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"content": "\u003cp>The music distribution site Bandcamp will be donating \u003ca href=\"https://daily.bandcamp.com/2017/07/31/this-friday-stand-with-bandcamp-in-support-of-trans-rights/\" target=\"_blank\" rel=\"noopener\">100 percent\u003c/a> of its share of music sales Friday to the Transgender Law Center, a nonprofit based in Oakland.\u003c/p>\n\u003cp>In an announcement of the fundraiser posted on July 31, the company declared that it is meant as a direct response to President Trump’s recent \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/07/26/539470211/trump-says-transgender-people-cant-serve-in-military\" target=\"_blank\" rel=\"noopener\">Twitter announcement\u003c/a> that the government will bar transgender people from serving in the U.S. military.\u003c/p>\n\u003cp>“We support our LGBT+ users and staff, and we stand against any person or group that would see them further marginalized,” the company’s staff wrote in the announcement. “This includes the current U.S. administration, and its recent capricious declaration that transgender troops will no longer be able to serve in the military. That this announcement was motivated in part to help fund the border wall exposes it as part of the administration’s cynical, discriminatory agenda.”\u003c/p>\n\u003cp>Friday’s activity is modeled after a fundraiser the site held in January. The fundraiser generated \u003ca href=\"https://daily.bandcamp.com/2017/02/03/update-on-todays-aclu-fundraising-frenzy/\" target=\"_blank\" rel=\"noopener\">$1 million in sales\u003c/a>. Bandcamp says it donated its share of the proceeds — about $120,000 — to the ACLU after President Trump issued an \u003ca href=\"http://www.npr.org/2017/01/31/512439121/trumps-executive-order-on-immigration-annotated\" target=\"_blank\" rel=\"noopener\">executive order\u003c/a> that aimed to temporarily ban travelers from seven Muslim-majority nations. It also says that many of the record labels and artists have pledged to donate some of the rest of the proceeds as well.\u003c/p>\n\u003cp>Since Bandcamp made its original announcement of Friday’s fundraiser, over 200 labels and artists have \u003ca href=\"https://daily.bandcamp.com/2017/08/03/labels-artists-join-us-in-donating-todays-profits-to-transgender-law-center/\" target=\"_blank\" rel=\"noopener\">declared\u003c/a> that they will also donate percentages of their sales shares Friday to the Transgender Law Center; some of those companies and musicians have extended their donations in various ways (for example, to apply to all sales during the month of August). Participants include Car Seat Headrest, King Britt and Speedy Ortiz, as well as dozens of record labels including Sub Pop, Merge, ANTI-, Kill Rock Stars and Greenleaf.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Bandcamp has emerged as one of the most important commercial conduits between musicians and fans. The site allows listeners to stream music and buy songs from independent artists and labels, with \u003ca href=\"https://www.nytimes.com/2016/08/20/arts/music/bandcamp-shopping-for-music.html\" target=\"_blank\" rel=\"noopener\">85 percent\u003c/a> of the profit going to the musicians. According to the company, fans have paid artists \u003ca href=\"https://bandcamp.com/about\" target=\"_blank\" rel=\"noopener\">$231 million\u003c/a> since the company’s launch in 2008. \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=Bandcamp+Holds+Fundraiser+For+Transgender+Law+Center&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The music distribution site Bandcamp will be donating \u003ca href=\"https://daily.bandcamp.com/2017/07/31/this-friday-stand-with-bandcamp-in-support-of-trans-rights/\" target=\"_blank\" rel=\"noopener\">100 percent\u003c/a> of its share of music sales Friday to the Transgender Law Center, a nonprofit based in Oakland.\u003c/p>\n\u003cp>In an announcement of the fundraiser posted on July 31, the company declared that it is meant as a direct response to President Trump’s recent \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/07/26/539470211/trump-says-transgender-people-cant-serve-in-military\" target=\"_blank\" rel=\"noopener\">Twitter announcement\u003c/a> that the government will bar transgender people from serving in the U.S. military.\u003c/p>\n\u003cp>“We support our LGBT+ users and staff, and we stand against any person or group that would see them further marginalized,” the company’s staff wrote in the announcement. “This includes the current U.S. administration, and its recent capricious declaration that transgender troops will no longer be able to serve in the military. That this announcement was motivated in part to help fund the border wall exposes it as part of the administration’s cynical, discriminatory agenda.”\u003c/p>\n\u003cp>Friday’s activity is modeled after a fundraiser the site held in January. The fundraiser generated \u003ca href=\"https://daily.bandcamp.com/2017/02/03/update-on-todays-aclu-fundraising-frenzy/\" target=\"_blank\" rel=\"noopener\">$1 million in sales\u003c/a>. Bandcamp says it donated its share of the proceeds — about $120,000 — to the ACLU after President Trump issued an \u003ca href=\"http://www.npr.org/2017/01/31/512439121/trumps-executive-order-on-immigration-annotated\" target=\"_blank\" rel=\"noopener\">executive order\u003c/a> that aimed to temporarily ban travelers from seven Muslim-majority nations. It also says that many of the record labels and artists have pledged to donate some of the rest of the proceeds as well.\u003c/p>\n\u003cp>Since Bandcamp made its original announcement of Friday’s fundraiser, over 200 labels and artists have \u003ca href=\"https://daily.bandcamp.com/2017/08/03/labels-artists-join-us-in-donating-todays-profits-to-transgender-law-center/\" target=\"_blank\" rel=\"noopener\">declared\u003c/a> that they will also donate percentages of their sales shares Friday to the Transgender Law Center; some of those companies and musicians have extended their donations in various ways (for example, to apply to all sales during the month of August). Participants include Car Seat Headrest, King Britt and Speedy Ortiz, as well as dozens of record labels including Sub Pop, Merge, ANTI-, Kill Rock Stars and Greenleaf.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Brigsby Bear': Do Not Adjust Your (Mind) Set",
"headTitle": "‘Brigsby Bear’: Do Not Adjust Your (Mind) Set | KQED",
"content": "\u003cp>If Barney the Dinosaur also played all five members of Voltron, he would look something like Brigsby Bear, a man in a giant teddy bear suit who stomps around against an outer-space backdrop blinking his animatronic eyes and learning lessons. \u003cem>Brigsby Bear Adventures\u003c/em> has been on the air for some time, and the substance of those lessons has evolved from simple arithmetic to advanced scientific concepts, often accompanied by a telling refrain: “Curiosity is an unnatural emotion.”\u003c/p>\n\u003cp>Before we get curious, first a warning. It’s fitting that a film about the ways entertainment can damage our psychology would be super-spoilery. There’s a giant “twist” in \u003cem>Brigsby Bear\u003c/em> that occurs shortly after the film starts, one the marketing materials have smartly chosen not to reveal. And for those who haven’t had it told to them, it’s worth going into the film completely in the dark, much like its protagonist is at the beginning.\u003c/p>\n\u003cp>But a review that only talks about the first five minutes of a movie, and labels the rest off-limits, is just stunting its reader’s maturity. So consider this a word of warning: What follows will set you free.\u003c/p>\n\u003cp>https://youtu.be/InqSiQENDYY\u003c/p>\n\u003cp>We know about Brigsby only through his number-one fan, the gawky overgrown child James Pope (\u003cem>Saturday Night Live\u003c/em>‘s Kyle Mooney), who lives in an underground bunker with parents Ted and April (Mark Hamill and Jane Adams). James never leaves the bunker, because he’s been told there’s nothing outside but danger; instead, he watches new Brigsby videos in his room via the VHS tapes that have been arriving mysteriously, like clockwork, his entire life. They’re low-rent affairs, but he’s totally satisfied, having — like Jim Carrey’s Truman in \u003cem>The Truman Show \u003c/em>— never known any other world.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Then one night, as James sits on the upper deck admiring the vast desert expanse, he sees flashes of red and blue in the distance: cops, finally tracking him down after a decades-long search. James soon learns that Ted and April are children’s entertainers on the lam who kidnapped him from the hospital as a baby, and that his real parents are middle-class Utahns Greg and Louise (Matt Walsh and Michaela Watkins). But once he’s back at home, meeting his surly sister (Ryan Simpkins) and being introduced to things like basketball and psychiatrists and beer, all James wants to do is cuddle up back in Brigsby’s giant bear arms, safe in the cocoon of the show that had all the answers.\u003c/p>\n\u003cfigure id=\"attachment_13788686\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/1.jpg\" alt=\"Kyle Mooney as James in 'Brigsby Bear.'\" width=\"1100\" height=\"619\" class=\"size-full wp-image-13788686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-520x293.