the HSPVA Jazz Octet, with members including Glasper, Scott, Moreno, saxophonist Walter Smith III, and bassist Mark Kelly. (Kelly is now a member of The Roots, which serves as a reminder that the HSPVA’s impact extends far beyond jazz — and not just as the \u003cem>alma mater \u003c/em>of Beyoncé.)\u003c/p>\n\u003cp>There’s a strong pipeline from HSPVA to jazz conservatory programs. Several years ago, alumni established \u003ca href=\"https://docfestjazz.org/\">DocFest\u003c/a>, a reunion concert that raises money for the Helen and Bob Morgan Jazz Scholarship Fund at the New School in New York. This year’s DocFest, featuring keyboardist Bob James, was originally scheduled for this Friday, and had to be postponed.\u003c/p>\n\u003cp>But Warren Sneed, the current director of jazz studies at HSPVA, said that school was scheduled to resume on Sept. 11. “I’ve heard from my principal that there was some minor flooding but nothing that wasn’t manageable,” he said.\u003c/p>\n\u003cp>Sneed, who lives south of Meyerland, has been keeping track of students and former students, some of whom have endured serious flooding. “If you live in Houston, you’re going to know somebody who was affected by the flood,” he said. (Chris Walker, one of the alums who started DocFest, lives in a neighborhood that received mandatory evacuation orders.)\u003c/p>\n\u003cp>Still, Sneed spoke with resilient understatement on the city’s recovery. “I don’t see a mass exodus of musicians or anything like that,” he said. “There really is a cool vibe in the city about working together and getting things back on track.”\u003c/p>\n\u003cp>Moreno, among others, echoed this sentiment. “The city’s going to bounce back, there’s no doubt about it,” he said. “Some of my friends in Houston have been going out and doing what they can to help.”\u003c/p>\n\u003cp>Musicians in the Houston diaspora, meanwhile, are weighing options — and in some cases, looking ahead to their return. This year is the 30\u003csup>th\u003c/sup> anniversary of Da Camera, with a new season that happens to bear the theme “No Place Like Home.” The first jazz concert in the series, on Oct. 6, will feature the Robert Glasper Experiment. Future concerts on the calendar include Harland (with saxophonist Charles Lloyd) and Sung (with the Mingus Big Band).\u003c/p>\n\u003cp>“We’re living in a time where the whole idea of home is so fragile,” Rothenberg said. “As soon as you talk about home you’re also talking about its opposite — homelessness and exile. These things feel even more powerful now, as this city looks around and so many of our Houstonians do not have a home.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the same time, musicians like Scott are looking to Houston with at least an idea of home clear in mind. Moran put it this way: “We who love Houston so much, who have departed the city and carried its name outside to the rest of the world, we owe a great debt to the city. And it might be our time to figure out a way to do something concrete.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO and Jazz At Lincoln Center. To see more, visit \u003ca href=\"http://www.npr.org/series/347139849/jazz-night-in-america\">WBGO and Jazz At Lincoln Center\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Houston%27s+Jazz+Envoys+Describe+A+Vibrant+Scene+Deluged%2C+And+Worry+For+Its+Future&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Stylishly Gritty, This Chase Thriller Really Is A 'Good Time'",
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"content": "\u003cp>In recent years, the British heartthrob Robert Pattinson has gone out of his way to prove that there is life after \u003cem>Twilight\u003c/em>. After years spent playing a shimmery, chivalrous vampire, he went all dark and dystopian in art-house chillers like \u003cem>The Rover \u003c/em>and \u003cem>Cosmopolis,\u003c/em> and he recently popped up in a terrific supporting role in \u003cem>The Lost City of Z.\u003c/em> But Pattinson has never undergone a transformation as revelatory as the one he pulls off in \u003cem>Good Time\u003c/em>, a nerve-rattling new thriller from the sibling directors Josh and Benny Safdie.\u003c/p>\n\u003cp>Pattinson plays Connie Nikas, a scuzzy, small-time crook from Queens who saunters through much of the movie sporting a gray hoodie, diamond stud earrings and cheap blond dye job. He is somehow both a catastrophically inept criminal and a quick-thinking improvisational genius, a master at getting himself out of one hair-raising situation only to plunge himself immediately into another.