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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Preparation for Monday’s \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/08/16/541132645/heres-what-you-need-to-know-about-the-total-solar-eclipse\" target=\"_blank\" rel=\"noopener\">solar eclipse\u003c/a> has focused on \u003ca href=\"https://eclipse2017.nasa.gov/safety\" target=\"_blank\" rel=\"noopener\">safe viewing\u003c/a> techniques: Don’t forget to don those special “eclipse glasses.” But you also may want to insert earbuds, because the ever-intrepid \u003ca href=\"http://www.npr.org/artists/14983141/kronos-quartet\" target=\"_blank\" rel=\"noopener\">Kronos Quartet\u003c/a> will be making music with the sun in real time as the eclipse unfolds. You can stream it live on this page on Monday, Aug. 21, beginning at 12:15 p.m. EDT.\u003c/p>\n\u003cp>Wayne Grim, a composer based at the \u003ca href=\"https://www.exploratorium.edu/eclipse\" target=\"_blank\" rel=\"noopener\">Exploratorium\u003c/a>, San Francisco’s science museum, has devised a way to turn what is essentially a silent viewing event into a musical one as well. He calls it the “sonification” of the eclipse.\u003c/p>\n\u003cp>At the sun’s core, subatomic particles smash into each other. Grim plans to soak up the resulting nuclear fusion and turn it into notes. Photons from the fusion, captured by telescopes in Casper, Wyo., are converted to pixels. Those are sent back into space and relayed via satellite to the Exploratorium, where Kronos is on stage. Grim’s special software recasts each pixel’s digital fingerprint into unique tones. Kronos will perform with the sounds of the sun, adapting as the eclipse comes and goes.\u003c/p>\n\u003cp>Grim has pre-baked part of the music, organizing samples from the quartet into a colorful score with 23 cells that looks more like a collage than your standard staff notation. There aren’t any specific instructions; it’s a kind of road map to follow as the eclipse proceeds.\u003c/p>\n\u003cp>This is Grim’s initial collaboration with Kronos, but it isn’t his first time with “sonification.” He created musical evocations of the 2012 transit of Venus and last year’s total solar eclipse in Micronesia. \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=The+Sun%2C+The+Moon+And+A+String+Quartet%3A+Kronos+Plays+Live+To+The+Solar+Eclipse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Spotify and other streaming services have begun removing white supremacist content from its platforms, as websites and musicians alike scramble to distance themselves from the white nationalist movement that caused chaos in Charlottesville.\u003c/p>\n\u003cp>In a statement on Wednesday, Spotify blamed the labels and distributors that supply music to its database, but says “material that favors hatred or incites violence against race, religion, sexuality or the like is not tolerated by us. Spotify takes immediate action to remove any such material as soon as it has been brought to our attention.”\u003c/p>\n\u003cp>Tidal, the streaming service owned by Jay-Z, seems to be following suit. Two “hate bands” NPR found on Tuesday had been removed as of Thursday morning.\u003c/p>\n\u003cp>The swift rebuke of racist content wasn’t limited to listening platforms. Country music website \u003cem>Wide Open Country\u003c/em> took the unorthodox step of publishing an editorial directed at any racist readers, after a roundup of country musician reactions to Charlottesville drew \u003ca href=\"https://www.facebook.com/WOCountry/posts/1820976324594274\" target=\"_blank\" rel=\"noopener\">polarizing criticism\u003c/a> on social media.\u003c/p>\n\u003cp>Matt Alpert, the website’s managing editor, \u003ca href=\"http://www.wideopencountry.com/readers-letter-charlottesville/\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>, “I want to make something very clear to everyone who follows us and reads this site: \u003cem>Wide Open Country\u003c/em> vehemently opposes any form of racism. We stand firmly against any type of hatred, bigotry, and especially any Nazi scum.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I felt compelled to say something,” Alpert told NPR. “With this particular thing that happened in Charlottesville, we wanted to be clear about how we felt about that and where we stand. Seeing those comments, and seeing them rise to the top [of the post] … it felt like we needed to say something.”\u003c/p>\n\u003cp>Writing on Facebook \u003ca href=\"https://www.facebook.com/RosanneCash/posts/10155413372345336\" target=\"_blank\" rel=\"noopener\">yesterday\u003c/a>, country music royalty Rosanne Cash took aim at a “self-proclaimed neo-Nazi” wearing a t-shirt with Johnny Cash’s face on it. “We were sickened by the association,” she wrote, going on to point out that her father’s “pacifism and inclusive patriotism were two of his most defining characteristics.”\u003c/p>\n\u003cp>Facebook took steps this week to make it harder for racist fans to share photos like the one featuring Johnny Cash. The social network drew its own line in the sand this week, \u003ca href=\"https://apnews.com/3e725b8c8f62460cb71d576edc6ca61c\" target=\"_blank\" rel=\"noopener\">removing\u003c/a> the profile pages of Christopher Cantwell, a fascist activist who promotes overthrowing the U.S. government, \u003ca href=\"https://www.splcenter.org/fighting-hate/extremist-files/individual/christopher-cantwell\" target=\"_blank\" rel=\"noopener\">according\u003c/a> to the Southern Poverty Law Center, which monitors hate groups. Cantwell \u003ca href=\"https://news.vice.com/story/vice-news-tonight-full-episode-charlottesville-race-and-terror\" target=\"_blank\" rel=\"noopener\">was profiled by \u003cem>Vice \u003c/em>\u003c/a>while in Charlottesville, who says on video that “we’re not non-violent, we’ll f****** kill these people if we have to.”\u003c/p>\n\u003cp>Facebook’s \u003ca href=\"https://www.facebook.com/terms.php\" target=\"_blank\" rel=\"noopener\">terms\u003c/a> prohibit posting content it classifies as “hate speech, threatening, or pornographic; incites violence; or contains nudity or graphic or gratuitous violence.” The dominance of Facebook’s platform, as the world learned last year, helped to legitimize voices like Cantwell’s through proximity to more legitimate news sources within people’s feeds, a problem it says it is \u003ca href=\"https://www.recode.net/2017/2/16/14640460/mark-zuckerberg-facebook-manifesto-letter\" target=\"_blank\" rel=\"noopener\">working\u003c/a> to fix.\u003c/p>\n\u003cp>The existence of racist music on music platforms isn’t a new phenomenon. Nearly three years ago, the Southern Poverty Law Center \u003ca href=\"https://www.splcenter.org/fighting-hate/intelligence-report/2014/music-money-hate-0\" target=\"_blank\" rel=\"noopener\">pointed out\u003c/a> to Apple and the iTunes Store that they were selling, and thereby profiting from, openly racist, neo-fascist musicians, like the hardcore band Skrewdriver.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.theverge.com/2017/8/16/16160292/tim-cook-apple-ceo-email-charlottesvile-nazis\" target=\"_blank\" rel=\"noopener\">a memo\u003c/a> to his staff yesterday, Apple CEO Tim Cook announced his company would donate $2 million and double its employees’ donations to human rights groups through Sept. 30. “As a company, through our actions, our products and our voice, we will always work to ensure that everyone is treated equally and with respect.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Examples of tech’s circling of the wagons in the midst of a racist storm of philosophical shrapnel \u003ca href=\"https://qz.com/1055141/what-websites-and-apps-have-banned-neo-nazis-and-white-supremacists/\" target=\"_blank\" rel=\"noopener\">abound\u003c/a>. But the connection between \u003cem>Wide Open Country\u003c/em> and Spotify is clear — both are saying, unwaveringly\u003cem>: We don’t want you here.\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=Spotify+Removes+Racist+Music+In+Response+To+Charlottesville&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spotify and other streaming services have begun removing white supremacist content from its platforms, as websites and musicians alike scramble to distance themselves from the white nationalist movement that caused chaos in Charlottesville.\u003c/p>\n\u003cp>In a statement on Wednesday, Spotify blamed the labels and distributors that supply music to its database, but says “material that favors hatred or incites violence against race, religion, sexuality or the like is not tolerated by us. Spotify takes immediate action to remove any such material as soon as it has been brought to our attention.”\u003c/p>\n\u003cp>Tidal, the streaming service owned by Jay-Z, seems to be following suit. Two “hate bands” NPR found on Tuesday had been removed as of Thursday morning.\u003c/p>\n\u003cp>The swift rebuke of racist content wasn’t limited to listening platforms. Country music website \u003cem>Wide Open Country\u003c/em> took the unorthodox step of publishing an editorial directed at any racist readers, after a roundup of country musician reactions to Charlottesville drew \u003ca href=\"https://www.facebook.com/WOCountry/posts/1820976324594274\" target=\"_blank\" rel=\"noopener\">polarizing criticism\u003c/a> on social media.\u003c/p>\n\u003cp>Matt Alpert, the website’s managing editor, \u003ca href=\"http://www.wideopencountry.com/readers-letter-charlottesville/\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a>, “I want to make something very clear to everyone who follows us and reads this site: \u003cem>Wide Open Country\u003c/em> vehemently opposes any form of racism. We stand firmly against any type of hatred, bigotry, and especially any Nazi scum.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I felt compelled to say something,” Alpert told NPR. “With this particular thing that happened in Charlottesville, we wanted to be clear about how we felt about that and where we stand. Seeing those comments, and seeing them rise to the top [of the post] … it felt like we needed to say something.”\u003c/p>\n\u003cp>Writing on Facebook \u003ca href=\"https://www.facebook.com/RosanneCash/posts/10155413372345336\" target=\"_blank\" rel=\"noopener\">yesterday\u003c/a>, country music royalty Rosanne Cash took aim at a “self-proclaimed neo-Nazi” wearing a t-shirt with Johnny Cash’s face on it. “We were sickened by the association,” she wrote, going on to point out that her father’s “pacifism and inclusive patriotism were two of his most defining characteristics.”\u003c/p>\n\u003cp>Facebook took steps this week to make it harder for racist fans to share photos like the one featuring Johnny Cash. The social network drew its own line in the sand this week, \u003ca href=\"https://apnews.com/3e725b8c8f62460cb71d576edc6ca61c\" target=\"_blank\" rel=\"noopener\">removing\u003c/a> the profile pages of Christopher Cantwell, a fascist activist who promotes overthrowing the U.S. government, \u003ca href=\"https://www.splcenter.org/fighting-hate/extremist-files/individual/christopher-cantwell\" target=\"_blank\" rel=\"noopener\">according\u003c/a> to the Southern Poverty Law Center, which monitors hate groups. Cantwell \u003ca href=\"https://news.vice.com/story/vice-news-tonight-full-episode-charlottesville-race-and-terror\" target=\"_blank\" rel=\"noopener\">was profiled by \u003cem>Vice \u003c/em>\u003c/a>while in Charlottesville, who says on video that “we’re not non-violent, we’ll f****** kill these people if we have to.”\u003c/p>\n\u003cp>Facebook’s \u003ca href=\"https://www.facebook.com/terms.php\" target=\"_blank\" rel=\"noopener\">terms\u003c/a> prohibit posting content it classifies as “hate speech, threatening, or pornographic; incites violence; or contains nudity or graphic or gratuitous violence.” The dominance of Facebook’s platform, as the world learned last year, helped to legitimize voices like Cantwell’s through proximity to more legitimate news sources within people’s feeds, a problem it says it is \u003ca href=\"https://www.recode.net/2017/2/16/14640460/mark-zuckerberg-facebook-manifesto-letter\" target=\"_blank\" rel=\"noopener\">working\u003c/a> to fix.\u003c/p>\n\u003cp>The existence of racist music on music platforms isn’t a new phenomenon. Nearly three years ago, the Southern Poverty Law Center \u003ca href=\"https://www.splcenter.org/fighting-hate/intelligence-report/2014/music-money-hate-0\" target=\"_blank\" rel=\"noopener\">pointed out\u003c/a> to Apple and the iTunes Store that they were selling, and thereby profiting from, openly racist, neo-fascist musicians, like the hardcore band Skrewdriver.\u003c/p>\n\u003cp>In \u003ca href=\"https://www.theverge.com/2017/8/16/16160292/tim-cook-apple-ceo-email-charlottesvile-nazis\" target=\"_blank\" rel=\"noopener\">a memo\u003c/a> to his staff yesterday, Apple CEO Tim Cook announced his company would donate $2 million and double its employees’ donations to human rights groups through Sept. 30. “As a company, through our actions, our products and our voice, we will always work to ensure that everyone is treated equally and with respect.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Examples of tech’s circling of the wagons in the midst of a racist storm of philosophical shrapnel \u003ca href=\"https://qz.com/1055141/what-websites-and-apps-have-banned-neo-nazis-and-white-supremacists/\" target=\"_blank\" rel=\"noopener\">abound\u003c/a>. But the connection between \u003cem>Wide Open Country\u003c/em> and Spotify is clear — both are saying, unwaveringly\u003cem>: We don’t want you here.\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=Spotify+Removes+Racist+Music+In+Response+To+Charlottesville&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In 'Defenders,' Netflix Enlists Marvel Superheroes in Quest for TV Domination",
"headTitle": "In ‘Defenders,’ Netflix Enlists Marvel Superheroes in Quest for TV Domination | KQED",
"content": "\u003cp>The villains in comic books usually have grandiose master plans, like targeting and defeating an enemy or ruling the world. Netflix, as it’s grown to become more and more of a major player in the modern TV universe, has grand plans of its own.\u003c/p>\n\u003cp>Netflix started out, and took root and blossomed, by providing easy access to many of the movies and TV shows made by others. Then it began making its own TV series and movies. As those programs have succeeded wildly (starting with \u003cem>House of Cards\u003c/em>) Netflix has gone all in on the original production front, to the point where it’s now carpet-bombing Netflix subscribers with several new offerings a week.\u003c/p>\n\u003cp>Meanwhile, other entertainment companies, such as CBS and Disney, are getting into the streaming business with their own services, and beginning to withhold their product from Netflix and other distributors.\u003c/p>\n\u003cp>That’s why original programs are so important to the future of Netflix, Amazon, Hulu and other such companies. It’s also why Netflix, most aggressively, is making new series deals with David Letterman and current ABC producer superstar \u003ca href=\"http://www.npr.org/2015/11/11/455594842/shonda-rhimes-on-running-three-hit-shows-and-the-limits-of-network-tv\">Shonda Rhimes\u003c/a> — and why it partnered with Marvel Comics so boldly, and with such long-range commitment, years ago.\u003c/p>\n\u003cp>Netflix’s plan with Marvel, from the start, was to take relatively minor or underused titles and heroes from the Marvel comic books, and star them in their own season-long TV series. Then, after that, to feature them together in \u003cem>The Defenders,\u003c/em> in an all-star superhero team-up.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Marvel used the same blueprint (with bigger heroes) in the movies, first launching Iron Man, Captain America and others, then showcasing them together as \u003cem>The Avengers.\u003c/em> And Marvel’s rivals at DC Comics did the same with Batman, Superman and, most recently, Wonder Woman, while planning a one-movie-fits-all \u003cem>Justice League\u003c/em> adventure film.\u003c/p>\n\u003cp>With Netflix, the plan was to take four different Marvel heroes and give them their own 13-episode shows. All of them ended up in the same Hell’s Kitchen turf in New York, but dramatically, not all these characters, or shows, were created equal. \u003cem>Jessica Jones\u003c/em> and \u003cem>Daredevil\u003c/em> were wonderful fantasy dramas about haunted heroes. Jessica had post-traumatic stress after being captured and manipulated by a mind-controlling villain. And Cox’s Matt Murdock, the lawyer by day, and costumed Daredevil by night, was blind, with his remaining senses exponentially enhanced after childhood exposure to radiation.\u003c/p>\n\u003cp>These two shows had strong supporting casts and terrific villains, played by such actors as David Tennant and Vincent D’Onofrio. But compared to them, \u003cem>Luke Cage\u003c/em> was minor-league, and\u003cem> Iron Fist\u003c/em> a total washout. Gathered together under one new title, if these Defenders were Marx Brothers, Iron Fist would be Zeppo.