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Kyle Mooney as James in ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is a problem, since Ted and April were the ones making the shows, and now that they’re in prison there’s no one left who understands James’s distinct, obsessive pain. When he discovers the existence of movies, he takes it upon himself to make a movie version of \u003cem>Brigsby\u003c/em>… you know, to finally wrap up all those dangling loose ends in the mythology. It’s a while before we realize whose mythology is truly at stake.\u003c/p>\n\u003cp>Since his \u003cem>SNL\u003c/em> debut in 2013, Mooney has been stealthily perfecting the character type of a sheltered child in a gawky man’s body (not to be confused with the ribald man-child preferred by \u003cem>SNL \u003c/em>alum Adam Sandler). In \u003cem>Brigsby\u003c/em>, which Mooney co-wrote with Kevin Costello, he’s found the big-little boy he was born to play. James hides his true delusions behind a wall of impishness so high that it takes a while for us to figure out just how deep the damage goes: Unlike Brie Larson in \u003cem>Room\u003c/em> or the many real-world kidnapping nightmares, he loved his life in the bunker and has no desire to join society. The film does have jokes, but Mooney, channeling the spirit of Peter Sellers, delivers them all without even the slightest hint that he knows he’s joking.\u003c/p>\n\u003cfigure id=\"attachment_13788925\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/2.jpg\" alt=\"Still from 'Brigsby Bear.'\" width=\"729\" height=\"306\" class=\"size-full wp-image-13788925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2.jpg 729w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-520x218.jpg 520w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dave McCary, Mooney’s childhood buddy and an \u003cem>SNL\u003c/em> director who formerly partnered with him in the sketch comedy group Good Neighbor, directs with considerably more cinematic flair than one is used to seeing in sketch-troupe movies. The early bunker scenes combine wood-paneled-basement chic with a futurist sheen, and the rest of the cast, though mostly comedy ringers, never gets outwardly jokey — Hamill, in particular, is terrifying for how naturally he creates his parental fantasy. It’s too bad the film’s second half, in which James enlists the whole town to help him make his weird little movie, gets overly earnest and bland. Suddenly we’re watching just another \u003cem>Lars and the Real Girl \u003c/em>Sundance special about a kid and his delusions, without the dark edge of earlier, inventive scenes that hint at brainwashing and the ways television can make the viewer complacent in their own prison. (One nice touch: There’s a Brigsby “online” fan board, made up only of James and several avatars played by Ted.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In truth, the existence of Brigsby himself opens up so many ideas that the fun comes in parsing through them after the movie ends. For example, did Ted and April create the show to entertain this kid they stole, or did they kidnap the kid to wean an audience on their ridiculously elaborate show? So maybe the film’s true genius is that it leaves us wanting the same thing James does: more time with Brigsby.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If Barney the Dinosaur also played all five members of Voltron, he would look something like Brigsby Bear, a man in a giant teddy bear suit who stomps around against an outer-space backdrop blinking his animatronic eyes and learning lessons. \u003cem>Brigsby Bear Adventures\u003c/em> has been on the air for some time, and the substance of those lessons has evolved from simple arithmetic to advanced scientific concepts, often accompanied by a telling refrain: “Curiosity is an unnatural emotion.”\u003c/p>\n\u003cp>Before we get curious, first a warning. It’s fitting that a film about the ways entertainment can damage our psychology would be super-spoilery. There’s a giant “twist” in \u003cem>Brigsby Bear\u003c/em> that occurs shortly after the film starts, one the marketing materials have smartly chosen not to reveal. And for those who haven’t had it told to them, it’s worth going into the film completely in the dark, much like its protagonist is at the beginning.\u003c/p>\n\u003cp>But a review that only talks about the first five minutes of a movie, and labels the rest off-limits, is just stunting its reader’s maturity. So consider this a word of warning: What follows will set you free.\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/InqSiQENDYY'\n title='//www.youtube.com/embed/InqSiQENDYY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>We know about Brigsby only through his number-one fan, the gawky overgrown child James Pope (\u003cem>Saturday Night Live\u003c/em>‘s Kyle Mooney), who lives in an underground bunker with parents Ted and April (Mark Hamill and Jane Adams). James never leaves the bunker, because he’s been told there’s nothing outside but danger; instead, he watches new Brigsby videos in his room via the VHS tapes that have been arriving mysteriously, like clockwork, his entire life. They’re low-rent affairs, but he’s totally satisfied, having — like Jim Carrey’s Truman in \u003cem>The Truman Show \u003c/em>— never known any other world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Then one night, as James sits on the upper deck admiring the vast desert expanse, he sees flashes of red and blue in the distance: cops, finally tracking him down after a decades-long search. James soon learns that Ted and April are children’s entertainers on the lam who kidnapped him from the hospital as a baby, and that his real parents are middle-class Utahns Greg and Louise (Matt Walsh and Michaela Watkins). But once he’s back at home, meeting his surly sister (Ryan Simpkins) and being introduced to things like basketball and psychiatrists and beer, all James wants to do is cuddle up back in Brigsby’s giant bear arms, safe in the cocoon of the show that had all the answers.\u003c/p>\n\u003cfigure id=\"attachment_13788686\" class=\"wp-caption aligncenter\" style=\"max-width: 1100px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/1.jpg\" alt=\"Kyle Mooney as James in 'Brigsby Bear.'\" width=\"1100\" height=\"619\" class=\"size-full wp-image-13788686\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1.jpg 1100w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/1-520x293.jpg 520w\" sizes=\"(max-width: 1100px) 100vw, 1100px\">\u003cfigcaption class=\"wp-caption-text\">Kyle Mooney as James in ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is a problem, since Ted and April were the ones making the shows, and now that they’re in prison there’s no one left who understands James’s distinct, obsessive pain. When he discovers the existence of movies, he takes it upon himself to make a movie version of \u003cem>Brigsby\u003c/em>… you know, to finally wrap up all those dangling loose ends in the mythology. It’s a while before we realize whose mythology is truly at stake.\u003c/p>\n\u003cp>Since his \u003cem>SNL\u003c/em> debut in 2013, Mooney has been stealthily perfecting the character type of a sheltered child in a gawky man’s body (not to be confused with the ribald man-child preferred by \u003cem>SNL \u003c/em>alum Adam Sandler). In \u003cem>Brigsby\u003c/em>, which Mooney co-wrote with Kevin Costello, he’s found the big-little boy he was born to play. James hides his true delusions behind a wall of impishness so high that it takes a while for us to figure out just how deep the damage goes: Unlike Brie Larson in \u003cem>Room\u003c/em> or the many real-world kidnapping nightmares, he loved his life in the bunker and has no desire to join society. The film does have jokes, but Mooney, channeling the spirit of Peter Sellers, delivers them all without even the slightest hint that he knows he’s joking.\u003c/p>\n\u003cfigure id=\"attachment_13788925\" class=\"wp-caption aligncenter\" style=\"max-width: 729px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/08/2.jpg\" alt=\"Still from 'Brigsby Bear.'\" width=\"729\" height=\"306\" class=\"size-full wp-image-13788925\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2.jpg 729w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-375x157.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/2-520x218.jpg 520w\" sizes=\"(max-width: 729px) 100vw, 729px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Brigsby Bear.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dave McCary, Mooney’s childhood buddy and an \u003cem>SNL\u003c/em> director who formerly partnered with him in the sketch comedy group Good Neighbor, directs with considerably more cinematic flair than one is used to seeing in sketch-troupe movies. The early bunker scenes combine wood-paneled-basement chic with a futurist sheen, and the rest of the cast, though mostly comedy ringers, never gets outwardly jokey — Hamill, in particular, is terrifying for how naturally he creates his parental fantasy. It’s too bad the film’s second half, in which James enlists the whole town to help him make his weird little movie, gets overly earnest and bland. Suddenly we’re watching just another \u003cem>Lars and the Real Girl \u003c/em>Sundance special about a kid and his delusions, without the dark edge of earlier, inventive scenes that hint at brainwashing and the ways television can make the viewer complacent in their own prison. (One nice touch: There’s a Brigsby “online” fan board, made up only of James and several avatars played by Ted.)\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In truth, the existence of Brigsby himself opens up so many ideas that the fun comes in parsing through them after the movie ends. For example, did Ted and April create the show to entertain this kid they stole, or did they kidnap the kid to wean an audience on their ridiculously elaborate show? So maybe the film’s true genius is that it leaves us wanting the same thing James does: more time with Brigsby.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "LL Cool J to Become Kennedy Center's First Hip-Hop Honoree",