\u003c/p>\n\u003cp>https://youtu.be/upsR80YmwWc\u003c/p>\n\u003cp>Connie’s undoing, as well as his sole redeeming quality, is his love for his hearing-impaired, mentally disabled brother, Nick, played — in a brief but galvanizing performance — by Ben Safdie, doing a nice job of directing himself. We first meet Nick when he is undergoing a psychiatric evaluation, and his gruff, one-line responses to the therapist’s questions are a heartbreaking testimony to years of family neglect and abuse.\u003c/p>\n\u003cp>Connie has suffered the effects of that mistreatment as well, but as played with agitated live-wire intensity by Pattinson, he has clearly chosen to rebel rather than buckle under. Shortly after dragging Nick out of that evaluation, Connie makes him his accomplice in a shockingly clumsy bank robbery, played out with a mixture of tension, dread and dark humor that twists your stomach in knots. As they flee the bank, you can sense Connie’s protectiveness toward Nick, even though it was foolish to endanger him in the first place.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But when a frightened Nick draws the attention of police and winds up getting arrested, Connie is left to bust him out of jail. Over the rest of this movie’s lean 100-minute running time, the Safdies sustain a surging narrative momentum, their hand-held camera racing to keep up with the fugitive Connie as he dashes from one desperate encounter to the next.\u003c/p>\n\u003cp>What makes \u003cem>Good Time\u003c/em> such a thrilling action movie is that it’s so minutely attentive to process. We’re never allowed to get ahead of Connie because much of the time, we’re watching him think and maneuver his way out of each new predicament.\u003c/p>\n\u003cp>First, he tries to persuade his naive girlfriend, sharply played by Jennifer Jason Leigh, to post Nick’s bail. When that doesn’t work, he winds up prevailing on the hospitality of a 16-year-old stranger named Crystal, played by Taliah Webster with an amusing shrug of resignation.\u003c/p>\n\u003cp>Later Connie will find himself in reluctant cahoots with a fast-talking ex-con, Ray, played by the almost-too-perfectly named actor Buddy Duress, whose access to a stash of liquid LSD gives Connie an idea for another get-rich-quick scheme.\u003c/p>\n\u003cp>\u003cem>Good Time\u003c/em> is a swift and relentless chase thriller, a sometimes appallingly funny problem-solving exercise and an exhilarating mood piece that harks back to the gritty 1970s crime thrillers of quintessential New York filmmakers like Martin Scorsese, Sidney Lumet and Abel Ferrara. It’s a feverish and enveloping exercise in style, drenched in lurid neon reds and driven by the pure sonic adrenaline of Oneohtrix Point Never’s electronic score. The combination of jittery camerawork and tight, disorienting closeups conveys both freedom of movement and a sense of entrapment.\u003c/p>\n\u003cp>But as brilliantly directed as it is, \u003cem>Good Time\u003c/em> is more than mere flash and energy, and its air of pungent seediness is hardly just for show. In a movie that effortlessly embodies the ethnic and cultural diversity of New York City, it shouldn’t escape our attention that Connie, despite his lowly upbringing, still enjoys a measure of privilege that some of the other characters do not.\u003c/p>\n\u003cp>There’s a scene in which he and Crystal are stopped by police, and the cops proceed to target the black teenager rather than the white bank robber whose face has been plastered all over the news. The Safdie brothers don’t belabor the point. As the movie’s title suggests, they certainly want you to enjoy yourself. But they’ve made the rare genre piece that leaves you feeling more connected to the real world rather than less.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In recent years, the British heartthrob Robert Pattinson has gone out of his way to prove that there is life after \u003cem>Twilight\u003c/em>. After years spent playing a shimmery, chivalrous vampire, he went all dark and dystopian in art-house chillers like \u003cem>The Rover \u003c/em>and \u003cem>Cosmopolis,\u003c/em> and he recently popped up in a terrific supporting role in \u003cem>The Lost City of Z.