\u003c/p>\n\u003cp>But \u003cem>The Defenders\u003c/em> works, in part, precisely because the chemistry among characters doesn’t, and because it’s a group of loners who don’t even decide to join forces until four episodes in. And those were all the episodes provided for preview, so I’m not sure where \u003cem>The Defenders\u003c/em> is going.\u003c/p>\n\u003cp>But I know it starts well, by bringing back the strongest supporting characters and continuing plots from the previous Marvel Netflix shows, and by casting Sigourney Weaver as the new big, bad villain.\u003c/p>\n\u003cp>The real standouts in \u003cem>The Defenders\u003c/em> are the same actors and characters who excelled in their own series: Ritter as Jessica Jones and Cox as Daredevil. When they finally meet, the results are electric. And then there’s Élodie Yung’s Elektra, an important character in this new series — even though she died at the end of last season on \u003cem>Daredevil\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But figuring out who lives and dies is a tricky thing, in superhero stories and in the real-life battle for world TV domination. With \u003cem>The Defenders,\u003c/em> Netflix is making another very bold, very smart move. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Defenders%2C%27+Netflix+Enlists+Marvel+Superheroes+In+Quest+For+TV+Domination&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The villains in comic books usually have grandiose master plans, like targeting and defeating an enemy or ruling the world. Netflix, as it’s grown to become more and more of a major player in the modern TV universe, has grand plans of its own.\u003c/p>\n\u003cp>Netflix started out, and took root and blossomed, by providing easy access to many of the movies and TV shows made by others. Then it began making its own TV series and movies. As those programs have succeeded wildly (starting with \u003cem>House of Cards\u003c/em>) Netflix has gone all in on the original production front, to the point where it’s now carpet-bombing Netflix subscribers with several new offerings a week.\u003c/p>\n\u003cp>Meanwhile, other entertainment companies, such as CBS and Disney, are getting into the streaming business with their own services, and beginning to withhold their product from Netflix and other distributors.\u003c/p>\n\u003cp>That’s why original programs are so important to the future of Netflix, Amazon, Hulu and other such companies. It’s also why Netflix, most aggressively, is making new series deals with David Letterman and current ABC producer superstar \u003ca href=\"http://www.npr.org/2015/11/11/455594842/shonda-rhimes-on-running-three-hit-shows-and-the-limits-of-network-tv\">Shonda Rhimes\u003c/a> — and why it partnered with Marvel Comics so boldly, and with such long-range commitment, years ago.\u003c/p>\n\u003cp>Netflix’s plan with Marvel, from the start, was to take relatively minor or underused titles and heroes from the Marvel comic books, and star them in their own season-long TV series. Then, after that, to feature them together in \u003cem>The Defenders,\u003c/em> in an all-star superhero team-up.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Marvel used the same blueprint (with bigger heroes) in the movies, first launching Iron Man, Captain America and others, then showcasing them together as \u003cem>The Avengers.\u003c/em> And Marvel’s rivals at DC Comics did the same with Batman, Superman and, most recently, Wonder Woman, while planning a one-movie-fits-all \u003cem>Justice League\u003c/em> adventure film.\u003c/p>\n\u003cp>With Netflix, the plan was to take four different Marvel heroes and give them their own 13-episode shows. All of them ended up in the same Hell’s Kitchen turf in New York, but dramatically, not all these characters, or shows, were created equal. \u003cem>Jessica Jones\u003c/em> and \u003cem>Daredevil\u003c/em> were wonderful fantasy dramas about haunted heroes. Jessica had post-traumatic stress after being captured and manipulated by a mind-controlling villain. And Cox’s Matt Murdock, the lawyer by day, and costumed Daredevil by night, was blind, with his remaining senses exponentially enhanced after childhood exposure to radiation.\u003c/p>\n\u003cp>These two shows had strong supporting casts and terrific villains, played by such actors as David Tennant and Vincent D’Onofrio. But compared to them, \u003cem>Luke Cage\u003c/em> was minor-league, and\u003cem> Iron Fist\u003c/em> a total washout. Gathered together under one new title, if these Defenders were Marx Brothers, Iron Fist would be Zeppo.\u003c/p>\n\u003cp>But \u003cem>The Defenders\u003c/em> works, in part, precisely because the chemistry among characters doesn’t, and because it’s a group of loners who don’t even decide to join forces until four episodes in. And those were all the episodes provided for preview, so I’m not sure where \u003cem>The Defenders\u003c/em> is going.\u003c/p>\n\u003cp>But I know it starts well, by bringing back the strongest supporting characters and continuing plots from the previous Marvel Netflix shows, and by casting Sigourney Weaver as the new big, bad villain.\u003c/p>\n\u003cp>The real standouts in \u003cem>The Defenders\u003c/em> are the same actors and characters who excelled in their own series: Ritter as Jessica Jones and Cox as Daredevil. When they finally meet, the results are electric. And then there’s Élodie Yung’s Elektra, an important character in this new series — even though she died at the end of last season on \u003cem>Daredevil\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But figuring out who lives and dies is a tricky thing, in superhero stories and in the real-life battle for world TV domination. With \u003cem>The Defenders,\u003c/em> Netflix is making another very bold, very smart move. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=In+%27Defenders%2C%27+Netflix+Enlists+Marvel+Superheroes+In+Quest+For+TV+Domination&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Jo Walker-Meador, one of the most important behind-the-scenes advocates of country music, has died. Walker-Meador, who led the Country Music Association as its executive director from 1962 to 1991, died Tuesday night in Nashville at age 93 after suffering a stroke. Her death was announced by the \u003ca href=\"http://www.cmaworld.com/jo-walker-meador-1924-2017/\" target=\"_blank\" rel=\"noopener\">Country Music Association\u003c/a> and the \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/jo-walker-meador\" target=\"_blank\" rel=\"noopener\">Country Music Hall of Fame\u003c/a>.\u003c/p>\n\u003cp>Born February 16, 1924 in Orlinda, Tennesee as Edith Josephine Denning and raised on a farm, Walker-Meador began working in 1958 as the first paid employee of the Country Music Association, which hired her as its office manager.\u003c/p>\n\u003cp>When first hired, Walker-Meador had a very steep learning curve, as she told CountryZone.net in a 2008 \u003ca href=\"http://countryzone.net/en/interviews/80-jo-walker-meador-the-iron-lady-of-country-music\" target=\"_blank\" rel=\"noopener\">interview\u003c/a>: “I knew nothing about country music,” she said. “I had never been to the Grand Ole Opry. I’d heard of Minnie Pearl and Roy Accuff, Ernest Tubb and I’d heard of Hank Williams but I didn’t delineate the different types of music… they had a board of directors just been elected several weeks before I was employed. They didn’t want to hire someone who wanted to be a singer or who wanted to be a songwriter, but someone who would be an administrator.”\u003c/p>\n\u003cp>Within four years, she became CMA’s executive director, after the resignation of the organization’s founding director, Harry Stone.\u003c/p>\n\u003cp>It’s hard to overestimate the growth of country music as an industry over the course of her tenure, as the Country Music Hall of Fame pointed out in its \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/jo-walker-meador\" target=\"_blank\" rel=\"noopener\">remembrance\u003c/a>: “One year before she took the helm at the CMA, full-time country radio stations numbered fewer than 100 nationwide. By 1995, there were nearly 2,400 such stations.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>During her time leading the organization, the CMA became a country music industry powerhouse and, for other “niche” music genres, an important model for self-advocacy. Those activities included establishing the Country Music Hall of Fame (which launched in 1961), the annual CMA Awards (begun in 1967 and televised nationally beginning the following year), and the CMA Music Festival (originally known as Fan Fair), which was created in 1972.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Walker-Meador was herself elected to the Country Music Hall of Fame in 1995. \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=One+Of+Music+Row%27s+Most+Influential+Leaders%2C+Jo+Walker-Meador%2C+Has+Died+At+93&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Jo Walker-Meador, one of the most important behind-the-scenes advocates of country music, has died. Walker-Meador, who led the Country Music Association as its executive director from 1962 to 1991, died Tuesday night in Nashville at age 93 after suffering a stroke. Her death was announced by the \u003ca href=\"http://www.cmaworld.com/jo-walker-meador-1924-2017/\" target=\"_blank\" rel=\"noopener\">Country Music Association\u003c/a> and the \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/jo-walker-meador\" target=\"_blank\" rel=\"noopener\">Country Music Hall of Fame\u003c/a>.\u003c/p>\n\u003cp>Born February 16, 1924 in Orlinda, Tennesee as Edith Josephine Denning and raised on a farm, Walker-Meador began working in 1958 as the first paid employee of the Country Music Association, which hired her as its office manager.\u003c/p>\n\u003cp>When first hired, Walker-Meador had a very steep learning curve, as she told CountryZone.net in a 2008 \u003ca href=\"http://countryzone.net/en/interviews/80-jo-walker-meador-the-iron-lady-of-country-music\" target=\"_blank\" rel=\"noopener\">interview\u003c/a>: “I knew nothing about country music,” she said. “I had never been to the Grand Ole Opry. I’d heard of Minnie Pearl and Roy Accuff, Ernest Tubb and I’d heard of Hank Williams but I didn’t delineate the different types of music… they had a board of directors just been elected several weeks before I was employed. They didn’t want to hire someone who wanted to be a singer or who wanted to be a songwriter, but someone who would be an administrator.”\u003c/p>\n\u003cp>Within four years, she became CMA’s executive director, after the resignation of the organization’s founding director, Harry Stone.\u003c/p>\n\u003cp>It’s hard to overestimate the growth of country music as an industry over the course of her tenure, as the Country Music Hall of Fame pointed out in its \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/jo-walker-meador\" target=\"_blank\" rel=\"noopener\">remembrance\u003c/a>: “One year before she took the helm at the CMA, full-time country radio stations numbered fewer than 100 nationwide. By 1995, there were nearly 2,400 such stations.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Back when Amazon first introduced the Kindle, and e-books were all the rage, a lot of people thought printed books and the stores that sell them were going the way of dinosaurs. But a decade later, print is outselling digital, and many independent bookstores are thriving. Even Amazon is opening brick-and-mortar stores (seven so far).\u003c/p>\n\u003cp>Its newest is in a high-end mall in New York City. “We call ourselves a physical extension of Amazon,” says Jennifer Cast, vice president of Amazon Books. “So when you walk into our front door, what you see is our first table full of books, and it’s called ‘Highly Rated (4.8 Stars & Above).’ ”\u003c/p>\n\u003cp>This isn’t a shop where a customer can get lost in the stacks — there \u003cem>are\u003c/em> no stacks. Instead, books are shelved with the covers facing out. Cast says the store is organized around features familiar to anyone who has ever bought a book on Amazon, features like “Most Wished For.” Those features are based on data collected on the website and on Kindles, and that information is at the heart of the store.\u003c/p>\n\u003cp>“We have so much wonderful information from customers about what they read, why they read and how they’re reading,” Cast says. “And to be able to surface that in a store to help customers discover books is what we’re all about.”\u003c/p>\n\u003cp>There’s one other very important way the store connects to the website: When customers check an item’s price at one of the store’s scanners, they’re given the list price and the Amazon Prime member price, which in one case was about $15 less. Don’t have an Amazon Prime account? You can sign up for one at the register.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Amazon’s entry into the physical bookstore business could be viewed as a threat to small independents, but Jessica Stockton Bagnulo isn’t too worried. She co-owns the \u003ca href=\"http://www.greenlightbookstore.com/\">Greenlight Bookstore\u003c/a> in Brooklyn’s Prospect Lefferts Gardens neighborhood.\u003c/p>\n\u003cp>“In so many ways, we’re in a different business,” she says. “And it seems very much like those stores are trying to replicate the online business, and we are trying to do something completely different.”\u003c/p>\n\u003cp>This is the second store Stockton Bagnulo and her partner, Rebecca Fitting, have opened in Brooklyn. Their other store, in the Fort Greene neighborhood, has strong ties with the surrounding community. They hope to build a similar relationship with people in Prospect Lefferts Gardens because, according to Fitting, indie stores that are supported by their local community are the ones that succeed.\u003c/p>\n\u003cp>“People are starting to understand … that shopping in your community helps you feel more connected; it helps your tax base; it helps make your surroundings more interesting,” Fitting says. “And if you don’t support that, it goes away.”\u003c/p>\n\u003cp>One way the store is trying to build its relationship with the community is with events, including a recent reading and conversation with Mexican writer \u003ca href=\"http://www.npr.org/books/authors/484140295/yuri-herrera\">Yuri Herrera\u003c/a>. Author events help sell books and build awareness, and they also create an important role for the bookstore in the community.\u003c/p>\n\u003cp>“In reality, a bookstore is a really unique kind of space where people from different walks of life can cross paths,” Stockton Bagnulo says. “I mean, it’s a very sort of democratic kind of product, and it’s kind of a space where people can come in and start to have conversations. And that’s the kind of space we want to be.”\u003c/p>\n\u003cp>It does seem like a bookstore has to be more than just a bookstore to succeed. In addition to author events, many stores host festivals and book groups. They have cafes where customers can relax, and some even have full-scale kitchens.\u003c/p>\n\u003cp>At a Barnes & Noble in suburban New York, near Scarsdale, customers can order from a menu that includes ricotta pancakes, kale salad and a salmon entree. The bookstore chain is experimenting with restaurants, and manager Kathie Bannon says so far it has been well-received. “From what I’ve been able to see and hear from people, they are so happy and so pleasantly surprised that they can add this to their life; they can add this to their routine.”\u003c/p>\n\u003cp>The restaurant, which includes an outdoor patio and a bar, opens out into the bookstore. It’s designed around a wide open central space surrounded by shelves of books. Bannon calls it the piazza. “There’s little nooks and crannies, and people can come and they can get a glass of wine if they’d like and they … can get an assortment of things that they want to browse through.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Barnes & Noble says it is still testing the restaurant idea; it won’t comment on whether this is helping sell more books. And that, of course, is the whole point: Whether online or in a physical space, with a full menu or a makeshift seating area for events, bookstores do still revolve around selling books. \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=Be+More+Than+A+Bookstore%3A+A+Brick-And-Mortar+Shop%27s+Key+To+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Back when Amazon first introduced the Kindle, and e-books were all the rage, a lot of people thought printed books and the stores that sell them were going the way of dinosaurs. But a decade later, print is outselling digital, and many independent bookstores are thriving. Even Amazon is opening brick-and-mortar stores (seven so far).\u003c/p>\n\u003cp>Its newest is in a high-end mall in New York City. “We call ourselves a physical extension of Amazon,” says Jennifer Cast, vice president of Amazon Books. “So when you walk into our front door, what you see is our first table full of books, and it’s called ‘Highly Rated (4.8 Stars & Above).’ ”\u003c/p>\n\u003cp>This isn’t a shop where a customer can get lost in the stacks — there \u003cem>are\u003c/em> no stacks. Instead, books are shelved with the covers facing out. Cast says the store is organized around features familiar to anyone who has ever bought a book on Amazon, features like “Most Wished For.” Those features are based on data collected on the website and on Kindles, and that information is at the heart of the store.\u003c/p>\n\u003cp>“We have so much wonderful information from customers about what they read, why they read and how they’re reading,” Cast says. “And to be able to surface that in a store to help customers discover books is what we’re all about.”\u003c/p>\n\u003cp>There’s one other very important way the store connects to the website: When customers check an item’s price at one of the store’s scanners, they’re given the list price and the Amazon Prime member price, which in one case was about $15 less. Don’t have an Amazon Prime account? You can sign up for one at the register.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Amazon’s entry into the physical bookstore business could be viewed as a threat to small independents, but Jessica Stockton Bagnulo isn’t too worried. She co-owns the \u003ca href=\"http://www.greenlightbookstore.com/\">Greenlight Bookstore\u003c/a> in Brooklyn’s Prospect Lefferts Gardens neighborhood.\u003c/p>\n\u003cp>“In so many ways, we’re in a different business,” she says. “And it seems very much like those stores are trying to replicate the online business, and we are trying to do something completely different.”\u003c/p>\n\u003cp>This is the second store Stockton Bagnulo and her partner, Rebecca Fitting, have opened in Brooklyn. Their other store, in the Fort Greene neighborhood, has strong ties with the surrounding community. They hope to build a similar relationship with people in Prospect Lefferts Gardens because, according to Fitting, indie stores that are supported by their local community are the ones that succeed.\u003c/p>\n\u003cp>“People are starting to understand … that shopping in your community helps you feel more connected; it helps your tax base; it helps make your surroundings more interesting,” Fitting says. “And if you don’t support that, it goes away.”\u003c/p>\n\u003cp>One way the store is trying to build its relationship with the community is with events, including a recent reading and conversation with Mexican writer \u003ca href=\"http://www.npr.org/books/authors/484140295/yuri-herrera\">Yuri Herrera\u003c/a>. Author events help sell books and build awareness, and they also create an important role for the bookstore in the community.\u003c/p>\n\u003cp>“In reality, a bookstore is a really unique kind of space where people from different walks of life can cross paths,” Stockton Bagnulo says. “I mean, it’s a very sort of democratic kind of product, and it’s kind of a space where people can come in and start to have conversations. And that’s the kind of space we want to be.”\u003c/p>\n\u003cp>It does seem like a bookstore has to be more than just a bookstore to succeed. In addition to author events, many stores host festivals and book groups. They have cafes where customers can relax, and some even have full-scale kitchens.\u003c/p>\n\u003cp>At a Barnes & Noble in suburban New York, near Scarsdale, customers can order from a menu that includes ricotta pancakes, kale salad and a salmon entree. The bookstore chain is experimenting with restaurants, and manager Kathie Bannon says so far it has been well-received. “From what I’ve been able to see and hear from people, they are so happy and so pleasantly surprised that they can add this to their life; they can add this to their routine.”\u003c/p>\n\u003cp>The restaurant, which includes an outdoor patio and a bar, opens out into the bookstore. It’s designed around a wide open central space surrounded by shelves of books. Bannon calls it the piazza. “There’s little nooks and crannies, and people can come and they can get a glass of wine if they’d like and they … can get an assortment of things that they want to browse through.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Barnes & Noble says it is still testing the restaurant idea; it won’t comment on whether this is helping sell more books. And that, of course, is the whole point: Whether online or in a physical space, with a full menu or a makeshift seating area for events, bookstores do still revolve around selling books. \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=Be+More+Than+A+Bookstore%3A+A+Brick-And-Mortar+Shop%27s+Key+To+Success&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Prince was multi-chromatic; a comedian who said as few words as possible, an androgynous sex symbol, a devout mischief-maker, an artist who fused disparate styles — soul and rhythm and blues and rock solos and reedy electronics — into one squarely his own, painted with a palette no one had even noticed.\u003c/p>\n\u003cp>Regardless, we call him The Purple One for good reason. And now, thanks to a deal between his increasingly license-happy estate and the Pantone Color Institute, he has his own, specific, kingly shade.\u003c/p>\n\u003cfigure id=\"attachment_13805451\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1.jpg\" alt=\"Love Symbol #2, a color developed by Pantone in collaboration with the estate of Prince Rogers Nelson.\" width=\"200\" height=\"291\" class=\"size-full wp-image-13805451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1-160x233.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Love Symbol #2, a color developed by Pantone in collaboration with the estate of Prince Rogers Nelson. \u003ccite>(Courtesy of Pantone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While the spectrum of the color purple will still be used in respect to the ‘Purple One,’ Love Symbol #2 will be the official color across the brand he left behind,” a statement reads. The color was inspired by the hue of a piano he’d planned to take on tour, before passing away on April 21, 2016.\u003c/p>\n\u003cp>Love Symbol #2 was the name Prince gave to his copyrighted symbol, which made its first appearance on 1992’s \u003cem>Love Symbol Album\u003c/em>. One year later, after reaching peak frustration with Warner Bros., his label home for many, many years, Prince changed his name to the graphic portmanteau.\u003c/p>\n\u003cp>Not wanting to leave the press out in the lurch with regard to covering him, Prince sent around \u003ca href=\"http://anildash.com/2014/06/my-favorite-floppy-of-all-time.html\">floppy disks\u003c/a> containing\u003cstrong> \u003c/strong>a font that had just one character: his own. They eventually settled, for the most part, on the far-less elegant “Artist Formerly Known As Prince.” \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=Prince+Gets+His+Own+Purple&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>Prince was multi-chromatic; a comedian who said as few words as possible, an androgynous sex symbol, a devout mischief-maker, an artist who fused disparate styles — soul and rhythm and blues and rock solos and reedy electronics — into one squarely his own, painted with a palette no one had even noticed.\u003c/p>\n\u003cp>Regardless, we call him The Purple One for good reason. And now, thanks to a deal between his increasingly license-happy estate and the Pantone Color Institute, he has his own, specific, kingly shade.\u003c/p>\n\u003cfigure id=\"attachment_13805451\" class=\"wp-caption alignright\" style=\"max-width: 200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1.jpg\" alt=\"Love Symbol #2, a color developed by Pantone in collaboration with the estate of Prince Rogers Nelson.\" width=\"200\" height=\"291\" class=\"size-full wp-image-13805451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/prince-purple-pantone_custom-2516d901de430e78d04c68ee4128068bbb907ea1-160x233.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">\u003cfigcaption class=\"wp-caption-text\">Love Symbol #2, a color developed by Pantone in collaboration with the estate of Prince Rogers Nelson. \u003ccite>(Courtesy of Pantone)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“While the spectrum of the color purple will still be used in respect to the ‘Purple One,’ Love Symbol #2 will be the official color across the brand he left behind,” a statement reads. The color was inspired by the hue of a piano he’d planned to take on tour, before passing away on April 21, 2016.\u003c/p>\n\u003cp>Love Symbol #2 was the name Prince gave to his copyrighted symbol, which made its first appearance on 1992’s \u003cem>Love Symbol Album\u003c/em>. One year later, after reaching peak frustration with Warner Bros., his label home for many, many years, Prince changed his name to the graphic portmanteau.\u003c/p>\n\u003cp>Not wanting to leave the press out in the lurch with regard to covering him, Prince sent around \u003ca href=\"http://anildash.com/2014/06/my-favorite-floppy-of-all-time.html\">floppy disks\u003c/a> containing\u003cstrong> \u003c/strong>a font that had just one character: his own. They eventually settled, for the most part, on the far-less elegant “Artist Formerly Known As Prince.” \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=Prince+Gets+His+Own+Purple&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Taylor Sheridan’s tense, terse police procedural/Western, \u003cem>Wind River\u003c/em>, begins with an icy, moonlit, Wyoming landscape. There’s no one for miles, except a gasping, Native American teenage girl running in the snow, terrified and barefoot.\u003c/p>\n\u003cp>She falls. Screams. Gets up. Runs some more.\u003c/p>\n\u003cp>Cut to bright daylight. A wolf stalking a flock of sheep. A shot rings out as this predator is felled by another: a marksman who, in his snow-camouflage gear, blends invisibly into the landscape. Cory (played by Jeremy Renner) also blends in socially, though there aren’t many folks to blend in with next to the Wind River Indian Reservation. His being close to the people there is what makes this film compelling in a genre that’s become so cut-and-dried the term “thriller” barely describes it any more.\u003c/p>\n\u003cp>Sheridan wrote \u003cem>Hell or High Water\u003c/em>, the 2016 Oscar-nominated police procedural that was also unusual for being character-based and surprising. This time, he’s sitting in the director’s chair, and he turns out to be as adept at realizing the words on a script’s page as he is at putting them there in the first place.\u003c/p>\n\u003cp>He has conceived Cory as a man of few words and enormous pain. After losing a teenage daughter, he became estranged from his Native American wife (Julia Jones) but remains devoted to both her and their son, Casey (Teo Briones). So he offers to take the boy to visit her parents on the reservation while she’s away job hunting. It’ll be an opportunity to mentor the kid about rifles (“Remember, a gun’s always loaded, even when it ain’t”), something Cory does almost without thinking, passing on skills, insights, knowledge — a trait that will soon come in handy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their trip to the “rez” involves a hunt for the mountain lion that killed a yearling on grandpa’s land, during which Cory comes across the body of the teenage girl we saw earlier, frozen in the snow.\u003c/p>\n\u003cp>FBI agent Jane Banner (Elizabeth Olson) flies in from Las Vegas. She’s dressed for cold in Vegas, notes the local sheriff (the ever-reliable Graham Greene), and about as clueless about Wyoming winters as that fact suggests. When they get to the body near the tree line, she sees evidence of foul play, but Cory, a tracker, looks at the girl’s footprints in the snow and sees a whole story unfolding. More mentoring, as he clues her in to what the clues suggest: that the girl died from an intake of icy air that froze her lungs, causing them to fill up with blood.\u003c/p>\n\u003cp>Jane wonders how far she had run. Cory looks around at the nothing in all directions before he replies: “Oh, I don’t know. How do you gauge someone’s will to live?”\u003c/p>\n\u003cp>If that sounds like dialogue from a classic Western, poetic in its sparseness, that’s by design. Sheridan makes contemporary films that for all practical purposes are Westerns, and in them he deals with a host of current social issues. His characters are pushed to extremes by circumstances — not just that girl who turns out to have run 6 miles barefoot in the snow, but also her parents (played by Native American actors Gil Birmingham and Tantoo Cardinal) and even the bad guys.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sheridan paints a searing picture of life on society’s margins — people who live with “silence and snow” and not much else. And if the conclusion to his film’s mystery is a bit of a rush to judgment — breathless, yes, but less breathcatchingly arresting than what’s gone before it — he’s still managed to make Renner and Olsen feel like icons while keeping them rendingly real. And that allows the sense of loss in \u003cem>Wind River\u003c/em> to pile up, deep as snow drifts.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Taylor Sheridan’s tense, terse police procedural/Western, \u003cem>Wind River\u003c/em>, begins with an icy, moonlit, Wyoming landscape. There’s no one for miles, except a gasping, Native American teenage girl running in the snow, terrified and barefoot.\u003c/p>\n\u003cp>She falls. Screams. Gets up. Runs some more.\u003c/p>\n\u003cp>Cut to bright daylight. A wolf stalking a flock of sheep. A shot rings out as this predator is felled by another: a marksman who, in his snow-camouflage gear, blends invisibly into the landscape. Cory (played by Jeremy Renner) also blends in socially, though there aren’t many folks to blend in with next to the Wind River Indian Reservation. His being close to the people there is what makes this film compelling in a genre that’s become so cut-and-dried the term “thriller” barely describes it any more.\u003c/p>\n\u003cp>Sheridan wrote \u003cem>Hell or High Water\u003c/em>, the 2016 Oscar-nominated police procedural that was also unusual for being character-based and surprising. This time, he’s sitting in the director’s chair, and he turns out to be as adept at realizing the words on a script’s page as he is at putting them there in the first place.\u003c/p>\n\u003cp>He has conceived Cory as a man of few words and enormous pain. After losing a teenage daughter, he became estranged from his Native American wife (Julia Jones) but remains devoted to both her and their son, Casey (Teo Briones). So he offers to take the boy to visit her parents on the reservation while she’s away job hunting. It’ll be an opportunity to mentor the kid about rifles (“Remember, a gun’s always loaded, even when it ain’t”), something Cory does almost without thinking, passing on skills, insights, knowledge — a trait that will soon come in handy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their trip to the “rez” involves a hunt for the mountain lion that killed a yearling on grandpa’s land, during which Cory comes across the body of the teenage girl we saw earlier, frozen in the snow.\u003c/p>\n\u003cp>FBI agent Jane Banner (Elizabeth Olson) flies in from Las Vegas. She’s dressed for cold in Vegas, notes the local sheriff (the ever-reliable Graham Greene), and about as clueless about Wyoming winters as that fact suggests. When they get to the body near the tree line, she sees evidence of foul play, but Cory, a tracker, looks at the girl’s footprints in the snow and sees a whole story unfolding. More mentoring, as he clues her in to what the clues suggest: that the girl died from an intake of icy air that froze her lungs, causing them to fill up with blood.\u003c/p>\n\u003cp>Jane wonders how far she had run. Cory looks around at the nothing in all directions before he replies: “Oh, I don’t know. How do you gauge someone’s will to live?”\u003c/p>\n\u003cp>If that sounds like dialogue from a classic Western, poetic in its sparseness, that’s by design. Sheridan makes contemporary films that for all practical purposes are Westerns, and in them he deals with a host of current social issues. His characters are pushed to extremes by circumstances — not just that girl who turns out to have run 6 miles barefoot in the snow, but also her parents (played by Native American actors Gil Birmingham and Tantoo Cardinal) and even the bad guys.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Sheridan paints a searing picture of life on society’s margins — people who live with “silence and snow” and not much else. And if the conclusion to his film’s mystery is a bit of a rush to judgment — breathless, yes, but less breathcatchingly arresting than what’s gone before it — he’s still managed to make Renner and Olsen feel like icons while keeping them rendingly real. And that allows the sense of loss in \u003cem>Wind River\u003c/em> to pile up, deep as snow drifts.