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"content": "\u003cp>Thirty years after becoming rap’s first sex symbol, LL Cool J will be the first hip-hop artist to receive Kennedy Center Honors in its 40-year history.\u003c/p>\n\u003cp>The rapper-turned-actor born James Todd Smith will be inducted with a prestigious 2017 class — including pop stars Gloria Estefan, Lionel Richie, television icon Norman Lear and choreographer Carmen de Lavallade – on Sunday, Dec. 3 at the Kennedy Center Opera House in Washington, D.C.\u003c/p>\n\u003cp>The honorees will be saluted by performers while seated alongside President Trump and First Lady Melania Trump.\u003c/p>\n\u003cp>While Kennedy Center Honors acknowledge the lifetime achievements of contributors to American culture, the list has traditionally been limited in scope. But the inclusion of LL, born James Todd Smith, in this year’s honoree list further expands the center’s growing embrace of hip-hop culture. Earlier this year the center appointed Simone Eccleston as its first director of Hip-Hop Culture after naming A Tribe Called Quest’s Q-Tip as artistic director of Hip-Hop Culture in 2016. Historic performances by Kendrick Lamar and Common have also underlined the center’s investment, and more programming for the 2017-18 season is expected to be announced in the coming months.\u003c/p>\n\u003cp>At 49, LL will become the Kennedy Center’s youngest honoree, too. It’s a long way from home for the St. Albans, Queens native who made his first record, “I Need A Beat,” at 16, after his demo tape made it to the ears of producer and Def Jam founder Rick Rubin.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As rap’s first bona fide solo star, LL was larger than life in the ’80s, the first to embody the street-corner swagger and sex appeal that would become a blueprint for future hip-hop icons ranging from Big Daddy Kane to Biggie. Before an artist like Drake could legitimately mix hip-hop lyricism with R&B vulnerability, LL turned out the first hit rap ballad with 1987’s “I Need Love.” And the ladies loved him for it.\u003c/p>\n\u003cp>Best known today for his starring roles in TV and film, he received his star on the Hollywood Walk of Fame last year. But after a career spanning 30-plus years and 13 albums, he’s yet to leave rap alone — he’s rumored to be in the studio recording with Dr. Dre.\u003c/p>\n\u003cp>In his statement on the Kennedy Center honor, LL credits his grandmother — the same one who inspired his 1990 hit, “Mama Said Knock You Out” — for his success, while dedicating the award to the hip-hop pioneers who preceded and the generations who have since followed.\u003c/p>\n\u003cp>“My late grandmother passed some wise advice to me: ‘If a task is once begun, never leave it ’til it’s done. Be thy labor great or small, do it well or not at all.’ That adage has guided everything I have ever done in my life and I couldn’t be more grateful because it has led me here,” he says. “To be the first rap artist honored by the Kennedy Center is beyond anything I could have imagined. I dedicate this honor to the hip-hop artists who came before me and those who came after me. This simply proves that dreams don’t have deadlines. God is great.”\u003c/p>\n\u003cp>But it takes a teen-aged LL to truly put his pioneering achievements in perspective. When rap still in its infancy, LL was already positioning himself as its rising star.\u003c/p>\n\u003cp>“There hasn’t been a rap star yet, just rappers,” a 19-year-old LL stated in a 1987 for a Bill Adler-penned bio that appeared inside his Def Jam Tour ’87 concert program. “There’ll be a rap star when one of us is standing next to Michael Jackson at the Grammy’s getting just as many as he is\u003cstrong> \u003c/strong>… I want the Bob Hope house and the Benz and the Corvette and the pool. I want to throw balls to my dog in the pool.”\u003c/p>\n\u003cp>“And just remember this,” he added. “I don’t write rhymes to make money. I write from the heart.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 40th Annual Honors will air on CBS on Tuesday, December 26 at 9 p.m. ET.\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=LL+Cool+J+To+Become+Kennedy+Center%27s+First+Hip-Hop+Honoree&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thirty years after becoming rap’s first sex symbol, LL Cool J will be the first hip-hop artist to receive Kennedy Center Honors in its 40-year history.\u003c/p>\n\u003cp>The rapper-turned-actor born James Todd Smith will be inducted with a prestigious 2017 class — including pop stars Gloria Estefan, Lionel Richie, television icon Norman Lear and choreographer Carmen de Lavallade – on Sunday, Dec. 3 at the Kennedy Center Opera House in Washington, D.C.\u003c/p>\n\u003cp>The honorees will be saluted by performers while seated alongside President Trump and First Lady Melania Trump.\u003c/p>\n\u003cp>While Kennedy Center Honors acknowledge the lifetime achievements of contributors to American culture, the list has traditionally been limited in scope. But the inclusion of LL, born James Todd Smith, in this year’s honoree list further expands the center’s growing embrace of hip-hop culture. Earlier this year the center appointed Simone Eccleston as its first director of Hip-Hop Culture after naming A Tribe Called Quest’s Q-Tip as artistic director of Hip-Hop Culture in 2016. Historic performances by Kendrick Lamar and Common have also underlined the center’s investment, and more programming for the 2017-18 season is expected to be announced in the coming months.\u003c/p>\n\u003cp>At 49, LL will become the Kennedy Center’s youngest honoree, too. It’s a long way from home for the St. Albans, Queens native who made his first record, “I Need A Beat,” at 16, after his demo tape made it to the ears of producer and Def Jam founder Rick Rubin.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As rap’s first bona fide solo star, LL was larger than life in the ’80s, the first to embody the street-corner swagger and sex appeal that would become a blueprint for future hip-hop icons ranging from Big Daddy Kane to Biggie. Before an artist like Drake could legitimately mix hip-hop lyricism with R&B vulnerability, LL turned out the first hit rap ballad with 1987’s “I Need Love.” And the ladies loved him for it.\u003c/p>\n\u003cp>Best known today for his starring roles in TV and film, he received his star on the Hollywood Walk of Fame last year. But after a career spanning 30-plus years and 13 albums, he’s yet to leave rap alone — he’s rumored to be in the studio recording with Dr. Dre.\u003c/p>\n\u003cp>In his statement on the Kennedy Center honor, LL credits his grandmother — the same one who inspired his 1990 hit, “Mama Said Knock You Out” — for his success, while dedicating the award to the hip-hop pioneers who preceded and the generations who have since followed.\u003c/p>\n\u003cp>“My late grandmother passed some wise advice to me: ‘If a task is once begun, never leave it ’til it’s done. Be thy labor great or small, do it well or not at all.’ That adage has guided everything I have ever done in my life and I couldn’t be more grateful because it has led me here,” he says. “To be the first rap artist honored by the Kennedy Center is beyond anything I could have imagined. I dedicate this honor to the hip-hop artists who came before me and those who came after me. This simply proves that dreams don’t have deadlines. God is great.”\u003c/p>\n\u003cp>But it takes a teen-aged LL to truly put his pioneering achievements in perspective. When rap still in its infancy, LL was already positioning himself as its rising star.\u003c/p>\n\u003cp>“There hasn’t been a rap star yet, just rappers,” a 19-year-old LL stated in a 1987 for a Bill Adler-penned bio that appeared inside his Def Jam Tour ’87 concert program. “There’ll be a rap star when one of us is standing next to Michael Jackson at the Grammy’s getting just as many as he is\u003cstrong> \u003c/strong>… I want the Bob Hope house and the Benz and the Corvette and the pool. I want to throw balls to my dog in the pool.”\u003c/p>\n\u003cp>“And just remember this,” he added. “I don’t write rhymes to make money. I write from the heart.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The 40th Annual Honors will air on CBS on Tuesday, December 26 at 9 p.m. ET.\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=LL+Cool+J+To+Become+Kennedy+Center%27s+First+Hip-Hop+Honoree&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "What We Saw at Newport Folk 2017",