\u003c/em> But Pattinson has never undergone a transformation as revelatory as the one he pulls off in \u003cem>Good Time\u003c/em>, a nerve-rattling new thriller from the sibling directors Josh and Benny Safdie.\u003c/p>\n\u003cp>Pattinson plays Connie Nikas, a scuzzy, small-time crook from Queens who saunters through much of the movie sporting a gray hoodie, diamond stud earrings and cheap blond dye job. He is somehow both a catastrophically inept criminal and a quick-thinking improvisational genius, a master at getting himself out of one hair-raising situation only to plunge himself immediately into another.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/upsR80YmwWc'\n title='//www.youtube.com/embed/upsR80YmwWc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Connie’s undoing, as well as his sole redeeming quality, is his love for his hearing-impaired, mentally disabled brother, Nick, played — in a brief but galvanizing performance — by Ben Safdie, doing a nice job of directing himself. We first meet Nick when he is undergoing a psychiatric evaluation, and his gruff, one-line responses to the therapist’s questions are a heartbreaking testimony to years of family neglect and abuse.\u003c/p>\n\u003cp>Connie has suffered the effects of that mistreatment as well, but as played with agitated live-wire intensity by Pattinson, he has clearly chosen to rebel rather than buckle under. Shortly after dragging Nick out of that evaluation, Connie makes him his accomplice in a shockingly clumsy bank robbery, played out with a mixture of tension, dread and dark humor that twists your stomach in knots. As they flee the bank, you can sense Connie’s protectiveness toward Nick, even though it was foolish to endanger him in the first place.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But when a frightened Nick draws the attention of police and winds up getting arrested, Connie is left to bust him out of jail. Over the rest of this movie’s lean 100-minute running time, the Safdies sustain a surging narrative momentum, their hand-held camera racing to keep up with the fugitive Connie as he dashes from one desperate encounter to the next.\u003c/p>\n\u003cp>What makes \u003cem>Good Time\u003c/em> such a thrilling action movie is that it’s so minutely attentive to process. We’re never allowed to get ahead of Connie because much of the time, we’re watching him think and maneuver his way out of each new predicament.\u003c/p>\n\u003cp>First, he tries to persuade his naive girlfriend, sharply played by Jennifer Jason Leigh, to post Nick’s bail. When that doesn’t work, he winds up prevailing on the hospitality of a 16-year-old stranger named Crystal, played by Taliah Webster with an amusing shrug of resignation.\u003c/p>\n\u003cp>Later Connie will find himself in reluctant cahoots with a fast-talking ex-con, Ray, played by the almost-too-perfectly named actor Buddy Duress, whose access to a stash of liquid LSD gives Connie an idea for another get-rich-quick scheme.\u003c/p>\n\u003cp>\u003cem>Good Time\u003c/em> is a swift and relentless chase thriller, a sometimes appallingly funny problem-solving exercise and an exhilarating mood piece that harks back to the gritty 1970s crime thrillers of quintessential New York filmmakers like Martin Scorsese, Sidney Lumet and Abel Ferrara. It’s a feverish and enveloping exercise in style, drenched in lurid neon reds and driven by the pure sonic adrenaline of Oneohtrix Point Never’s electronic score. The combination of jittery camerawork and tight, disorienting closeups conveys both freedom of movement and a sense of entrapment.\u003c/p>\n\u003cp>But as brilliantly directed as it is, \u003cem>Good Time\u003c/em> is more than mere flash and energy, and its air of pungent seediness is hardly just for show. In a movie that effortlessly embodies the ethnic and cultural diversity of New York City, it shouldn’t escape our attention that Connie, despite his lowly upbringing, still enjoys a measure of privilege that some of the other characters do not.\u003c/p>\n\u003cp>There’s a scene in which he and Crystal are stopped by police, and the cops proceed to target the black teenager rather than the white bank robber whose face has been plastered all over the news. The Safdie brothers don’t belabor the point. As the movie’s title suggests, they certainly want you to enjoy yourself. But they’ve made the rare genre piece that leaves you feeling more connected to the real world rather than less.