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"https://thewaltdisneycompany.com/\" target=\"_blank\" rel=\"noopener\">Disney\u003c/a> is saying goodbye to \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener\">Netflix\u003c/a> and will aggressively enter the crowded subscription streaming market.\u003c/p>\n\u003cp>There will be one streaming service for sports and another for films and television shows, the \u003ca href=\"https://thewaltdisneycompany.com/walt-disney-company-acquire-majority-ownership-bamtech/\" target=\"_blank\" rel=\"noopener\">company announced\u003c/a> on Tuesday. The same day it reported weak fiscal third-quarter earnings.\u003c/p>\n\u003cp>Disney is trying to appeal to younger audiences who are choosing Netflix and other digital platforms over traditional television.\u003c/p>\n\u003cp>The streaming services will give Disney “much greater control over our own destiny in a rapidly changing market,” CEO Bob Iger told analysts on a conference call. He described the moves as an “entirely new growth strategy” for the company.\u003c/p>\n\u003cp>The sports streaming service, which will be under the ESPN name, will be available next year, and is expected to feature 10,000 sporting events annually, among them Major League Baseball, hockey and soccer games, tennis matches and college sports through ESPN’s popular mobile app.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Ultimately, we envision this will become a dynamic sports marketplace that will grow and be increasingly customizable, allowing sports fans to pick and choose content that reflects their personal interests,” Iger said.\u003c/p>\n\u003cp>“Disney will have to be careful that it doesn’t transfer too much sports programming from its TV channels to the app,” analyst Brian Weiser of Pivotal Research Group told The Associated Press. “Getting the balance wrong could upset cable companies and weigh on the price they pay Disney for ESPN.”\u003c/p>\n\u003cp>In 2019, Disney will stop providing new movies to Netflix and begin its own streaming service. The Disney-branded film and TV offering would include original content developed by Walt Disney Studios.\u003c/p>\n\u003cp>Reuters reports Disney is one of the most recognized names on Netflix:\u003c/p>\n\u003cblockquote>\n\u003cp>“By ending the Netflix movie deal, Disney will keep movies such as \u003cem>Toy Story 4\u003c/em> and \u003cem>Frozen 2\u003c/em> for its own offering. The company has not yet decided where it will distribute films from superhero studio Marvel and \u003cem>Star Wars\u003c/em> producer Lucasfilm after 2018.\u003c/p>\n\u003cp>“Netflix, which lately has been focusing on its own exclusive programming, said it would continue to do business with Disney globally, including keeping its exclusive shows from Marvel television.\u003c/p>\n\u003cp>” ‘U.S. Netflix members will have access to Disney films on the service through the end of 2019, including all new films that are shown theatrically through the end of 2018,’ the company said in a statement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In case anyone doubts whether Disney can win the two-front battle against cord cutters and other streaming services, CEO Iger expressed the company’s view to analysts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“No one is better positioned to lead the industry into this dynamic new era, and we’re accelerating our strategy to be at the forefront of this transformation.” \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=Disney+Will+End+Netflix+Deal+And+Offer+Its+Own+Streaming+Services&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "There will be one streaming service for sports and another for films and television shows, the company announced on Tuesday. But new Disney movies will still be available on Netflix until 2019.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://thewaltdisneycompany.com/\" target=\"_blank\" rel=\"noopener\">Disney\u003c/a> is saying goodbye to \u003ca href=\"https://www.netflix.com/\" target=\"_blank\" rel=\"noopener\">Netflix\u003c/a> and will aggressively enter the crowded subscription streaming market.\u003c/p>\n\u003cp>There will be one streaming service for sports and another for films and television shows, the \u003ca href=\"https://thewaltdisneycompany.com/walt-disney-company-acquire-majority-ownership-bamtech/\" target=\"_blank\" rel=\"noopener\">company announced\u003c/a> on Tuesday. The same day it reported weak fiscal third-quarter earnings.\u003c/p>\n\u003cp>Disney is trying to appeal to younger audiences who are choosing Netflix and other digital platforms over traditional television.\u003c/p>\n\u003cp>The streaming services will give Disney “much greater control over our own destiny in a rapidly changing market,” CEO Bob Iger told analysts on a conference call. He described the moves as an “entirely new growth strategy” for the company.\u003c/p>\n\u003cp>The sports streaming service, which will be under the ESPN name, will be available next year, and is expected to feature 10,000 sporting events annually, among them Major League Baseball, hockey and soccer games, tennis matches and college sports through ESPN’s popular mobile app.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Ultimately, we envision this will become a dynamic sports marketplace that will grow and be increasingly customizable, allowing sports fans to pick and choose content that reflects their personal interests,” Iger said.\u003c/p>\n\u003cp>“Disney will have to be careful that it doesn’t transfer too much sports programming from its TV channels to the app,” analyst Brian Weiser of Pivotal Research Group told The Associated Press. “Getting the balance wrong could upset cable companies and weigh on the price they pay Disney for ESPN.”\u003c/p>\n\u003cp>In 2019, Disney will stop providing new movies to Netflix and begin its own streaming service. The Disney-branded film and TV offering would include original content developed by Walt Disney Studios.\u003c/p>\n\u003cp>Reuters reports Disney is one of the most recognized names on Netflix:\u003c/p>\n\u003cblockquote>\n\u003cp>“By ending the Netflix movie deal, Disney will keep movies such as \u003cem>Toy Story 4\u003c/em> and \u003cem>Frozen 2\u003c/em> for its own offering. The company has not yet decided where it will distribute films from superhero studio Marvel and \u003cem>Star Wars\u003c/em> producer Lucasfilm after 2018.\u003c/p>\n\u003cp>“Netflix, which lately has been focusing on its own exclusive programming, said it would continue to do business with Disney globally, including keeping its exclusive shows from Marvel television.\u003c/p>\n\u003cp>” ‘U.S. Netflix members will have access to Disney films on the service through the end of 2019, including all new films that are shown theatrically through the end of 2018,’ the company said in a statement.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In case anyone doubts whether Disney can win the two-front battle against cord cutters and other streaming services, CEO Iger expressed the company’s view to analysts.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“No one is better positioned to lead the industry into this dynamic new era, and we’re accelerating our strategy to be at the forefront of this transformation.” \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=Disney+Will+End+Netflix+Deal+And+Offer+Its+Own+Streaming+Services&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "With A Fresh Spin On The 808, DJs Become Rhythm Composers",
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"content": "\u003cp>It’s disarmingly easy to become an amateur DJ in 2017, when an iPhone and a $1.99 app will quickly have you on your way to learning the basics of mixing songs together, or a thumb drive filled with tracks ripped from the Internet and plugged into a digital player called a CDJ can soundtrack a party hundreds of hours long. But DJing has a long history of craft — and while the bar has lowered for amateurs, technology has steadily changed the game for professionals, too.\u003c/p>\n\u003cp>There are purists around the world who still prefer the same equipment used at the first hip-hop parties: vinyl records, two turntables and a two-channel mixer. But today, you might see that setup augmented with specially encoded vinyl and a software program like Serato DJ, allowing the user to physically mix and scratch digital files from a laptop. Some DJs mix their songs with controllers, machines that mimic the turntable and CDJ experiences in one piece of hardware. Others add sounds of their own, playing samplers and synthesizers between and on top of the tracks in their set. There have long been DJs who produce, producers who make original music and musicians who spin records, but new tools and business synergies have continued to blur the lines.\u003c/p>\n\u003cp>Last year, two companies announced a partnership that seemed aimed at eliminating those boundaries altogether. In September, New Zealand’s Serato and the pioneering Japanese electronic instrument company Roland unveiled the DJ-808: a digital controller that combines tools for DJing, production and composition into a single device.\u003c/p>\n\u003cp>“Playing with music, manipulating audio, is very much the core of everything we do,” Serato CEO Young Ly said \u003ca href=\"https://www.youtube.com/watch?v=PqyyRcDuP0Y\">in a video\u003c/a> announcing the DJ-808. “So when you take Roland, a company that’s known for iconic sounds and amazing instruments, and you take these sounds and you mix it with Serato tech, suddenly, are you scratching? Are you flipping? Are you mixing? Are you producing? Are you DJing? It all mixes together into live performance.”\u003c/p>\n\u003cp>If the 808 part sounds familiar, that’s because this new machine was named after one of the most important sound-makers in music history, the Roland TR-808 Rhythm Composer.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=yJiJSGsJH4U\u003c/p>\n\u003cp>Few electronic instruments have been as fetishized as the TR-808, the imperfectly perfect and rare drum machine that’s been a part of nearly every genre with a funky pulse. Though it was produced for just a short time between 1980 and 1983, the 808 has lent memorable sizzle to everyone from Phil Collins to Lil Jon. It gives Marvin Gaye’s “\u003ca href=\"https://www.youtube.com/watch?v=rjlSiASsUIs\">Sexual Healing\u003c/a>” its spare sway, helps Whitney Houston catch a groove on “\u003ca href=\"https://www.youtube.com/watch?v=eH3giaIzONA\">I Wanna Dance With Somebody\u003c/a>” and is the not-so-secret ingredient that propelled regional styles like New York electro, Detroit techno, Miami bass and New Orleans bounce into the international spotlight.\u003c/p>\n\u003cp>“I would call whoever: ‘Yo, you got the 808?’ And they’d say, ‘No, so and so has it.’ When you found out who had it you’d say, ‘I need to get the 808, when are you going to be done with it?'” Nathaniel “DJ Pierre” Jones, who pioneered the sound that would become acid house (with the help of another Roland machine, the bass-focused TB-303), says he never had an 808 of his own. In the ’80s, major recording facilities might have a unit in-house — the one at Manhattan’s Chung King Studios, for example, boomed on tracks by LL Cool J, Run-DMC and the Beastie Boys. But in Chicago, Pierre says, the progenitors of house music literally passed around a single 808 like a lending library.\u003c/p>\n\u003cp>“We were all very competitive as counterparts, but at the same time we were very community-oriented,” he says. “We didn’t let our competitive nature keep us from sharing the technology, because we all felt like we were confident in what we were doing — and whatever we were doing was going to be different from what they were doing, even if they were using the same thing.”\u003c/p>\n\u003cp>Only about 12,000 TR-808s were manufactured before the product was discontinued. In \u003ca href=\"https://www.youtube.com/watch?v=LMPzuRWoNgE\">the 2015 documentary \u003cem>808\u003c/em>\u003c/a>, Roland founder Ikutaro Kakehashi explains that the machines were deliberately built with defective transistors — which had a sound he described as “sizzling,” and which eventually became impossible to buy. “Semiconductor technology got better and better … so [there was] no way to come back,” said Kakehashi, who passed away this April at 87, just shy of the company’s 45th birthday.\u003c/p>\n\u003cp>Despite the relative scarcity of these machines, 808 sounds have remained ubiquitous in popular music. In the ’90s and beyond, that pervasiveness could be attributed to ReBirth, a software program that emulated the sounds and look of the 808 and its siblings the 303 and 909. ReBirth launched for computers in 1996 and later evolved into an iOS app after being discontinued for desktop systems in 2005. In June, Swedish company Propellerhead \u003ca href=\"http://www.factmag.com/2017/06/13/propellerhead-rebirth-ipad-discontinued-roland-ip-infringement/\">was forced to remove\u003c/a> it from the market altogether after IP infringement claims by Roland.\u003c/p>\n\u003cp>Even so, today you can find 808 samples and soundalikes in the libraries of most major music recording programs. And earlier this year, Canada’s System80 announced it would release \u003ca href=\"http://cdm.link/2017/01/system-80-control-control-808-clone-eurorack/\">a physical 808 clone\u003c/a> made specially for modular synthesizer systems. (Roland may have something to say about this copycat once it’s out.) If if you’ve got the cash, it’s still possible to find an original 808 on eBay, where they sell for upwards of $5,000. The machine even survives purely as a design object: The row of red, orange, yellow and white buttons across its front panel, representing a bar of music as 16 programmable “steps,” has inspired a \u003ca href=\"http://mixmag.net/read/these-roland-tr-808-adidas-are-fully-functional-news\">conceptual Adidas sneaker\u003c/a> that would sell by the boatload if it were real.\u003c/p>\n\u003cp>In the meantime, Roland has remained vital in the development of hip-hop and dance music, and in recent years has even released revamped, boutique versions of its vintage rhythm machines. But it has never formally ventured into the DJ market until now.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=X2PTwp2HZvQ\u003c/p>\n\u003cp>The essential pitch of the DJ-808 is that it does in a single unit what would otherwise require a table full of gear. The name owes to the set of onboard drum sounds — and in fact it’s a little misleading, since the DJ-808 also incorporates sounds from the 303, 909 and 707. Users can blend digital music files on the controller, build a beat piece by piece on an integrated sequencer (rendered in classic 808 colors), tap out drum parts on two sets of pads or use the vocal transformer to record and warp vocals on the fly. Effectively, you can make your own music while you spin someone else’s, and the elements should all remain in sync.\u003c/p>\n\u003cp>The price tag, around $1,299, is cheaper than the TR-808 at its debut ($1,195 in 1980 dollars, or about $3,500 today) — but orders of magnitude steeper than an entry-level controller, most of which can be had for just over $200. With so much more affordable gear on the market, the creators of the DJ-808 are banking on consumers seeing it the way DJ Pierre does. He was among the first artists with whom Roland shared the machine before its release, and says its range of functionality instantly impressed him.\u003c/p>\n\u003cp>“You can grow with it, and you can link other gear to it that will run smoothly,” Pierre says. “You always want to think big picture — don’t think just for today. Get something that can grow with you, that you can grow with.” Roland has also gifted the machine to artists Erykah Badu and Q-Tip, who began using it on his Beats 1 radio show on Apple Music after seeing Pete Rock post about it on social media. Biz Markie confessed he’s putting together a new room in his house just for the DJ-808. “It’s going to change the future,” he says. “It’s like a one-stop shop for DJs. It’s got a drum machine, you can break things up, \u003cem>and\u003c/em> you can DJ. It’s just super incredible.”\u003c/p>\n\u003cp>The success of DJ-808, however, may depend more on people like Cynthia Cherish Malaran. As DJ CherishTheLuv, she has worked events for Oprah Winfrey and Samantha Bee and has the distinction of being Whole Foods’ resident DJ in New York City. Malaran says she bought a DJ-808 as soon as it hit the market.\u003c/p>\n\u003cp>“You can use one beat of a song and create a whole new intro, and then drop the song into it,” she explains of the DJ-808’s ability to help restructure a tune. “People are like, ‘Whoa, that’s what that was, I knew that was familiar!’ It’s like you’re reprogramming the song to sound like something new and exciting.”