"headTitle": "What We Saw at Newport Folk 2017 | KQED",
"content": "\u003cp>Moments of unexpected magic are the Newport Folk Festival’s calling card. The festival typically sells out well before its lineup is even announced — but the official lineup is more of a rough guideline, anyway, since the weekend is peppered every year with surprise performances and collaborations.\u003c/p>\n\u003cp>An unannounced slot at the smallest of Newport’s main stages turned out to belong to Nathaniel Rateliff and The Night Sweats, who played some new music with the Preservation Hall Jazz Band and finished out their set by parading, second-line style, through the enormous crowd that had assembled.\u003c/p>\n\u003cp>Hiss Golden Messenger’s M.C. Taylor assembled a few friends — including Justin Vernon, Phil Cook and Natalie Prass — to perform a tribute to Bill Withers’ music.\u003c/p>\n\u003cp>And master songwriter John Prine, who played Sunday evening’s last set, brought out Vernon, Rateliff, Jim James, Margo Price and Roger Waters, before a stageful of the weekend’s performers gathered to sing “Paradise.”\u003c/p>\n\u003cp>Newport’s most dedicated festivalgoers, affectionately known as the Folk, know to expect surprises like this; they’re what have made Newport Folk Festival one of the country’s most unique and beloved music festivals for almost 60 years.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NPR Music’s photographer Adam Kissick is ready for those surprises, too. He spent the weekend chasing them down, traversing the festival grounds at Fort Adams State Park many times over. (We asked him to check his step counter at the end of one day’s work: eight miles.) Below, find some of what we saw at this year’s festival. For some of what we heard, check back over the coming days as we continue to post audio from selected sets. \u003c/p>\n\u003cfigure id=\"attachment_13789409\" 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/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-800x535.jpg\" alt=\"The gates are open — no running!\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13789409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The gates are open — no running! \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789410\" 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/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-800x534.jpg\" alt=\"Roger Waters and John Prine.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Waters and John Prine. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789421\" 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/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-800x532.jpg\" alt=\"Nancy And Beth (and Shakey Graves, and Nick Offerman).\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy And Beth (and Shakey Graves, and Nick Offerman). \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789424\" 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/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-800x531.jpg\" alt=\"Jim James and Preservation Hall Jazz Band.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13789424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-1180x783.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-520x345.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim James and Preservation Hall Jazz Band. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789454\" 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/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-800x532.jpg\" alt=\"Hurray For The Riff Raff.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hurray For The Riff Raff. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789458\" 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/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-800x532.jpg\" alt=\"Angel Olsen\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angel Olsen \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789466\" 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/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-800x534.jpg\" alt=\"High five!\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">High five! \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789520\" 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/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-800x449.jpg\" alt=\"L.A. Salami.\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13789520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Salami. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789575\" 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/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-800x449.jpg\" alt=\"The Avett Brothers\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13789575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Avett Brothers \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789646\" 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/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-800x532.jpg\" alt=\"Rhiannon Giddens\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rhiannon Giddens \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789649\" 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/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-800x534.jpg\" alt=\"Chicano Batman\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789648\" 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/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-800x532.jpg\" alt=\"Grandma's Hands (M.C. Taylor and friends).\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grandma’s Hands (M.C. Taylor and friends). \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789657\" 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/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-800x532.jpg\" alt=\"Nathaniel Rateliff and Preservation Hall Jazz Band.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nathaniel Rateliff and Preservation Hall Jazz Band. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789656\" 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/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-800x532.jpg\" alt='\"Speak Out!\" with Sharon Van Etten' width=\"800\" height=\"532\" class=\"size-medium wp-image-13789656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Speak Out!” with Sharon Van Etten \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789655\" 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/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-800x532.jpg\" alt=\"Jalen N'Gonda\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jalen N’Gonda \u003ccite>(Jalen N'Gonda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789654\" 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/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-800x532.jpg\" alt=\"Robert Ellis\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Ellis \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789653\" 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/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-800x534.jpg\" alt=\"Ben Gibbard\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-768x512.jpg 768w, 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1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Gibbard \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789652\" 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/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-800x532.jpg\" alt=\"Mandolin Orange.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789652\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mandolin Orange \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789651\" 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/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-800x532.jpg\" alt=\"Wilco and Billy Bragg\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wilco and Billy Bragg \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789650\" 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/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-800x532.jpg\" alt='\"Speak Out!\" with Margo Price and Zach Williams' width=\"800\" height=\"532\" class=\"size-medium wp-image-13789650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Speak Out!” with Margo Price and Zach Williams \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789666\" 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/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-800x534.jpg\" alt=\"It was all a blur\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It was all a blur \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=What+We+Saw+At+Newport+Folk+2017&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The Newport Folk Festival is not just a festival — it's an annualized community. Photographer Adam Kissick captured it.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Moments of unexpected magic are the Newport Folk Festival’s calling card. The festival typically sells out well before its lineup is even announced — but the official lineup is more of a rough guideline, anyway, since the weekend is peppered every year with surprise performances and collaborations.