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s a pair of rites we see often at the passing of great authors: first, the tributes from those who loved their books; then, the good-faith effort to find their unfinished works and shepherd them to the bookshelves they never would have found otherwise.\u003c/p>\n\u003cp>In the case of Terry Pratchett’s \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/03/12/392555605/terry-pratchett-prolific-fantasy-author-dies-at-66\" target=\"_blank\" rel=\"noopener\">death in 2015\u003c/a>, those tributes were \u003ca href=\"http://www.npr.org/2015/03/12/392574719/author-terry-pratchett-was-no-stranger-to-death\" target=\"_blank\" rel=\"noopener\">voluminous and poignant\u003c/a>, penned for a writer whose deft touch could leave readers laughing, thoughtful or \u003ca href=\"http://www.npr.org/2015/09/02/435543508/the-shepherds-crown-tells-terry-pratchetts-fans-how-to-mourn-him\" target=\"_blank\" rel=\"noopener\">crushed\u003c/a>. As for the prolific \u003ca href=\"http://www.npr.org/2015/03/16/393358428/theres-no-wrong-place-to-start-reading-pratchett\" target=\"_blank\" rel=\"noopener\">Discworld author\u003c/a>‘s unfinished works — well, those are just crushed.\u003c/p>\n\u003cp>As in, literally crushed.\u003c/p>\n\u003cp>\u003ca href=\"https://www.thetimes.co.uk/article/pratchett-wanted-final-work-destroyed-by-a-steamroller-5vdlkcf6wj8\">Per Sir Terry’s wishes\u003c/a>, a hard drive containing his unfinished books was introduced to the unforgiving end of a steamroller last Friday. The manager of Pratchett’s estate, Rob Wilkins, tweeted the ritual act’s before-and-after from the writer’s official account, \u003ca href=\"https://twitter.com/terryandrob/status/901028525200879616\">displaying the hard drive\u003c/a> — said to have contained \u003ca href=\"https://twitter.com/SteveHarrisDJ/status/902602964883435522\">10 separate works in progress\u003c/a> — then displaying what it looked like after meeting a steamroller named Lord Jericho at the \u003ca href=\"https://twitter.com/steamfair\">Great Dorset Steam Fair\u003c/a>.\u003c/p>\n\u003cp>https://twitter.com/terryandrob/status/901028525200879616\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/terryandrob/status/901037198665019392\u003c/p>\n\u003cp>Richard Henry, an official at \u003ca href=\"http://www.pratchetthisworld.com/\">The Salisbury Museum\u003c/a>, where the remains of the hard drive will be displayed along with \u003ca href=\"https://twitter.com/Wiltshire_flo/status/901048067549532165\">other artifacts\u003c/a> of Pratchett’s life and work, noted with Pratchett’s characteristic mordant humor that \u003ca href=\"https://twitter.com/Wiltshire_flo/status/902536668170866688\">Lord Jericho proved\u003c/a> “modern technology is no match for the might of the Industrial Revolution.”\u003c/p>\n\u003cp>https://twitter.com/Wiltshire_flo/status/902536668170866688\u003c/p>\n\u003cp>Henry \u003ca href=\"http://www.bbc.com/news/uk-england-dorset-41093066\">told the BBC\u003c/a> that Pratchett, who died at age 66, wanted his unfinished works destroyed after his death to prevent them from seeing the light of day without his blessing.\u003c/p>\n\u003cp>Pratchett had struggled with early-onset Alzheimer’s disease for nearly a decade before his death.\u003c/p>\n\u003cp>“It’s really nice that they have followed his requests so specifically,” Henry said — though he admitted the effort was not without complications.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It’s surprisingly difficult to find somebody to run over a hard drive with a steamroller. I think a few people thought we were kidding when I first started putting out feelers to see if it was possible or not.” \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+Fitting+Postscript%2C+Terry+Pratchett+Had+His+Unfinished+Works+Steamrolled&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s a pair of rites we see often at the passing of great authors: first, the tributes from those who loved their books; then, the good-faith effort to find their unfinished works and shepherd them to the bookshelves they never would have found otherwise.