\u003c/p>\n\u003cp>A generation and a hemisphere away, the machine is a new favorite of 14-year-old Belgian Amber Broos — who, as DJ 13 AMPS, has been teaching kids even younger than her to spin using the DJ-808 at the\u003ca href=\"http://www.begintodj.be/\"> Begin to DJ\u003c/a> school in Kortenberg, near Brussels. “The DJ-808 stimulates me to make my own tracks as a producer,” Broos says. “It gives me new ideas and creativity. The possibilities of adapting tracks are unlimited.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=DLBNj1xSd2k\u003c/p>\n\u003cp>For Just Blaze, the super-producer who has crafted songs for JAY Z, Beyoncé and Kanye West (although not on West’s 2008 album \u003cem>808s & Heartbreak\u003c/em>), the DJ-808 represents a leap forward in merging DJing and production — something he says he’s always wanted to do but never found convenient enough. “We used to be, in the earlier days, at a place where the software was held back by what the computer was capable of,” he says. “Now, we’re kind of at the opposite end of the spectrum, where the computers are so powerful they can pretty much handle anything within reason that the software can throw at it.”\u003c/p>\n\u003cp>Just Blaze was able to offer a kind of informal beta testing to Roland before they released the DJ-808. He thinks they got the machine right for the most part (enough that he used it in \u003ca href=\"https://www.youtube.com/watch?v=YaDNDpO7vfg\">a live-streamed battle\u003c/a> with Swizz Beatz in February), though he has a small wish list of what he’d like to see next: “Now that we have computers that are capable of doing what we need them to do, maybe the next step is adding a keyboard section.”\u003c/p>\n\u003cp>Not everyone I spoke to was ready to get on board. Greg Broussard, an early electro producer who DJs and records as Egyptian Lover, is among the few artists in the world who still prefers to use vinyl records and an old TR-808 for his DJ sets. “That 808 makes my shows everything they are,” he insists. But he did play with the DJ-808 when it first came out and thought it was a great piece of gear for those who do.\u003c/p>\n\u003cp>“I’m extremely excited that Serato and Roland put out that DJ-808 for the new school,” he says. “Mixing and making beats while DJing is so futuristic and something I would have rocked if I was a new DJ today. I see all kinds of possibilities for today’s DJ with this product.”\u003c/p>\n\u003cp>A Roland sales manager told me the DJ-808’s sales had tapered off by the end of 2016 but are picking up gradually this year, as potential customers have had time to read reviews — and save up money. The machines are also starting to be seen on the secondhand market, which helped the original 808 find followers when getting one new wasn’t an option.\u003c/p>\n\u003cp>Meanwhile, the company has announced a new slate of products for Aug. 8 (#808Day, get it?), including a \u003ca href=\"http://cdm.link/2017/08/what-you-need-to-know-about-the-roland-boutique-101-808-remakes/\">reimagined standalone TR-808\u003c/a> in a portable size and at a more accessible price point — betting on a growing market of DJs looking to stretch the limits of their form and the persistence of a beloved set of numbers. If a keyboard \u003cem>is \u003c/em>brought into future iterations of the DJ-808, perhaps a strappable keytar formation to really bring it back to the ’80s wouldn’t be too far off? Just Blaze lights up at the prospect.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“I’ve dreamed about this for years,” he admits. “For me to be able to step in front of a crowd and give a straight up rock star-style scratch performance, that’s one of my musical dreams come true. So, Roland, if you’re listening … ” \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=With+A+Fresh+Spin+On+The+808%2C+DJs+Become+Rhythm+Composers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s disarmingly easy to become an amateur DJ in 2017, when an iPhone and a $1.99 app will quickly have you on your way to learning the basics of mixing songs together, or a thumb drive filled with tracks ripped from the Internet and plugged into a digital player called a CDJ can soundtrack a party hundreds of hours long. But DJing has a long history of craft — and while the bar has lowered for amateurs, technology has steadily changed the game for professionals, too.\u003c/p>\n\u003cp>There are purists around the world who still prefer the same equipment used at the first hip-hop parties: vinyl records, two turntables and a two-channel mixer. But today, you might see that setup augmented with specially encoded vinyl and a software program like Serato DJ, allowing the user to physically mix and scratch digital files from a laptop. Some DJs mix their songs with controllers, machines that mimic the turntable and CDJ experiences in one piece of hardware. Others add sounds of their own, playing samplers and synthesizers between and on top of the tracks in their set. There have long been DJs who produce, producers who make original music and musicians who spin records, but new tools and business synergies have continued to blur the lines.\u003c/p>\n\u003cp>Last year, two companies announced a partnership that seemed aimed at eliminating those boundaries altogether. In September, New Zealand’s Serato and the pioneering Japanese electronic instrument company Roland unveiled the DJ-808: a digital controller that combines tools for DJing, production and composition into a single device.\u003c/p>\n\u003cp>“Playing with music, manipulating audio, is very much the core of everything we do,” Serato CEO Young Ly said \u003ca href=\"https://www.youtube.com/watch?v=PqyyRcDuP0Y\">in a video\u003c/a> announcing the DJ-808. “So when you take Roland, a company that’s known for iconic sounds and amazing instruments, and you take these sounds and you mix it with Serato tech, suddenly, are you scratching? Are you flipping? Are you mixing? Are you producing? Are you DJing? It all mixes together into live performance.”\u003c/p>\n\u003cp>If the 808 part sounds familiar, that’s because this new machine was named after one of the most important sound-makers in music history, the Roland TR-808 Rhythm Composer.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/yJiJSGsJH4U'\n title='//www.youtube.com/embed/yJiJSGsJH4U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Few electronic instruments have been as fetishized as the TR-808, the imperfectly perfect and rare drum machine that’s been a part of nearly every genre with a funky pulse. Though it was produced for just a short time between 1980 and 1983, the 808 has lent memorable sizzle to everyone from Phil Collins to Lil Jon. It gives Marvin Gaye’s “\u003ca href=\"https://www.youtube.com/watch?v=rjlSiASsUIs\">Sexual Healing\u003c/a>” its spare sway, helps Whitney Houston catch a groove on “\u003ca href=\"https://www.youtube.com/watch?v=eH3giaIzONA\">I Wanna Dance With Somebody\u003c/a>” and is the not-so-secret ingredient that propelled regional styles like New York electro, Detroit techno, Miami bass and New Orleans bounce into the international spotlight.\u003c/p>\n\u003cp>“I would call whoever: ‘Yo, you got the 808?’ And they’d say, ‘No, so and so has it.’ When you found out who had it you’d say, ‘I need to get the 808, when are you going to be done with it?'” Nathaniel “DJ Pierre” Jones, who pioneered the sound that would become acid house (with the help of another Roland machine, the bass-focused TB-303), says he never had an 808 of his own. In the ’80s, major recording facilities might have a unit in-house — the one at Manhattan’s Chung King Studios, for example, boomed on tracks by LL Cool J, Run-DMC and the Beastie Boys. But in Chicago, Pierre says, the progenitors of house music literally passed around a single 808 like a lending library.\u003c/p>\n\u003cp>“We were all very competitive as counterparts, but at the same time we were very community-oriented,” he says. “We didn’t let our competitive nature keep us from sharing the technology, because we all felt like we were confident in what we were doing — and whatever we were doing was going to be different from what they were doing, even if they were using the same thing.”\u003c/p>\n\u003cp>Only about 12,000 TR-808s were manufactured before the product was discontinued. In \u003ca href=\"https://www.youtube.com/watch?v=LMPzuRWoNgE\">the 2015 documentary \u003cem>808\u003c/em>\u003c/a>, Roland founder Ikutaro Kakehashi explains that the machines were deliberately built with defective transistors — which had a sound he described as “sizzling,” and which eventually became impossible to buy. “Semiconductor technology got better and better … so [there was] no way to come back,” said Kakehashi, who passed away this April at 87, just shy of the company’s 45th birthday.\u003c/p>\n\u003cp>Despite the relative scarcity of these machines, 808 sounds have remained ubiquitous in popular music. In the ’90s and beyond, that pervasiveness could be attributed to ReBirth, a software program that emulated the sounds and look of the 808 and its siblings the 303 and 909. ReBirth launched for computers in 1996 and later evolved into an iOS app after being discontinued for desktop systems in 2005. In June, Swedish company Propellerhead \u003ca href=\"http://www.factmag.com/2017/06/13/propellerhead-rebirth-ipad-discontinued-roland-ip-infringement/\">was forced to remove\u003c/a> it from the market altogether after IP infringement claims by Roland.\u003c/p>\n\u003cp>Even so, today you can find 808 samples and soundalikes in the libraries of most major music recording programs. And earlier this year, Canada’s System80 announced it would release \u003ca href=\"http://cdm.link/2017/01/system-80-control-control-808-clone-eurorack/\">a physical 808 clone\u003c/a> made specially for modular synthesizer systems. (Roland may have something to say about this copycat once it’s out.) If if you’ve got the cash, it’s still possible to find an original 808 on eBay, where they sell for upwards of $5,000. The machine even survives purely as a design object: The row of red, orange, yellow and white buttons across its front panel, representing a bar of music as 16 programmable “steps,” has inspired a \u003ca href=\"http://mixmag.net/read/these-roland-tr-808-adidas-are-fully-functional-news\">conceptual Adidas sneaker\u003c/a> that would sell by the boatload if it were real.\u003c/p>\n\u003cp>In the meantime, Roland has remained vital in the development of hip-hop and dance music, and in recent years has even released revamped, boutique versions of its vintage rhythm machines. But it has never formally ventured into the DJ market until now.\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/X2PTwp2HZvQ'\n title='//www.youtube.com/embed/X2PTwp2HZvQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The essential pitch of the DJ-808 is that it does in a single unit what would otherwise require a table full of gear. The name owes to the set of onboard drum sounds — and in fact it’s a little misleading, since the DJ-808 also incorporates sounds from the 303, 909 and 707. Users can blend digital music files on the controller, build a beat piece by piece on an integrated sequencer (rendered in classic 808 colors), tap out drum parts on two sets of pads or use the vocal transformer to record and warp vocals on the fly. Effectively, you can make your own music while you spin someone else’s, and the elements should all remain in sync.\u003c/p>\n\u003cp>The price tag, around $1,299, is cheaper than the TR-808 at its debut ($1,195 in 1980 dollars, or about $3,500 today) — but orders of magnitude steeper than an entry-level controller, most of which can be had for just over $200. With so much more affordable gear on the market, the creators of the DJ-808 are banking on consumers seeing it the way DJ Pierre does. He was among the first artists with whom Roland shared the machine before its release, and says its range of functionality instantly impressed him.\u003c/p>\n\u003cp>“You can grow with it, and you can link other gear to it that will run smoothly,” Pierre says. “You always want to think big picture — don’t think just for today. Get something that can grow with you, that you can grow with.” Roland has also gifted the machine to artists Erykah Badu and Q-Tip, who began using it on his Beats 1 radio show on Apple Music after seeing Pete Rock post about it on social media. Biz Markie confessed he’s putting together a new room in his house just for the DJ-808. “It’s going to change the future,” he says. “It’s like a one-stop shop for DJs. It’s got a drum machine, you can break things up, \u003cem>and\u003c/em> you can DJ. It’s just super incredible.”\u003c/p>\n\u003cp>The success of DJ-808, however, may depend more on people like Cynthia Cherish Malaran. As DJ CherishTheLuv, she has worked events for Oprah Winfrey and Samantha Bee and has the distinction of being Whole Foods’ resident DJ in New York City. Malaran says she bought a DJ-808 as soon as it hit the market.\u003c/p>\n\u003cp>“You can use one beat of a song and create a whole new intro, and then drop the song into it,” she explains of the DJ-808’s ability to help restructure a tune. “People are like, ‘Whoa, that’s what that was, I knew that was familiar!’ It’s like you’re reprogramming the song to sound like something new and exciting.”\u003c/p>\n\u003cp>A generation and a hemisphere away, the machine is a new favorite of 14-year-old Belgian Amber Broos — who, as DJ 13 AMPS, has been teaching kids even younger than her to spin using the DJ-808 at the\u003ca href=\"http://www.begintodj.be/\"> Begin to DJ\u003c/a> school in Kortenberg, near Brussels. “The DJ-808 stimulates me to make my own tracks as a producer,” Broos says. “It gives me new ideas and creativity. The possibilities of adapting tracks are unlimited.”\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/DLBNj1xSd2k'\n title='//www.youtube.com/embed/DLBNj1xSd2k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For Just Blaze, the super-producer who has crafted songs for JAY Z, Beyoncé and Kanye West (although not on West’s 2008 album \u003cem>808s & Heartbreak\u003c/em>), the DJ-808 represents a leap forward in merging DJing and production — something he says he’s always wanted to do but never found convenient enough. “We used to be, in the earlier days, at a place where the software was held back by what the computer was capable of,” he says. “Now, we’re kind of at the opposite end of the spectrum, where the computers are so powerful they can pretty much handle anything within reason that the software can throw at it.”\u003c/p>\n\u003cp>Just Blaze was able to offer a kind of informal beta testing to Roland before they released the DJ-808. He thinks they got the machine right for the most part (enough that he used it in \u003ca href=\"https://www.youtube.com/watch?v=YaDNDpO7vfg\">a live-streamed battle\u003c/a> with Swizz Beatz in February), though he has a small wish list of what he’d like to see next: “Now that we have computers that are capable of doing what we need them to do, maybe the next step is adding a keyboard section.”\u003c/p>\n\u003cp>Not everyone I spoke to was ready to get on board. Greg Broussard, an early electro producer who DJs and records as Egyptian Lover, is among the few artists in the world who still prefers to use vinyl records and an old TR-808 for his DJ sets. “That 808 makes my shows everything they are,” he insists. But he did play with the DJ-808 when it first came out and thought it was a great piece of gear for those who do.\u003c/p>\n\u003cp>“I’m extremely excited that Serato and Roland put out that DJ-808 for the new school,” he says. “Mixing and making beats while DJing is so futuristic and something I would have rocked if I was a new DJ today. I see all kinds of possibilities for today’s DJ with this product.”\u003c/p>\n\u003cp>A Roland sales manager told me the DJ-808’s sales had tapered off by the end of 2016 but are picking up gradually this year, as potential customers have had time to read reviews — and save up money. The machines are also starting to be seen on the secondhand market, which helped the original 808 find followers when getting one new wasn’t an option.\u003c/p>\n\u003cp>Meanwhile, the company has announced a new slate of products for Aug. 8 (#808Day, get it?), including a \u003ca href=\"http://cdm.link/2017/08/what-you-need-to-know-about-the-roland-boutique-101-808-remakes/\">reimagined standalone TR-808\u003c/a> in a portable size and at a more accessible price point — betting on a growing market of DJs looking to stretch the limits of their form and the persistence of a beloved set of numbers. If a keyboard \u003cem>is \u003c/em>brought into future iterations of the DJ-808, perhaps a strappable keytar formation to really bring it back to the ’80s wouldn’t be too far off? Just Blaze lights up at the prospect.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’ve dreamed about this for years,” he admits. “For me to be able to step in front of a crowd and give a straight up rock star-style scratch performance, that’s one of my musical dreams come true. So, Roland, if you’re listening … ” \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=With+A+Fresh+Spin+On+The+808%2C+DJs+Become+Rhythm+Composers&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Cartoon's Black Star Prompts A Fight: What Did Roman Britain Look Like?",