\u003c/p>\n\u003cp>An unannounced slot at the smallest of Newport’s main stages turned out to belong to Nathaniel Rateliff and The Night Sweats, who played some new music with the Preservation Hall Jazz Band and finished out their set by parading, second-line style, through the enormous crowd that had assembled.\u003c/p>\n\u003cp>Hiss Golden Messenger’s M.C. Taylor assembled a few friends — including Justin Vernon, Phil Cook and Natalie Prass — to perform a tribute to Bill Withers’ music.\u003c/p>\n\u003cp>And master songwriter John Prine, who played Sunday evening’s last set, brought out Vernon, Rateliff, Jim James, Margo Price and Roger Waters, before a stageful of the weekend’s performers gathered to sing “Paradise.”\u003c/p>\n\u003cp>Newport’s most dedicated festivalgoers, affectionately known as the Folk, know to expect surprises like this; they’re what have made Newport Folk Festival one of the country’s most unique and beloved music festivals for almost 60 years.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>NPR Music’s photographer Adam Kissick is ready for those surprises, too. He spent the weekend chasing them down, traversing the festival grounds at Fort Adams State Park many times over. (We asked him to check his step counter at the end of one day’s work: eight miles.) Below, find some of what we saw at this year’s festival. For some of what we heard, check back over the coming days as we continue to post audio from selected sets. \u003c/p>\n\u003cfigure id=\"attachment_13789409\" 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/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-800x535.jpg\" alt=\"The gates are open — no running!\" width=\"800\" height=\"535\" class=\"size-medium wp-image-13789409\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-768x513.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-1180x789.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-960x642.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-375x251.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85-520x348.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/no-running_custom-edeec32d9aa9e780b508e1bab41877faaf732f70-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The gates are open — no running! \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789410\" 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/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-800x534.jpg\" alt=\"Roger Waters and John Prine.\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789410\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/waters-prine-2_custom-f2a880065f89508111f5998df74b87479a84f133-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Roger Waters and John Prine. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789421\" 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/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-800x532.jpg\" alt=\"Nancy And Beth (and Shakey Graves, and Nick Offerman).\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789421\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nancy-and-beth-2_custom-93e409c108be453823aeebb17f101fe7ef581dcd-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nancy And Beth (and Shakey Graves, and Nick Offerman). \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789424\" 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/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-800x531.jpg\" alt=\"Jim James and Preservation Hall Jazz Band.\" width=\"800\" height=\"531\" class=\"size-medium wp-image-13789424\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-1180x783.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85-520x345.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jim-pres-hall_custom-4fb719c4ccf8156070c0da34f8d4efeb95cd5bb1-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jim James and Preservation Hall Jazz Band. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789454\" 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/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-800x532.jpg\" alt=\"Hurray For The Riff Raff.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789454\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/hurray-for-the-riff-raff-2_custom-756303542cafbf700b0984d0d5f8d07eb35d031f-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Hurray For The Riff Raff. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789458\" 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/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-800x532.jpg\" alt=\"Angel Olsen\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789458\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/angel-olsen_custom-04d2170627f4b948ede13f6e5d52cc5dcb6a0a6c-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Angel Olsen \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789466\" 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/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-800x534.jpg\" alt=\"High five!\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789466\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/high-five-line_custom-78e40f14c914ed5609642bf8a3e296295d68b5e7-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">High five! \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789520\" 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/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-800x449.jpg\" alt=\"L.A. Salami.\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13789520\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/la-salami_custom-edd802320b554b005f7bfed1d90b74701e4e0540-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">L.A. Salami. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789575\" 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/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-800x449.jpg\" alt=\"The Avett Brothers\" width=\"800\" height=\"449\" class=\"size-medium wp-image-13789575\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-800x449.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-768x431.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-1020x572.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-1180x662.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-960x538.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-375x210.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85-520x292.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/avett-bros-5_custom-9d7d047bef092c296cb6eed5da7e5161af18bc75-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Avett Brothers \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789646\" 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/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-800x532.jpg\" alt=\"Rhiannon Giddens\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789646\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/rhiannon-giddens1_custom-7cefbcf59e1b66aab9fac4c9b0b9039928aeb4c6-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Rhiannon Giddens \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789649\" 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/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-800x534.jpg\" alt=\"Chicano Batman\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789649\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/chicano-batman_custom-cdbd89b63628f4cc21f5b44782d02bf61509ef8e-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Chicano Batman \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789648\" 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/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-800x532.jpg\" alt=\"Grandma's Hands (M.C. Taylor and friends).\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/grandmas-hands_custom-61ab6d2248d1a2412dd437d11bd6bf9e60d7a12d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Grandma’s Hands (M.C. Taylor and friends). \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789657\" 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/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-800x532.jpg\" alt=\"Nathaniel Rateliff and Preservation Hall Jazz Band.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789657\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/nathaniel-rateliff-pres-hall-2_custom-89d7561585e583fb8c2c64e684351abeccf3a93e-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Nathaniel Rateliff and Preservation Hall Jazz Band. \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789656\" 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/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-800x532.jpg\" alt='\"Speak Out!