\u003c/p>\n\u003cp>In the case of Terry Pratchett’s \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/03/12/392555605/terry-pratchett-prolific-fantasy-author-dies-at-66\" target=\"_blank\" rel=\"noopener\">death in 2015\u003c/a>, those tributes were \u003ca href=\"http://www.npr.org/2015/03/12/392574719/author-terry-pratchett-was-no-stranger-to-death\" target=\"_blank\" rel=\"noopener\">voluminous and poignant\u003c/a>, penned for a writer whose deft touch could leave readers laughing, thoughtful or \u003ca href=\"http://www.npr.org/2015/09/02/435543508/the-shepherds-crown-tells-terry-pratchetts-fans-how-to-mourn-him\" target=\"_blank\" rel=\"noopener\">crushed\u003c/a>. As for the prolific \u003ca href=\"http://www.npr.org/2015/03/16/393358428/theres-no-wrong-place-to-start-reading-pratchett\" target=\"_blank\" rel=\"noopener\">Discworld author\u003c/a>‘s unfinished works — well, those are just crushed.\u003c/p>\n\u003cp>As in, literally crushed.\u003c/p>\n\u003cp>\u003ca href=\"https://www.thetimes.co.uk/article/pratchett-wanted-final-work-destroyed-by-a-steamroller-5vdlkcf6wj8\">Per Sir Terry’s wishes\u003c/a>, a hard drive containing his unfinished books was introduced to the unforgiving end of a steamroller last Friday. The manager of Pratchett’s estate, Rob Wilkins, tweeted the ritual act’s before-and-after from the writer’s official account, \u003ca href=\"https://twitter.com/terryandrob/status/901028525200879616\">displaying the hard drive\u003c/a> — said to have contained \u003ca href=\"https://twitter.com/SteveHarrisDJ/status/902602964883435522\">10 separate works in progress\u003c/a> — then displaying what it looked like after meeting a steamroller named Lord Jericho at the \u003ca href=\"https://twitter.com/steamfair\">Great Dorset Steam Fair\u003c/a>.\u003c/p>\u003c/p>\u003c/div>",
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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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"slug": "i-saved-every-letter-you-wrote-me-the-library-of-congress-digitizes-hamilton",
"title": "I Saved Every Letter You Wrote Me: The Library of Congress Digitizes Hamilton",
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"headTitle": "I Saved Every Letter You Wrote Me: The Library of Congress Digitizes Hamilton | KQED",
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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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"excerpt": "For fans of 'Hamilton' and history alike, the Library of Congress has put the hippest founding father online by digitizing Alexander Hamilton's papers and making them available on the library's website.",
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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": "\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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"id": "commonwealth-club",
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"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.",
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"order": 9
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"airtime": "SUN 7:30pm-8pm",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"order": 15
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"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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"order": 18
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"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",
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"source": "American Public Media"
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"masters-of-scale": {
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"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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},
"mindshift": {
"id": "mindshift",
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"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>",
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"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",
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
"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?",
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"order": 11
},
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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",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
"id": "pbs-newshour",
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},
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
"id": "pri-the-world",
"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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