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"content": "\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=nN_x9o8MV1o&gl=US\" target=\"_blank\" rel=\"noopener\">brief BBC cartoon\u003c/a> posted to YouTube late last December, a high-ranking Roman soldier and his family tackle the challenges of daily life in ancient Britain. The dad is off helping build the famed Hadrian’s wall at the province’s far northern edge; the son tries to make right for losing his father’s scarf. Everyone ends up happy ever after.\u003c/p>\n\u003cp>Yet benign as its plot may seem, this little film — which, sadly is only available for British viewers — has stirred up a big fight on social media. And it all revolves around the color of the leading characters’ skin.\u003c/p>\n\u003cp>Paul Joseph Watson, editor at Alex Jones’ far-right Infowars website, fired the first volley late last month, \u003ca href=\"https://www.infowars.com/bbc-depicts-black-people-as-typical-family-in-roman-britain/\" target=\"_blank\" rel=\"noopener\">casting the educational video\u003c/a> as an anachronistic attempt “to re-write history to pretend Britain always had mass immigration.”\u003c/p>\n\u003cp>“Thank God the BBC is portraying Roman Britain as ethnically diverse,” \u003ca href=\"https://twitter.com/PrisonPlanet/status/889804329082912769\" target=\"_blank\" rel=\"noopener\">Watson tweeted\u003c/a>. “I mean, who cares about historical accuracy, right?”\u003c/p>\n\u003cp>Historians — i.e., people who make their living caring about historical accuracy — promptly replied to the tweet. Several, including teacher Mike Stuchbery, offered some colorfully worded rebuttals, \u003ca href=\"https://twitter.com/mikestuchbery_/status/889847364558704640?lang=en\" target=\"_blank\" rel=\"noopener\">among other things saying\u003c/a>, “Roman Britain was ethnically diverse, almost by design.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But no one’s response drew more attention — or more backlash — than that of \u003ca href=\"http://www.npr.org/books/authors/221390928/mary-beard\" target=\"_blank\" rel=\"noopener\">Mary Beard\u003c/a>, a Cambridge classics professor who “has spent her career working through the texts and source materials of ancient Rome,” \u003ca href=\"http://www.npr.org/2015/11/30/457319066/from-gladiator-duels-to-caesars-last-words-the-myths-of-ancient-rome\" target=\"_blank\" rel=\"noopener\">according to Fresh Air in 2015\u003c/a>.\u003c/p>\n\u003cp>The cartoon “is indeed pretty accurate,” \u003ca href=\"https://twitter.com/wmarybeard/status/889925415032299520\" target=\"_blank\" rel=\"noopener\">Beard tweeted\u003c/a> in response to Watson, “there’s plenty of firm evidence for ethnic diversity in Roman Britain.”\u003c/p>\n\u003cp>The argument, as Beard and several other historians laid it out, was that for an empire that extended from Britain to North Africa — and from Spain to Syria — it was “unsurprising” to see nonwhite faces so far north. Soldiers were drawn from around the empire, and the University of Reading’s Matthew Nicholls \u003ca href=\"http://blogs.reading.ac.uk/the-forum/2017/07/28/how-diverse-was-roman-britain/\" target=\"_blank\" rel=\"noopener\">noted several instances\u003c/a> of Africans serving on Hadrian’s Wall specifically.\u003c/p>\n\u003cp>“I think, for example, that the BBC character was loosely based (with a bit of a chronological shift) on Quintus Lollius Urbicus, a man from what is now Algeria, who became governor of Britain,” Beard \u003ca href=\"https://www.the-tls.co.uk/roman-britain-black-white/\" target=\"_blank\" rel=\"noopener\">elaborated in the Times Supplement of London\u003c/a> last week. “You can still visit his grand tomb at Tiddis.”\u003c/p>\n\u003cp>What followed her original response, though, was “a torrent of aggressive insults, on everything from my historical competence and elitist ivory tower viewpoint to my age, shape and gender (batty old broad, obese, etc etc),” she wrote in the \u003cem>Supplement\u003c/em>.\u003c/p>\n\u003cp>Statistician Nassim Nicholas Taleb — who has also been \u003ca href=\"http://www.npr.org/sections/money/2011/01/28/129276793/deep-read-nassim-taleb-the-black-swan-guy\" target=\"_blank\" rel=\"noopener\">featured on NPR\u003c/a>, by the way — also waded into the fray, \u003ca href=\"https://twitter.com/nntaleb/status/892694339549351937\" target=\"_blank\" rel=\"noopener\">turning to genetic statistics\u003c/a> to argue against Beard’s point and calling her argument \u003ca href=\"https://twitter.com/nntaleb/status/892711071684763648\" target=\"_blank\" rel=\"noopener\">“BS”\u003c/a> (and terms more colorful). And that string included \u003ca href=\"https://twitter.com/nntaleb/status/892736047519608833\" target=\"_blank\" rel=\"noopener\">this taunt\u003c/a>: “I get more academic citations per year than you got all your life!”\u003c/p>\n\u003cp>Still, many historians did have their say — \u003ca href=\"https://thesphinxblog.com/2017/08/02/diversitas-et-multiculturalismus/\" target=\"_blank\" rel=\"noopener\">in\u003c/a> \u003ca href=\"http://blogs.reading.ac.uk/the-forum/2017/07/28/how-diverse-was-roman-britain/\" target=\"_blank\" rel=\"noopener\">favor of\u003c/a> Beard’s dissent. (Another statistician \u003ca href=\"https://iainews.iai.tv/articles/beard-nassem-taleb-twitter-feud-and-dangers-of-scientism-auid-868?access=ALL\" target=\"_blank\" rel=\"noopener\">supported\u003c/a> Beard, as well.)\u003c/p>\n\u003cp>On Monday, Beard’s employer, the University of Cambridge, supplied a defense of its own, noting “the evidence is in fact overwhelming that Roman Britain was indeed a multi-ethnic society.\u003c/p>\n\u003cp>“This was not, of course, evenly spread through the province,” the Cambridge faculty of classics continued, “and it would have been infinitely more noticeable — it can be assumed — in an urban or military context than in a rural one.”\u003c/p>\n\u003cp>Still, the university expressed optimism on one point: “We do hope participants in the public discussion and others will want to learn more about this subject.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then \u003ca href=\"http://www.classics.cam.ac.uk/roman-britain\" target=\"_blank\" rel=\"noopener\">they offered a reading list\u003c/a> — for all the disinterested onlookers who would like to decide for themselves. \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=A+Cartoon%27s+Black+Star+Prompts+A+Fight%3A+What+Did+Roman+Britain+Look+Like%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a \u003ca href=\"https://www.youtube.com/watch?v=nN_x9o8MV1o&gl=US\" target=\"_blank\" rel=\"noopener\">brief BBC cartoon\u003c/a> posted to YouTube late last December, a high-ranking Roman soldier and his family tackle the challenges of daily life in ancient Britain. The dad is off helping build the famed Hadrian’s wall at the province’s far northern edge; the son tries to make right for losing his father’s scarf. Everyone ends up happy ever after.\u003c/p>\n\u003cp>Yet benign as its plot may seem, this little film — which, sadly is only available for British viewers — has stirred up a big fight on social media. And it all revolves around the color of the leading characters’ skin.\u003c/p>\n\u003cp>Paul Joseph Watson, editor at Alex Jones’ far-right Infowars website, fired the first volley late last month, \u003ca href=\"https://www.infowars.com/bbc-depicts-black-people-as-typical-family-in-roman-britain/\" target=\"_blank\" rel=\"noopener\">casting the educational video\u003c/a> as an anachronistic attempt “to re-write history to pretend Britain always had mass immigration.”\u003c/p>\n\u003cp>“Thank God the BBC is portraying Roman Britain as ethnically diverse,” \u003ca href=\"https://twitter.com/PrisonPlanet/status/889804329082912769\" target=\"_blank\" rel=\"noopener\">Watson tweeted\u003c/a>. “I mean, who cares about historical accuracy, right?”\u003c/p>\n\u003cp>Historians — i.e., people who make their living caring about historical accuracy — promptly replied to the tweet. Several, including teacher Mike Stuchbery, offered some colorfully worded rebuttals, \u003ca href=\"https://twitter.com/mikestuchbery_/status/889847364558704640?lang=en\" target=\"_blank\" rel=\"noopener\">among other things saying\u003c/a>, “Roman Britain was ethnically diverse, almost by design.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But no one’s response drew more attention — or more backlash — than that of \u003ca href=\"http://www.npr.org/books/authors/221390928/mary-beard\" target=\"_blank\" rel=\"noopener\">Mary Beard\u003c/a>, a Cambridge classics professor who “has spent her career working through the texts and source materials of ancient Rome,” \u003ca href=\"http://www.npr.org/2015/11/30/457319066/from-gladiator-duels-to-caesars-last-words-the-myths-of-ancient-rome\" target=\"_blank\" rel=\"noopener\">according to Fresh Air in 2015\u003c/a>.\u003c/p>\n\u003cp>The cartoon “is indeed pretty accurate,” \u003ca href=\"https://twitter.com/wmarybeard/status/889925415032299520\" target=\"_blank\" rel=\"noopener\">Beard tweeted\u003c/a> in response to Watson, “there’s plenty of firm evidence for ethnic diversity in Roman Britain.”\u003c/p>\n\u003cp>The argument, as Beard and several other historians laid it out, was that for an empire that extended from Britain to North Africa — and from Spain to Syria — it was “unsurprising” to see nonwhite faces so far north. Soldiers were drawn from around the empire, and the University of Reading’s Matthew Nicholls \u003ca href=\"http://blogs.reading.ac.uk/the-forum/2017/07/28/how-diverse-was-roman-britain/\" target=\"_blank\" rel=\"noopener\">noted several instances\u003c/a> of Africans serving on Hadrian’s Wall specifically.\u003c/p>\n\u003cp>“I think, for example, that the BBC character was loosely based (with a bit of a chronological shift) on Quintus Lollius Urbicus, a man from what is now Algeria, who became governor of Britain,” Beard \u003ca href=\"https://www.the-tls.co.uk/roman-britain-black-white/\" target=\"_blank\" rel=\"noopener\">elaborated in the Times Supplement of London\u003c/a> last week. “You can still visit his grand tomb at Tiddis.”\u003c/p>\n\u003cp>What followed her original response, though, was “a torrent of aggressive insults, on everything from my historical competence and elitist ivory tower viewpoint to my age, shape and gender (batty old broad, obese, etc etc),” she wrote in the \u003cem>Supplement\u003c/em>.\u003c/p>\n\u003cp>Statistician Nassim Nicholas Taleb — who has also been \u003ca href=\"http://www.npr.org/sections/money/2011/01/28/129276793/deep-read-nassim-taleb-the-black-swan-guy\" target=\"_blank\" rel=\"noopener\">featured on NPR\u003c/a>, by the way — also waded into the fray, \u003ca href=\"https://twitter.com/nntaleb/status/892694339549351937\" target=\"_blank\" rel=\"noopener\">turning to genetic statistics\u003c/a> to argue against Beard’s point and calling her argument \u003ca href=\"https://twitter.com/nntaleb/status/892711071684763648\" target=\"_blank\" rel=\"noopener\">“BS”\u003c/a> (and terms more colorful). And that string included \u003ca href=\"https://twitter.com/nntaleb/status/892736047519608833\" target=\"_blank\" rel=\"noopener\">this taunt\u003c/a>: “I get more academic citations per year than you got all your life!”\u003c/p>\n\u003cp>Still, many historians did have their say — \u003ca href=\"https://thesphinxblog.com/2017/08/02/diversitas-et-multiculturalismus/\" target=\"_blank\" rel=\"noopener\">in\u003c/a> \u003ca href=\"http://blogs.reading.ac.uk/the-forum/2017/07/28/how-diverse-was-roman-britain/\" target=\"_blank\" rel=\"noopener\">favor of\u003c/a> Beard’s dissent. (Another statistician \u003ca href=\"https://iainews.iai.tv/articles/beard-nassem-taleb-twitter-feud-and-dangers-of-scientism-auid-868?access=ALL\" target=\"_blank\" rel=\"noopener\">supported\u003c/a> Beard, as well.)\u003c/p>\n\u003cp>On Monday, Beard’s employer, the University of Cambridge, supplied a defense of its own, noting “the evidence is in fact overwhelming that Roman Britain was indeed a multi-ethnic society.\u003c/p>\n\u003cp>“This was not, of course, evenly spread through the province,” the Cambridge faculty of classics continued, “and it would have been infinitely more noticeable — it can be assumed — in an urban or military context than in a rural one.”\u003c/p>\n\u003cp>Still, the university expressed optimism on one point: “We do hope participants in the public discussion and others will want to learn more about this subject.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Then \u003ca href=\"http://www.classics.cam.ac.uk/roman-britain\" target=\"_blank\" rel=\"noopener\">they offered a reading list\u003c/a> — for all the disinterested onlookers who would like to decide for themselves. \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=A+Cartoon%27s+Black+Star+Prompts+A+Fight%3A+What+Did+Roman+Britain+Look+Like%3F&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Haruo Nakajima, the Original Godzilla Actor, Dies",
"headTitle": "Haruo Nakajima, the Original Godzilla Actor, Dies | KQED",
"content": "\u003cp>Haruo Nakajima, the Japanese actor who was the first person to put on the Godzilla suit and bring the iconic monster to life, has died. He was 88.\u003c/p>\n\u003cp>Nakajima died Monday of pneumonia, his daughter and the Japanese movie studio Toho confirmed to multiple news outlets. Nakajima played Godzilla in the 1954 original and 11 subsequent films, donning the suit that he said weighed about 220 pounds and wreaking havoc on model cities and rival monsters.\u003c/p>\n\u003cp>But he began his career in samurai films, including a small role in Akira Kurosawa’s legendary 1954 film \u003cem>Seven Samurai\u003c/em>. “I had the samurai top-knot hairstyle, holding a sword, and I often played the guy who gets killed,” Nakajima said \u003ca href=\"https://www.greatbigstory.com/stories/the-man-who-was-godzilla\">in an interview earlier this year\u003c/a> with the Great Big Story.\u003c/p>\n\u003cp>Nakajima recounted that he got the attention of \u003cem>Godzilla\u003c/em> director Ishiro Honda on the set of a WWII film. “There was a scene where an airplane was on fire and an actor had to jump out of it. That was my role,” he said. “Mr. Honda saw this scene and thought, ‘This guy is full of energy.’ They came to see me as someone who had guts, and I think that’s why they wanted me for the role of Godzilla.”\u003c/p>\n\u003cp>In a 2004 interview with NPR, Nakajima described studying large animals at a zoo to help him prepare for the role of the lumbering reptile. “I watched the feet of an elephant and also a bear to see how a monster would move,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Htlqcz9S1Tk\u003c/p>\n\u003cp>But even after mastering the monster’s movements, the suit itself posed a major challenge. Nakajima told \u003cem>Great Big Story\u003c/em> that it was difficult to obtain rubber in the wake of World War II:\u003c/p>\n\u003cblockquote>\n\u003cp>“Since materials were so rare, things like rubber were not available. Instead, they used ready-mixed concrete, so it weighed about 100kg. It was so heavy and hot, and with the lighting, it was even hot just to touch it. I was sweating all over my face, but I did the best I could.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In the original 1954 film, Godzilla emerges from the ocean depths following a hydrogen bomb test and goes on a rampage through Tokyo.\u003c/p>\n\u003cp>The movie was released just nine years after the U.S. dropped atomic bombs on Japan. As Columbia University’s Greg Pflugfelder told NPR in 2004, “It’s very clearly embedded, a message that if they, America, and more broadly we, the free world, continue down this path of destruction in developing nuclear weaponry, who knows what the result might be?”\u003c/p>\n\u003cp>In 1962, Nakajima’s Godzilla battled King Kong in \u003cem>King Kong vs Godzilla\u003c/em>. But he later played the role of Kong in 1967’s \u003cem>King Kong Escapes. \u003c/em>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nuu_l24zQv4\u003c/p>\n\u003cp>And while Nakajima played some of the most recognizable roles in Japanese cinema, he told NPR that he has remained relatively anonymous.\u003c/p>\n\u003cp>“There is no impact on people when I walk the street,” Nakajima said. “I do not consider myself as a star. I thought it was going to be just one or two films.”\u003c/p>\n\u003cp>He \u003ca href=\"http://www.imdb.com/name/nm0620032/?ref_=fn_al_nm_1\">acted in some 50 films\u003c/a>, ending in 1973. \u003ca href=\"https://www.nytimes.com/2017/08/08/world/asia/godzilla-actor-haruo-nakajima-japan.html?_r=0\">According to The New York Times\u003c/a>, Nakajima “is reported to have briefly taken a job at the bowling alley on the Toho studio lot,” and later made regular appearances at comic and movie conventions.\u003c/p>\n\u003cp>The \u003cem>Godzilla\u003c/em> franchise is still going strong, the \u003cem>Times\u003c/em> reports, and “the next in the franchise will star Ken Watanabe and is scheduled for release in 2019.”