\" with Sharon Van Etten' width=\"800\" height=\"532\" class=\"size-medium wp-image-13789656\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-sharon-van-etten_custom-f89d50ef457858df4e1a48353913c93453b7e03d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Speak Out!” with Sharon Van Etten \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789655\" 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/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-800x532.jpg\" alt=\"Jalen N'Gonda\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789655\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jalen-n-gonda_custom-3f07d3bb2af089abc402dfc90ae75bb37117a522-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jalen N’Gonda \u003ccite>(Jalen N'Gonda)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789654\" 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/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-800x532.jpg\" alt=\"Robert Ellis\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789654\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/robert-ellis-2_custom-26b436c6a37fd1078ba0e8f686f2d47b4ee29036-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Robert Ellis \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789653\" 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/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-800x534.jpg\" alt=\"Ben Gibbard\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789653\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/ben-gibbard_custom-a00d1c3a35c7f07c667eb68c429531ebadca31da-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ben Gibbard \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789652\" 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/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-800x532.jpg\" alt=\"Mandolin Orange.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789652\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/mandolin-orange_custom-88ea7ca7c6c2c7b6e3f5e680690537d2ad43e62c-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mandolin Orange \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789651\" 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/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-800x532.jpg\" alt=\"Wilco and Billy Bragg\" width=\"800\" height=\"532\" class=\"size-medium wp-image-13789651\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/jeff-billy_custom-29482f60dd9680c3224ccd30003bf84c68d63c8a-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Wilco and Billy Bragg \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789650\" 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/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-800x532.jpg\" alt='\"Speak Out!\" with Margo Price and Zach Williams' width=\"800\" height=\"532\" class=\"size-medium wp-image-13789650\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-800x532.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-1180x785.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85-520x346.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/speak-out-margo-price-zach-williams_custom-97aedddbd4fa9a2f05c89bd4db38ae8dd38c230d-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">“Speak Out!” with Margo Price and Zach Williams \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cfigure id=\"attachment_13789666\" 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/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-800x534.jpg\" alt=\"It was all a blur\" width=\"800\" height=\"534\" class=\"size-medium wp-image-13789666\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-800x534.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85-520x347.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/08/a-blur_custom-01bc94d9e7f47e859e9a954932bd7f7de40d0a86-s1300-c85.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">It was all a blur \u003ccite>(Adam Kissick for NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=What+We+Saw+At+Newport+Folk+2017&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "New Bill Calling for Transparency in Music is Surprisingly Opaque",
"headTitle": "New Bill Calling for Transparency in Music is Surprisingly Opaque | KQED",
"content": "\u003cp>It’s accurate, but not entirely helpful, when thinking about the business of music to imagine in your mind a tangled knot about the size of an elephant. The free ends, rope made up of different gauges and materials, trail out from its center, resembling an asterisk. Holding each is a representative from one of the industry’s many stakeholders — record labels and publishing companies, legislators and record store owners, tech companies and non-profit advocates. Oh, and artists too. With uneven strength, they all pull at all times, a never-ending game of tug of war with each other and with the knot, which grows ever tighter. Its circuity is, for some involved, not a bug but a feature — what’s called informational asymmetry. To others this density keeps them from a comprehensive understanding of their own business. If the knot were untied, many would benefit. Some others wouldn’t.\u003c/p>\n\u003cp>Recently, Republican congressman Jim Sensenbrenner of Wisconsin picked up an unattended end of this squiggle, unveiling his “Transparency in Music Licensing and Ownership Act.” Rep. Sensenbrenner’s \u003ca href=\"https://artistrightswatchdotcom.files.wordpress.com/2017/07/sensen_034_xml.pdf\" target=\"_blank\" rel=\"noopener\">new bill\u003c/a> is ambitious.\u003c/p>\n\u003cp>Sensenbrenner, who sits on the House Judiciary Committee — through which he has conducted (by his own account) 20 hearings on copyright reform — is calling for the establishment of a comprehensive database of compositions and recordings and those works’ owners and identification numbers. It’s a project that has been attempted at least once before, and which failed spectacularly due to the competing interests involved in its creation, as well as its significant cost, which no one has been inclined to shoulder. What’s more, this database will be free and public.\u003c/p>\n\u003cp>The lack of a central repository for this information has resulted in many legal and public-relations confrontations over the years, most recently two lawsuits \u003ca href=\"http://www.npr.org/sections/therecord/2017/07/21/538501163/spotify-sued-yet-again-over-compositions\" target=\"_blank\" rel=\"noopener\">against Spotify\u003c/a> that accuse it of failing to properly license the rights for and of failing to create a system that could intake those rights were it notified of them. (The company \u003ca href=\"http://www.npr.org/sections/therecord/2017/06/01/531029555/in-43-million-settlement-spotify-forced-to-confront-a-persistent-problem\" target=\"_blank\" rel=\"noopener\">settled\u003c/a> one class action suit over the same issue recently.) That word “central” is important — this information is out there, but diffused among its owners, some of whom consider this data a trade secret. Rep. Sensenbrenner’s bill would create the database Spotify failed to, at no cost to it.\u003c/p>\n\u003cp>The bill, which we’ll call the Music Transparency Act, was ostensibly written to help businesses like bars and restaurants have clarity on what they are allowed to play, by giving them a place to see which company controls which artist’s work. However, the availability of this information is not the same thing as the availability to \u003cem>license\u003c/em> this music. To do that — and so to legally play music in certain establishments — a license from a performance rights organization is required. The two leading performance rights organizations in the world are ASCAP and BMI, who jointly control the performance rights of some 90 percent of recorded music.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Because there is no off switch for music from ASCAP or from BMI on the radio, or on Pandora, or on Spotify, the problem of businesses having to license from \u003cem>all\u003c/em> of the performance rights organizations — because at any moment a song from any one of these organizations could pop up in a shuffle — would still be required.\u003c/p>\n\u003cp>So what does the Music Transparency Act hope to accomplish? In addition to creating this public database, to be administered by the Copyright Office, the bill also places the responsibility of its data collection on songwriters and music publishers, the companies which help manage the business of song compositions for songwriters. (Compositions are not recordings, but the music \u003cem>underneath\u003c/em> those recordings.) If they don’t register appropriately, then the legal recourse they have against people who use their work without permission — like Spotify is accused of doing in those two lawsuits — is curtailed.\u003c/p>\n\u003cp>“It’s basically a prophylactic for copyright infringement,” says Lisa Alter, an attorney who has worked on music copyright on behalf of artists for more than two decades, over the phone with NPR. “It puts the whole burden on the creators … It’s very cloak and dagger.” Alter also was curious as to who would bankroll such a massive technological project — when asked about its funding, a spokesperson for Rep. Sensenbrenner emailed that registrants would pay to file with the Copyright Office in order to finance it.\u003c/p>\n\u003cp>If this all sounds intractable, that’s because it kind of is. Remember our elephantine knot? Opinions around the merits of Rep. Sensenbrenner’s bill seem to break down along a fissure between people who create music and those who want to use it.