\u003c/p>\n\u003cp>Special effects have largely replaced actors in monster suits, and the films’ original monsters certainly don’t appear lifelike. But author Steve Ryfle, who wrote a book about \u003cem>Godzilla \u003c/em>and its sequels, told NPR in 2004 that appearing real wasn’t really the point.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think the purpose was to make something that looked spectacular,” Ryfle said, “and if you approach it from that standpoint, I think they’re very entertaining.” \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=Haruo+Nakajima%2C+The+Original+Godzilla+Actor%2C+Dies+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Haruo Nakajima, the Japanese actor who was the first person to put on the Godzilla suit and bring the iconic monster to life, has died. He was 88.\u003c/p>\n\u003cp>Nakajima died Monday of pneumonia, his daughter and the Japanese movie studio Toho confirmed to multiple news outlets. Nakajima played Godzilla in the 1954 original and 11 subsequent films, donning the suit that he said weighed about 220 pounds and wreaking havoc on model cities and rival monsters.\u003c/p>\n\u003cp>But he began his career in samurai films, including a small role in Akira Kurosawa’s legendary 1954 film \u003cem>Seven Samurai\u003c/em>. “I had the samurai top-knot hairstyle, holding a sword, and I often played the guy who gets killed,” Nakajima said \u003ca href=\"https://www.greatbigstory.com/stories/the-man-who-was-godzilla\">in an interview earlier this year\u003c/a> with the Great Big Story.\u003c/p>\n\u003cp>Nakajima recounted that he got the attention of \u003cem>Godzilla\u003c/em> director Ishiro Honda on the set of a WWII film. “There was a scene where an airplane was on fire and an actor had to jump out of it. That was my role,” he said. “Mr. Honda saw this scene and thought, ‘This guy is full of energy.’ They came to see me as someone who had guts, and I think that’s why they wanted me for the role of Godzilla.”\u003c/p>\n\u003cp>In a 2004 interview with NPR, Nakajima described studying large animals at a zoo to help him prepare for the role of the lumbering reptile. “I watched the feet of an elephant and also a bear to see how a monster would move,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/Htlqcz9S1Tk'\n title='//www.youtube.com/embed/Htlqcz9S1Tk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But even after mastering the monster’s movements, the suit itself posed a major challenge. Nakajima told \u003cem>Great Big Story\u003c/em> that it was difficult to obtain rubber in the wake of World War II:\u003c/p>\n\u003cblockquote>\n\u003cp>“Since materials were so rare, things like rubber were not available. Instead, they used ready-mixed concrete, so it weighed about 100kg. It was so heavy and hot, and with the lighting, it was even hot just to touch it. I was sweating all over my face, but I did the best I could.”\u003c/p>\n\u003c/blockquote>\n\u003cp>In the original 1954 film, Godzilla emerges from the ocean depths following a hydrogen bomb test and goes on a rampage through Tokyo.\u003c/p>\n\u003cp>The movie was released just nine years after the U.S. dropped atomic bombs on Japan. As Columbia University’s Greg Pflugfelder told NPR in 2004, “It’s very clearly embedded, a message that if they, America, and more broadly we, the free world, continue down this path of destruction in developing nuclear weaponry, who knows what the result might be?”\u003c/p>\n\u003cp>In 1962, Nakajima’s Godzilla battled King Kong in \u003cem>King Kong vs Godzilla\u003c/em>. But he later played the role of Kong in 1967’s \u003cem>King Kong Escapes. \u003c/em>\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/nuu_l24zQv4'\n title='//www.youtube.com/embed/nuu_l24zQv4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And while Nakajima played some of the most recognizable roles in Japanese cinema, he told NPR that he has remained relatively anonymous.\u003c/p>\n\u003cp>“There is no impact on people when I walk the street,” Nakajima said. “I do not consider myself as a star. I thought it was going to be just one or two films.”\u003c/p>\n\u003cp>He \u003ca href=\"http://www.imdb.com/name/nm0620032/?ref_=fn_al_nm_1\">acted in some 50 films\u003c/a>, ending in 1973. \u003ca href=\"https://www.nytimes.com/2017/08/08/world/asia/godzilla-actor-haruo-nakajima-japan.html?_r=0\">According to The New York Times\u003c/a>, Nakajima “is reported to have briefly taken a job at the bowling alley on the Toho studio lot,” and later made regular appearances at comic and movie conventions.\u003c/p>\n\u003cp>The \u003cem>Godzilla\u003c/em> franchise is still going strong, the \u003cem>Times\u003c/em> reports, and “the next in the franchise will star Ken Watanabe and is scheduled for release in 2019.”\u003c/p>\n\u003cp>Special effects have largely replaced actors in monster suits, and the films’ original monsters certainly don’t appear lifelike. But author Steve Ryfle, who wrote a book about \u003cem>Godzilla \u003c/em>and its sequels, told NPR in 2004 that appearing real wasn’t really the point.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I think the purpose was to make something that looked spectacular,” Ryfle said, “and if you approach it from that standpoint, I think they’re very entertaining.” \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=Haruo+Nakajima%2C+The+Original+Godzilla+Actor%2C+Dies+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "On the Cusp of His North American Tour, Herbie Hancock is Still Hurtling Forward",
"headTitle": "On the Cusp of His North American Tour, Herbie Hancock is Still Hurtling Forward | KQED",
"content": "\u003cp>There’s an emblematic photograph of Herbie Hancock on the back cover of his album \u003cem>Sunlight\u003c/em>, which he began recording 40 years ago this month. He’s depicted against a red backdrop with a Sennheiser vocoder headset on his cranium, which is bowed in deep focus.\u003c/p>\n\u003cp>He’s also totally boxed in by his keyboards. The LP insert sleeve includes a diagram to help identify them by name: Oberheim Polyphonic Synthesizer, Sequential Circuits Prophet Synthesizer, ARP 2600, ARP Odyssey, Micro-Moog, Mini-Moog, Poly-Moog. (This is not a complete tally.)\u003c/p>\n\u003cp>At the time, Hancock had already proven his ability to work in a few divergent modes: taut acoustic postbop, of the sort he’d refined in the Miles Davis Quintet; coloristic chamber-jazz, on albums including \u003cem>Speak Like a Child\u003c/em>; and earthy jazz-funk, in and out of his spectacularly successful band The Headhunters. But \u003cem>Sunlight \u003c/em>opened yet another door to pop crossover, pushing even some admiring listeners to their limit.\u003c/p>\n\u003cfigure id=\"attachment_13804641\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85.jpeg\" alt=\"The back cover of Herbie Hancock's 1978 album 'Sunlight'\" width=\"400\" height=\"400\" class=\"size-full wp-image-13804641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-150x150.jpeg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The back cover of Herbie Hancock’s 1978 album ‘Sunlight’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dave Tompkins chronicles one such reaction in his 2011 book \u003cem>How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop, The Machine Speaks\u003c/em>. “What’s gotten into Herbie Hancock?” writes a disgruntled fan after a Boston concert, in a letter published in the July 1979 issue of \u003cem>Musician.\u003c/em> “Where does he think he’s going with that ridiculous vocoder? That thing isn’t just a waste of time, it’s a complete waste of taste.”\u003c/p>\n\u003cp>The music endured by this affronted concertgoer probably sounded much like it does in the clip below. Filmed in London on April 4, 1979, it features a performance of “I Thought It Was You,” \u003cem>Sunlight\u003c/em>‘s opening track, a radiant vocal number that set the mold for the more recent neo-disco alloy of Daft Punk.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8agdCw7L0BE\u003c/p>\n\u003cp>The clip shows Hancock, slightly out of breath, prefacing the song with an endorsement of the vocoder: “With this device, even a keyboard player like Herbie Hancock can sing.” The performance that follows is hardly seamless in its execution, but Hancock, a former electrical engineering major, never looks less than delighted (if also a little harried).\u003c/p>\n\u003cp>Like the \u003cem>Sunlight\u003c/em> photograph, this footage captures a spirit of obsessive musical technophilia that Hancock still wears like a scout badge. At 77, he has stayed in the game long enough to embrace technologies barely imaginable back when \u003cem>Sunlight \u003c/em>first saw daylight, in 1978. \u003c/p>\n\u003cp>All of which is worth keeping in mind as Hancock — pianist, composer, NEA Jazz Master, UNESCO Goodwill Ambassador, 14-time Grammy winner, unabashed keytar assassin — forges onward with \u003ca href=\"http://herbiehancock.com/tour/\" target=\"_blank\" rel=\"noopener\">his current world tour\u003c/a>. (Its North American leg begins on Sunday, at the Count Basie Theater in Red Bank, N.J. Then come the Beacon Theater in New York City on Monday and the Kennedy Center in Washington, D.C. on Tuesday, followed by points west.)\u003c/p>\n\u003cp>Hancock thankfully travels lighter now than he did in the frontier age of analog synthesizers. “I have memory sticks that have my sounds on them, so I didn’t have to actually bring my keyboards on tour,” he said by phone last week. “I can use what’s provided, and put my sounds in them.”\u003c/p>\n\u003cp>Speaking from a tour bus during a 700-kilometer trek from St. Moritz, Switzerland to Marseille, France, Hancock touched on the evolution of his working band, the state of his hotly anticipated new album and the grinding exhaustion of the road.\u003c/p>\n\u003cp>“This is one of the hardest tours I’ve done, just because of the scheduling,” he said. “In six weeks of this European tour, there were only two days where we weren’t either playing a concert or traveling.” (During one of those off days, about 48 hours before our conversation, he’d dashed by private plane to Paris for the premiere of the intergalactic sci-fi movie \u003cem>Valerian and the City of a Thousand Planets, \u003c/em>\u003ca href=\"https://www.thrillist.com/entertainment/nation/herbie-hancock-valerian-movie\" target=\"_blank\" rel=\"noopener\">in which he has a cameo\u003c/a>.)\u003c/p>\n\u003cp>“We did, at one point, five concerts in five days in five different countries,” Hancock added. “It wasn’t easy, but you have no choice. So you commit to it, and say: ‘I’m going to give my all, no matter what.’ And you know what? Those were some of the best concerts that we did.”\u003c/p>\n\u003cp>Hancock’s band mainly consists of brilliantly adaptable musicians who have worked with him for years, like drummer Vinnie Colaiuta, bassist James Genus and guitarist Lionel Loueke. But it also features a newer arrival: Terrace Martin, the alto saxophonist, keyboardist and producer best known for his body of work on record with rappers Snoop Dogg and Kendrick Lamar. \u003c/p>\n\u003cp>Last summer Hancock and a close facsimile of this group appeared on the Celebrate Brooklyn! series, at Prospect Park Bandshell. The concert was filmed by Jazz Night in America, and the video captures both the charged interplay and gear-shifting ingenuity of the band.\u003c/p>\n\u003cp>When I asked Hancock how the sound of the band might have changed since, he responded at first in macro terms. “The very concept of how the band works means that it’s different every day,” he said. “Because the concept is that open. It can go from avant-garde to completely funky stuff. So the spirit of what happened in Brooklyn, we’re fine-tuning that more.”\u003c/p>\n\u003cp>But he also offered a concrete example of the band’s recombinant strategies, pointing to “Cantaloupe Island,” a loping funk confection that he first recorded in 1964. (It has been covered or sampled countless times, \u003ca href=\"https://youtu.be/JwBjhBL9G6U\" target=\"_blank\" rel=\"noopener\">most famously in the early ’90s\u003c/a> by Us3.) In its present form on tour, “Cantaloupe Island” comes spliced with a Lionel Loueke invention called “Flying,” featuring a tricky sequence of metric stutter-steps. \u003c/p>\n\u003cp>“The concerts are going way better than expected,” Hancock said, returning to a more general frame. “We’re constantly creating new ways of treating the material that we have. And the flow of the concerts is different than other tours I’ve done before.” \u003c/p>\n\u003cfigure id=\"attachment_13804630\" 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/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-800x600.jpg\" alt=\"Herbie Hancock in his studio.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13804630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Herbie Hancock in his studio. \u003ccite>(Jessica Hancock/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s another way in which Hancock has lurched away from his usual protocols, and it can be traced to his home in West Hollywood. There, in a basement studio that calls to mind a state-of-the-art successor to Hancock’s old synth barricade, he has been working on another style-blending album, the details of which have been a subject of hungry scrutiny.\u003c/p>\n\u003cp>Hancock’s main partner in the studio has been \u003ca href=\"http://www.npr.org/artists/539033146/terrace-martin\" target=\"_blank\" rel=\"noopener\">Terrace Martin\u003c/a>, who was born about six months after \u003cem>Sunlight \u003c/em>was released, and has internalized its canny balance of live-band spark and high-gloss sheen. Martin belongs to a generation that grew up devouring Hancock’s pop hits, no less than his postbop innovations — and he understands how integral that crossover music, with its meld of brisk syncopation and emulsified texture, was to foundation of G-Funk. \u003c/p>\n\u003cp>In other words, Martin isn’t predisposed to regard Hancock’s synth-and-vocoder experiments as “a waste of taste,” or even an aberration. Rather, he sees it as part of a holistic expression, one that can still give up the occasional secret. \u003c/p>\n\u003cp>But this alert emulation isn’t a one-way street, as Hancock was quick to acknowledge. “I hear elements coming from Terrace, because of his generation, that I can add to my toolbox,” he said. “I don’t mean necessarily the songs, but the approach. How he approaches the process of producing my record is totally new for me; it’s not like anything I’ve been used to in the past.”\u003c/p>\n\u003cp>Martin travels in a vibrant creative orbit: He \u003ca href=\"http://www.npr.org/event/music/539020926/the-pollyseeds-intentions-oozes-style\" target=\"_blank\" rel=\"noopener\">just released an album\u003c/a> by a Los Angeles R&B collective he calls The Pollyseeds, and has collaborated with his fellow saxophonist Kamasi Washington, the electric bassist and vocalist Thundercat, and the electronic producer Flying Lotus, among others. One of Martin’s peer mentors is pianist and producer Robert Glasper, who has bridged much of the aesthetic and audience divide between hip-hop, R&B and modern jazz.\u003c/p>\n\u003cp>Every artist just mentioned is a member of Team Herbie, in one way or another. Flying Lotus \u003ca href=\"https://youtu.be/tNzZqcmukdk\" target=\"_blank\" rel=\"noopener\">featured Hancock’s playing\u003c/a> on a recent track; Glasper \u003ca href=\"https://youtu.be/zINCW1flz0U\" target=\"_blank\" rel=\"noopener\">covered a Hancock tune\u003c/a>, complete with vocoder, on a Robert Glasper Experiment album last year. By way of Martin, Glasper and Thundercat, there are moments on Kendrick Lamar’s epic \u003cem>To Pimp a Butterfly \u003c/em>that clearly evoke Hancockian precedent. \u003c/p>\n\u003cp>Lamar will reportedly make an appearance on Hancock’s new album. Hancock said Snoop Dogg has recorded a track, and Common has agreed to contribute. “Then we also have a track that Pharrell [Williams] wrote, and we kind of put it together in the studio,” he added. But it might not be accurate to suggest Herbie Hancock is making a hip-hop album, per se; he’s making a Herbie Hancock album, with parameters set to include some notable rappers.\u003c/p>\n\u003cp>Whatever the case, the goal is to have some music ready for release by early next year. “It’s coming a lot closer,” Hancock said. “We have some real melodies that we’ve come up with, instead of just building blocks.”\u003c/p>\n\u003cp>He paused, as if catching himself. “You know, it gets a little tricky when it’s taking years to put this together,” he said, laughing. “People can’t wait. If I let everything out in the press too soon, people will lose interest after a while. But it still seems to be building. Word is getting around.”\u003c/p>\n\u003cp>For all of his deftness as an early adopter, Hancock has also learned by experience to adopt the long view: It took years before \u003cem>Sunlight, \u003c/em>for example, was widely regarded as a success. In concert, he now receives applause for the album’s second track, “Come Running to Me,” which was memorably sampled by J Dilla for Slum Village. (Glasper recently \u003ca href=\"http://www.npr.org/event/music/524393926/jazz-is-the-mother-of-hip-hop-how-sampling-connects-genres\" target=\"_blank\" rel=\"noopener\">unpacked that sample\u003c/a>, among others, in a Jazz Night in America video short.) \u003c/p>\n\u003cp>Hancock has composed more enduring jazz standards, to be sure, and had bigger breakout hits. When people talk about Afrofuturism, rightly placing him in its vanguard, they often fixate on the sci-fi imagery of an album like \u003cem>Thrust\u003c/em>, or the landmark hip-hop synergies of “Rockit.” \u003c/p>\n\u003cp>Still, that image on the back cover of \u003cem>Sunlight\u003c/em> frames the idea in beguilingly practical terms, as if Hancock were a magician producing all his cards for inspection. Not that seeing the cards, fanned out on the table, does anything to disarm the sleight of hand.\u003c/p>\n\u003cp>Describing the episodic, quick-fire digression of his show, Hancock chuckled. “The reaction I see from people is that they’re on the edge of their seat,” he said, “not knowing what we’re going to do next.”\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Herbie Hancock appears at the Count Basie Theater in Red Bank, N.J. on Sunday; the Beacon Theater in New York City on Monday; and the Kennedy Center in Washington, D.C. on Tuesday. For more tour dates and other information, visit \u003c/em>\u003ca href=\"http://www.herbiehancock.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>herbiehancock.com\u003c/em>\u003c/a>\u003cem>.\u003c/em> \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\" target=\"_blank\" rel=\"noopener\">WBGO and Jazz At Lincoln Center\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+The+Cusp+Of+His+North+American+Tour%2C+Herbie+Hancock+Is+Still+Hurtling+Forward&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Working with a new band and deep into the making of a new record with collaborator Terrace Martin, Herbie Hancock finds himself in conversation with his own visions of the future, now 40 years old.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s an emblematic photograph of Herbie Hancock on the back cover of his album \u003cem>Sunlight\u003c/em>, which he began recording 40 years ago this month. He’s depicted against a red backdrop with a Sennheiser vocoder headset on his cranium, which is bowed in deep focus.\u003c/p>\n\u003cp>He’s also totally boxed in by his keyboards. The LP insert sleeve includes a diagram to help identify them by name: Oberheim Polyphonic Synthesizer, Sequential Circuits Prophet Synthesizer, ARP 2600, ARP Odyssey, Micro-Moog, Mini-Moog, Poly-Moog. (This is not a complete tally.)\u003c/p>\n\u003cp>At the time, Hancock had already proven his ability to work in a few divergent modes: taut acoustic postbop, of the sort he’d refined in the Miles Davis Quintet; coloristic chamber-jazz, on albums including \u003cem>Speak Like a Child\u003c/em>; and earthy jazz-funk, in and out of his spectacularly successful band The Headhunters. But \u003cem>Sunlight \u003c/em>opened yet another door to pop crossover, pushing even some admiring listeners to their limit.\u003c/p>\n\u003cfigure id=\"attachment_13804641\" class=\"wp-caption alignright\" style=\"max-width: 400px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85.jpeg\" alt=\"The back cover of Herbie Hancock's 1978 album 'Sunlight'\" width=\"400\" height=\"400\" class=\"size-full wp-image-13804641\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85.jpeg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-160x160.jpeg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-240x240.jpeg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-375x375.jpeg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-32x32.jpeg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-50x50.jpeg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-64x64.jpeg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-96x96.jpeg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-128x128.jpeg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/sunlight-back-cover_sq-fd824cf6ceae1d1eb1850035d25eacb67aa7f818-s400-c85-150x150.jpeg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003cfigcaption class=\"wp-caption-text\">The back cover of Herbie Hancock’s 1978 album ‘Sunlight’ \u003ccite>(Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dave Tompkins chronicles one such reaction in his 2011 book \u003cem>How to Wreck a Nice Beach: The Vocoder from World War II to Hip-Hop, The Machine Speaks\u003c/em>. “What’s gotten into Herbie Hancock?” writes a disgruntled fan after a Boston concert, in a letter published in the July 1979 issue of \u003cem>Musician.\u003c/em> “Where does he think he’s going with that ridiculous vocoder? That thing isn’t just a waste of time, it’s a complete waste of taste.”\u003c/p>\n\u003cp>The music endured by this affronted concertgoer probably sounded much like it does in the clip below. Filmed in London on April 4, 1979, it features a performance of “I Thought It Was You,” \u003cem>Sunlight\u003c/em>‘s opening track, a radiant vocal number that set the mold for the more recent neo-disco alloy of Daft Punk.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/8agdCw7L0BE'\n title='//www.youtube.com/embed/8agdCw7L0BE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The clip shows Hancock, slightly out of breath, prefacing the song with an endorsement of the vocoder: “With this device, even a keyboard player like Herbie Hancock can sing.” The performance that follows is hardly seamless in its execution, but Hancock, a former electrical engineering major, never looks less than delighted (if also a little harried).\u003c/p>\n\u003cp>Like the \u003cem>Sunlight\u003c/em> photograph, this footage captures a spirit of obsessive musical technophilia that Hancock still wears like a scout badge. At 77, he has stayed in the game long enough to embrace technologies barely imaginable back when \u003cem>Sunlight \u003c/em>first saw daylight, in 1978. \u003c/p>\n\u003cp>All of which is worth keeping in mind as Hancock — pianist, composer, NEA Jazz Master, UNESCO Goodwill Ambassador, 14-time Grammy winner, unabashed keytar assassin — forges onward with \u003ca href=\"http://herbiehancock.com/tour/\" target=\"_blank\" rel=\"noopener\">his current world tour\u003c/a>. (Its North American leg begins on Sunday, at the Count Basie Theater in Red Bank, N.J. Then come the Beacon Theater in New York City on Monday and the Kennedy Center in Washington, D.C. on Tuesday, followed by points west.)\u003c/p>\n\u003cp>Hancock thankfully travels lighter now than he did in the frontier age of analog synthesizers. “I have memory sticks that have my sounds on them, so I didn’t have to actually bring my keyboards on tour,” he said by phone last week. “I can use what’s provided, and put my sounds in them.”\u003c/p>\n\u003cp>Speaking from a tour bus during a 700-kilometer trek from St. Moritz, Switzerland to Marseille, France, Hancock touched on the evolution of his working band, the state of his hotly anticipated new album and the grinding exhaustion of the road.\u003c/p>\n\u003cp>“This is one of the hardest tours I’ve done, just because of the scheduling,” he said. “In six weeks of this European tour, there were only two days where we weren’t either playing a concert or traveling.” (During one of those off days, about 48 hours before our conversation, he’d dashed by private plane to Paris for the premiere of the intergalactic sci-fi movie \u003cem>Valerian and the City of a Thousand Planets, \u003c/em>\u003ca href=\"https://www.thrillist.com/entertainment/nation/herbie-hancock-valerian-movie\" target=\"_blank\" rel=\"noopener\">in which he has a cameo\u003c/a>.)\u003c/p>\n\u003cp>“We did, at one point, five concerts in five days in five different countries,” Hancock added. “It wasn’t easy, but you have no choice. So you commit to it, and say: ‘I’m going to give my all, no matter what.’ And you know what? Those were some of the best concerts that we did.”\u003c/p>\n\u003cp>Hancock’s band mainly consists of brilliantly adaptable musicians who have worked with him for years, like drummer Vinnie Colaiuta, bassist James Genus and guitarist Lionel Loueke. But it also features a newer arrival: Terrace Martin, the alto saxophonist, keyboardist and producer best known for his body of work on record with rappers Snoop Dogg and Kendrick Lamar. \u003c/p>\n\u003cp>Last summer Hancock and a close facsimile of this group appeared on the Celebrate Brooklyn! series, at Prospect Park Bandshell. The concert was filmed by Jazz Night in America, and the video captures both the charged interplay and gear-shifting ingenuity of the band.\u003c/p>\n\u003cp>When I asked Hancock how the sound of the band might have changed since, he responded at first in macro terms. “The very concept of how the band works means that it’s different every day,” he said. “Because the concept is that open. It can go from avant-garde to completely funky stuff. So the spirit of what happened in Brooklyn, we’re fine-tuning that more.”\u003c/p>\n\u003cp>But he also offered a concrete example of the band’s recombinant strategies, pointing to “Cantaloupe Island,” a loping funk confection that he first recorded in 1964. (It has been covered or sampled countless times, \u003ca href=\"https://youtu.be/JwBjhBL9G6U\" target=\"_blank\" rel=\"noopener\">most famously in the early ’90s\u003c/a> by Us3.) In its present form on tour, “Cantaloupe Island” comes spliced with a Lionel Loueke invention called “Flying,” featuring a tricky sequence of metric stutter-steps. \u003c/p>\n\u003cp>“The concerts are going way better than expected,” Hancock said, returning to a more general frame. “We’re constantly creating new ways of treating the material that we have. And the flow of the concerts is different than other tours I’ve done before.” \u003c/p>\n\u003cfigure id=\"attachment_13804630\" 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/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-800x600.jpg\" alt=\"Herbie Hancock in his studio.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13804630\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hh_in_studio_courtesy-jessica-hancock-edit-1c6f24d93573128d501158d6fbe0d7fd59e9ed44.jpg 1776w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Herbie Hancock in his studio. \u003ccite>(Jessica Hancock/Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s another way in which Hancock has lurched away from his usual protocols, and it can be traced to his home in West Hollywood. There, in a basement studio that calls to mind a state-of-the-art successor to Hancock’s old synth barricade, he has been working on another style-blending album, the details of which have been a subject of hungry scrutiny.\u003c/p>\n\u003cp>Hancock’s main partner in the studio has been \u003ca href=\"http://www.npr.org/artists/539033146/terrace-martin\" target=\"_blank\" rel=\"noopener\">Terrace Martin\u003c/a>, who was born about six months after \u003cem>Sunlight \u003c/em>was released, and has internalized its canny balance of live-band spark and high-gloss sheen. Martin belongs to a generation that grew up devouring Hancock’s pop hits, no less than his postbop innovations — and he understands how integral that crossover music, with its meld of brisk syncopation and emulsified texture, was to foundation of G-Funk. \u003c/p>\n\u003cp>In other words, Martin isn’t predisposed to regard Hancock’s synth-and-vocoder experiments as “a waste of taste,” or even an aberration. Rather, he sees it as part of a holistic expression, one that can still give up the occasional secret. \u003c/p>\n\u003cp>But this alert emulation isn’t a one-way street, as Hancock was quick to acknowledge. “I hear elements coming from Terrace, because of his generation, that I can add to my toolbox,” he said. “I don’t mean necessarily the songs, but the approach. How he approaches the process of producing my record is totally new for me; it’s not like anything I’ve been used to in the past.”\u003c/p>\n\u003cp>Martin travels in a vibrant creative orbit: He \u003ca href=\"http://www.npr.org/event/music/539020926/the-pollyseeds-intentions-oozes-style\" target=\"_blank\" rel=\"noopener\">just released an album\u003c/a> by a Los Angeles R&B collective he calls The Pollyseeds, and has collaborated with his fellow saxophonist Kamasi Washington, the electric bassist and vocalist Thundercat, and the electronic producer Flying Lotus, among others. One of Martin’s peer mentors is pianist and producer Robert Glasper, who has bridged much of the aesthetic and audience divide between hip-hop, R&B and modern jazz.\u003c/p>\n\u003cp>Every artist just mentioned is a member of Team Herbie, in one way or another. Flying Lotus \u003ca href=\"https://youtu.be/tNzZqcmukdk\" target=\"_blank\" rel=\"noopener\">featured Hancock’s playing\u003c/a> on a recent track; Glasper \u003ca href=\"https://youtu.be/zINCW1flz0U\" target=\"_blank\" rel=\"noopener\">covered a Hancock tune\u003c/a>, complete with vocoder, on a Robert Glasper Experiment album last year. By way of Martin, Glasper and Thundercat, there are moments on Kendrick Lamar’s epic \u003cem>To Pimp a Butterfly \u003c/em>that clearly evoke Hancockian precedent. \u003c/p>\n\u003cp>Lamar will reportedly make an appearance on Hancock’s new album. Hancock said Snoop Dogg has recorded a track, and Common has agreed to contribute. “Then we also have a track that Pharrell [Williams] wrote, and we kind of put it together in the studio,” he added. But it might not be accurate to suggest Herbie Hancock is making a hip-hop album, per se; he’s making a Herbie Hancock album, with parameters set to include some notable rappers.\u003c/p>\n\u003cp>Whatever the case, the goal is to have some music ready for release by early next year. “It’s coming a lot closer,” Hancock said. “We have some real melodies that we’ve come up with, instead of just building blocks.”\u003c/p>\n\u003cp>He paused, as if catching himself. “You know, it gets a little tricky when it’s taking years to put this together,” he said, laughing. “People can’t wait. If I let everything out in the press too soon, people will lose interest after a while. But it still seems to be building. Word is getting around.”\u003c/p>\n\u003cp>For all of his deftness as an early adopter, Hancock has also learned by experience to adopt the long view: It took years before \u003cem>Sunlight, \u003c/em>for example, was widely regarded as a success. In concert, he now receives applause for the album’s second track, “Come Running to Me,” which was memorably sampled by J Dilla for Slum Village. (Glasper recently \u003ca href=\"http://www.npr.org/event/music/524393926/jazz-is-the-mother-of-hip-hop-how-sampling-connects-genres\" target=\"_blank\" rel=\"noopener\">unpacked that sample\u003c/a>, among others, in a Jazz Night in America video short.) \u003c/p>\n\u003cp>Hancock has composed more enduring jazz standards, to be sure, and had bigger breakout hits. When people talk about Afrofuturism, rightly placing him in its vanguard, they often fixate on the sci-fi imagery of an album like \u003cem>Thrust\u003c/em>, or the landmark hip-hop synergies of “Rockit.” \u003c/p>\n\u003cp>Still, that image on the back cover of \u003cem>Sunlight\u003c/em> frames the idea in beguilingly practical terms, as if Hancock were a magician producing all his cards for inspection. Not that seeing the cards, fanned out on the table, does anything to disarm the sleight of hand.\u003c/p>\n\u003cp>Describing the episodic, quick-fire digression of his show, Hancock chuckled. “The reaction I see from people is that they’re on the edge of their seat,” he said, “not knowing what we’re going to do next.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Herbie Hancock appears at the Count Basie Theater in Red Bank, N.J. on Sunday; the Beacon Theater in New York City on Monday; and the Kennedy Center in Washington, D.C. on Tuesday. For more tour dates and other information, visit \u003c/em>\u003ca href=\"http://www.herbiehancock.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>herbiehancock.com\u003c/em>\u003c/a>\u003cem>.\u003c/em> \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\" target=\"_blank\" rel=\"noopener\">WBGO and Jazz At Lincoln Center\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=On+The+Cusp+Of+His+North+American+Tour%2C+Herbie+Hancock+Is+Still+Hurtling+Forward&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
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"source": "NPR"
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
},
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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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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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
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