\u003c/p>\n\u003cp>The MIC Coalition, a lobbying group that represents businesses who use music, \u003ca href=\"http://mic-coalition.org/news-posts/transparency-music-licensing-ownership-act-promotes-vibrant-music-licensing-marketplace/\" target=\"_blank\" rel=\"noopener\">voiced\u003c/a> its “enthusiastic” support of the bill the same day Rep. Sensenbrenner \u003ca href=\"https://sensenbrenner.house.gov/press-releases-statements?ID=F3B8D172-50CA-4F24-A2ED-159A55BD79EE\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> it. \u003cem>[Disclosure: NPR was an early member of the MIC Coalition, \u003c/em>\u003ca href=\"http://www.billboard.com/articles/business/6633536/npr-follows-amazon-in-withdrawing-from-mic-coalition\" target=\"_blank\" rel=\"noopener\">\u003cem>before exiting\u003c/em>\u003c/a>\u003cem> about six months after its formation.]\u003c/em>\u003c/p>\n\u003cp>“A common-sense solution to a systemic problem in the music industry,” Spotify’s general counsel \u003ca href=\"https://twitter.com/horaciog/status/888472599633707008\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> the following day.\u003c/p>\n\u003cp>“Utter bulls***,” \u003ca href=\"https://thetrichordist.com/2017/07/30/heres-how-you-know-mic-coalition-shiv-act-is-about-screwing-songwriters-not-transparency/amp/\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> David Lowery, a songwriter who regularly criticizes technology companies’ treatment of songwriters.\u003c/p>\n\u003cp>“I don’t believe it is burdensome on creators and rights holders,” Sasha Moss, technology policy manager with R Street, a Washington think tank that promotes “free markets and limited, effective government,” wrote in an email to NPR.\u003c/p>\n\u003cp>“We’re supportive of more transparency generally, but the devil’s in the details,” Kevin Erickson, national organizing director of the Future of Music Coalition, a Washington-based organization that works on artist pay and industry transparency, told NPR. “This bill leaves us with too many questions to be able to endorse at this time.”\u003c/p>\n\u003cp>The National Association of Broadcasters, which lobbies on behalf of radio stations and television broadcasters, is “in the yes column” on the bill, said Dennis Wharton, the group’s spokesperson.\u003c/p>\n\u003cp>Not to be outdone, ASCAP and BMI announced last week that, after decades of competition, they would be combining their separate databases, a first step to creating the same thing Rep. Sensenbrenner’s bill calls for. (ASCAP and BMI’s announcement was, it would appear, pushed up after Rep. Sensenbrenner revealed his bill — the pair state the project has been in the works for a year and won’t be available for use until the end of 2018.)\u003c/p>\n\u003cp>“I’ve seen efforts like this around the world fail time and time again,” Mike O’Neill, president and CEO of BMI, tells NPR, referring to Rep. Sensenbrenner’s proposal, “because they try to get to the finished product from day one, instead of a solution that would \u003cem>lead\u003c/em> to a finished product.”\u003c/p>\n\u003cp>Sensenbrenner responded quickly to ASCAP and BMI’s announcement, writing in \u003ca href=\"https://sensenbrenner.house.gov/2017/7/pros-introduce-incomplete-music-database-to-combat-sensenbrenner-bill\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> that the pair are “grasping at straws; trying to maintain power over a failing process that only serves their interests, not those of the American consumer.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And so the knot tightens. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Bill+Calling+For+Transparency+In+Music+Is+Surprisingly+Opaque&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s accurate, but not entirely helpful, when thinking about the business of music to imagine in your mind a tangled knot about the size of an elephant. The free ends, rope made up of different gauges and materials, trail out from its center, resembling an asterisk. Holding each is a representative from one of the industry’s many stakeholders — record labels and publishing companies, legislators and record store owners, tech companies and non-profit advocates. Oh, and artists too. With uneven strength, they all pull at all times, a never-ending game of tug of war with each other and with the knot, which grows ever tighter. Its circuity is, for some involved, not a bug but a feature — what’s called informational asymmetry. To others this density keeps them from a comprehensive understanding of their own business. If the knot were untied, many would benefit. Some others wouldn’t.\u003c/p>\n\u003cp>Recently, Republican congressman Jim Sensenbrenner of Wisconsin picked up an unattended end of this squiggle, unveiling his “Transparency in Music Licensing and Ownership Act.” Rep. Sensenbrenner’s \u003ca href=\"https://artistrightswatchdotcom.files.wordpress.com/2017/07/sensen_034_xml.pdf\" target=\"_blank\" rel=\"noopener\">new bill\u003c/a> is ambitious.\u003c/p>\n\u003cp>Sensenbrenner, who sits on the House Judiciary Committee — through which he has conducted (by his own account) 20 hearings on copyright reform — is calling for the establishment of a comprehensive database of compositions and recordings and those works’ owners and identification numbers. It’s a project that has been attempted at least once before, and which failed spectacularly due to the competing interests involved in its creation, as well as its significant cost, which no one has been inclined to shoulder. What’s more, this database will be free and public.\u003c/p>\n\u003cp>The lack of a central repository for this information has resulted in many legal and public-relations confrontations over the years, most recently two lawsuits \u003ca href=\"http://www.npr.org/sections/therecord/2017/07/21/538501163/spotify-sued-yet-again-over-compositions\" target=\"_blank\" rel=\"noopener\">against Spotify\u003c/a> that accuse it of failing to properly license the rights for and of failing to create a system that could intake those rights were it notified of them. (The company \u003ca href=\"http://www.npr.org/sections/therecord/2017/06/01/531029555/in-43-million-settlement-spotify-forced-to-confront-a-persistent-problem\" target=\"_blank\" rel=\"noopener\">settled\u003c/a> one class action suit over the same issue recently.) That word “central” is important — this information is out there, but diffused among its owners, some of whom consider this data a trade secret. Rep. Sensenbrenner’s bill would create the database Spotify failed to, at no cost to it.\u003c/p>\n\u003cp>The bill, which we’ll call the Music Transparency Act, was ostensibly written to help businesses like bars and restaurants have clarity on what they are allowed to play, by giving them a place to see which company controls which artist’s work. However, the availability of this information is not the same thing as the availability to \u003cem>license\u003c/em> this music. To do that — and so to legally play music in certain establishments — a license from a performance rights organization is required. The two leading performance rights organizations in the world are ASCAP and BMI, who jointly control the performance rights of some 90 percent of recorded music.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Because there is no off switch for music from ASCAP or from BMI on the radio, or on Pandora, or on Spotify, the problem of businesses having to license from \u003cem>all\u003c/em> of the performance rights organizations — because at any moment a song from any one of these organizations could pop up in a shuffle — would still be required.\u003c/p>\n\u003cp>So what does the Music Transparency Act hope to accomplish? In addition to creating this public database, to be administered by the Copyright Office, the bill also places the responsibility of its data collection on songwriters and music publishers, the companies which help manage the business of song compositions for songwriters. (Compositions are not recordings, but the music \u003cem>underneath\u003c/em> those recordings.) If they don’t register appropriately, then the legal recourse they have against people who use their work without permission — like Spotify is accused of doing in those two lawsuits — is curtailed.\u003c/p>\n\u003cp>“It’s basically a prophylactic for copyright infringement,” says Lisa Alter, an attorney who has worked on music copyright on behalf of artists for more than two decades, over the phone with NPR. “It puts the whole burden on the creators … It’s very cloak and dagger.” Alter also was curious as to who would bankroll such a massive technological project — when asked about its funding, a spokesperson for Rep. Sensenbrenner emailed that registrants would pay to file with the Copyright Office in order to finance it.\u003c/p>\n\u003cp>If this all sounds intractable, that’s because it kind of is. Remember our elephantine knot? Opinions around the merits of Rep. Sensenbrenner’s bill seem to break down along a fissure between people who create music and those who want to use it.\u003c/p>\n\u003cp>The MIC Coalition, a lobbying group that represents businesses who use music, \u003ca href=\"http://mic-coalition.org/news-posts/transparency-music-licensing-ownership-act-promotes-vibrant-music-licensing-marketplace/\" target=\"_blank\" rel=\"noopener\">voiced\u003c/a> its “enthusiastic” support of the bill the same day Rep. Sensenbrenner \u003ca href=\"https://sensenbrenner.house.gov/press-releases-statements?ID=F3B8D172-50CA-4F24-A2ED-159A55BD79EE\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> it. \u003cem>[Disclosure: NPR was an early member of the MIC Coalition, \u003c/em>\u003ca href=\"http://www.billboard.com/articles/business/6633536/npr-follows-amazon-in-withdrawing-from-mic-coalition\" target=\"_blank\" rel=\"noopener\">\u003cem>before exiting\u003c/em>\u003c/a>\u003cem> about six months after its formation.]\u003c/em>\u003c/p>\n\u003cp>“A common-sense solution to a systemic problem in the music industry,” Spotify’s general counsel \u003ca href=\"https://twitter.com/horaciog/status/888472599633707008\" target=\"_blank\" rel=\"noopener\">tweeted\u003c/a> the following day.\u003c/p>\n\u003cp>“Utter bulls***,” \u003ca href=\"https://thetrichordist.com/2017/07/30/heres-how-you-know-mic-coalition-shiv-act-is-about-screwing-songwriters-not-transparency/amp/\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> David Lowery, a songwriter who regularly criticizes technology companies’ treatment of songwriters.\u003c/p>\n\u003cp>“I don’t believe it is burdensome on creators and rights holders,” Sasha Moss, technology policy manager with R Street, a Washington think tank that promotes “free markets and limited, effective government,” wrote in an email to NPR.\u003c/p>\n\u003cp>“We’re supportive of more transparency generally, but the devil’s in the details,” Kevin Erickson, national organizing director of the Future of Music Coalition, a Washington-based organization that works on artist pay and industry transparency, told NPR. “This bill leaves us with too many questions to be able to endorse at this time.”\u003c/p>\n\u003cp>The National Association of Broadcasters, which lobbies on behalf of radio stations and television broadcasters, is “in the yes column” on the bill, said Dennis Wharton, the group’s spokesperson.\u003c/p>\n\u003cp>Not to be outdone, ASCAP and BMI announced last week that, after decades of competition, they would be combining their separate databases, a first step to creating the same thing Rep. Sensenbrenner’s bill calls for. (ASCAP and BMI’s announcement was, it would appear, pushed up after Rep. Sensenbrenner revealed his bill — the pair state the project has been in the works for a year and won’t be available for use until the end of 2018.)\u003c/p>\n\u003cp>“I’ve seen efforts like this around the world fail time and time again,” Mike O’Neill, president and CEO of BMI, tells NPR, referring to Rep. Sensenbrenner’s proposal, “because they try to get to the finished product from day one, instead of a solution that would \u003cem>lead\u003c/em> to a finished product.”\u003c/p>\n\u003cp>Sensenbrenner responded quickly to ASCAP and BMI’s announcement, writing in \u003ca href=\"https://sensenbrenner.house.gov/2017/7/pros-introduce-incomplete-music-database-to-combat-sensenbrenner-bill\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> that the pair are “grasping at straws; trying to maintain power over a failing process that only serves their interests, not those of the American consumer.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And so the knot tightens. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=New+Bill+Calling+For+Transparency+In+Music+Is+Surprisingly+Opaque&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Sam Shepard, 'Poet Laureate Of America's Emotional Badlands,' Dies at 73",
"headTitle": "Sam Shepard, ‘Poet Laureate Of America’s Emotional Badlands,’ Dies at 73 | KQED",
"content": "\u003cp>\u003cstrong>Updated at 1:34 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>For more than half a century, playwright Sam Shepard stood as a towering presence in American theater and cinema, penning dozens of plays and earning an Oscar nomination as an actor in his own right. Delving deeply into the complicated, often bleak nature of family life, the Pulitzer Prize winner earned the title — \u003ca href=\"https://books.google.com/books?id=Af7PDAAAQBAJ&pg=PT21&lpg=PT21&dq=%22jack+kroll%22+%22poet+laureate+of+America%27s+emotional+badlands%22&source=bl&ots=fARoHxMmPd&sig=jv8zszWvsm10C-Aj-b_vVP6lWlI&hl=en&sa=X&ved=0ahUKEwiXxeKW77PVAhXHOT4KHW7kB6EQ6AEIKDAA#v=onepage&q=%22jack%20kroll%22%20%22poet%20laureate%20of%20America's%20emotional%20badlands%22&f=false\" target=\"_blank\" rel=\"noopener\">in drama critic Jack Kroll’s words\u003c/a> — of “poet laureate of America’s emotional badlands.”\u003c/p>\n\u003cp>That influential “poet laureate” — who was not only a playwright, but an actor and director too — died Thursday at 73 of complications from Lou Gehrig’s disease, also called called amyotrophic lateral sclerosis. A family representative said he died at his home in Kentucky.\u003c/p>\n\u003cp>“The family requests privacy at this difficult time,” spokesman Chris Boneau said Monday.\u003c/p>\n\u003cp>Born Samuel Shepard Rogers in Illinois, the playwright spent much of his youth moving from place to place with his family, eventually attending high school just east of LA in Duarte, Calif. And by the time he opened his career in his early 20s with a string of one-act plays, the mythology of the fading West had firmly taken hold in him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As \u003ca href=\"http://www.nytimes.com/1984/01/29/theater/myths-dreams-realities-sam-shepard-s-america.html\" target=\"_blank\" rel=\"noopener\">he told The New York Times\u003c/a> in 1983, he was fascinated by the ebb tide of a myth — and how people seek to replace it with others.\u003c/p>\n\u003cp>“People are starved for the truth,” he told the \u003cem>Times\u003c/em>, “and when something comes along that even looks like the truth, people will latch on to it because everything’s so false. People are starved for a way of life — they’re hunting for a way to be or to act toward the world.”\u003c/p>\n\u003cp>In his early works and throughout his career, as he was helping trailblaze a space for playwrights off-Broadway and attracting a cult following of his own, Shepard continued to return to the West — and to another space where nostalgia often runs aground on reality: the family.\u003c/p>\n\u003cp>These muddled, sometimes dangerous familial ties served as the centerpiece of Shepard’s Pulitzer Prize-winning play, 1979’s \u003cem>Buried Child\u003c/em>. He would also go on to earn Pulitzer nominations for 1981’s \u003cem>True West\u003c/em> and 1983’s \u003cem>Fool for Love\u003c/em>.\u003c/p>\n\u003cp>https://twitter.com/NationalTheatre/status/892060996369567745\u003c/p>\n\u003cp>It was in 1983 that Shepard also took a star turn on the big screen, playing the test pilot Chuck Yeager in the film \u003cem>The Right Stuff\u003c/em>. That role would earn him an \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1984\" target=\"_blank\" rel=\"noopener\">Oscar nomination for best supporting actor\u003c/a> the next year.\u003c/p>\n\u003cp>Shepard continued to play roles in front of the camera, even as he wrote for the stage. In fact, his most recent role was in the Netflix series \u003cem>Bloodline\u003c/em>, the final season of which was released earlier this year.\u003c/p>\n\u003cp>https://twitter.com/BeauWillimon/status/892033403196932098\u003c/p>\n\u003cp>In these performances on-screen, as in so many of his plays, the writer and actor said he often looked inward to find the complexities of the people he portrayed.\u003c/p>\n\u003cp>“It’s very difficult to escape your background. You know, I don’t think it’s necessary to even try to escape it,” Shepard told \u003cem>Fresh Air\u003c/em> in 1998. “More and more, I start to think that it’s necessary to see exactly what it is that you inherited on both ends of the stick: your timidity, your courage, your self-deceit, and your honesty — and all the rest of it.”\u003c/p>\n\u003cp>Shepard added: “It’s necessary to include all of that in order to be able to accept oneself.” \u003c/p>\n\u003cp>\u003ci>Watch Sam Shepard play drums with the Holy Modal Rounders on Rowan & Martin’s ‘Laugh-In’ in 1968:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=xvX9yPZvFgQ\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=Sam+Shepard%2C+%27Poet+Laureate+Of+America%27s+Emotional+Badlands%2C%27+Dies+At+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 1:34 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>For more than half a century, playwright Sam Shepard stood as a towering presence in American theater and cinema, penning dozens of plays and earning an Oscar nomination as an actor in his own right. Delving deeply into the complicated, often bleak nature of family life, the Pulitzer Prize winner earned the title — \u003ca href=\"https://books.google.com/books?id=Af7PDAAAQBAJ&pg=PT21&lpg=PT21&dq=%22jack+kroll%22+%22poet+laureate+of+America%27s+emotional+badlands%22&source=bl&ots=fARoHxMmPd&sig=jv8zszWvsm10C-Aj-b_vVP6lWlI&hl=en&sa=X&ved=0ahUKEwiXxeKW77PVAhXHOT4KHW7kB6EQ6AEIKDAA#v=onepage&q=%22jack%20kroll%22%20%22poet%20laureate%20of%20America's%20emotional%20badlands%22&f=false\" target=\"_blank\" rel=\"noopener\">in drama critic Jack Kroll’s words\u003c/a> — of “poet laureate of America’s emotional badlands.”\u003c/p>\n\u003cp>That influential “poet laureate” — who was not only a playwright, but an actor and director too — died Thursday at 73 of complications from Lou Gehrig’s disease, also called called amyotrophic lateral sclerosis. A family representative said he died at his home in Kentucky.\u003c/p>\n\u003cp>“The family requests privacy at this difficult time,” spokesman Chris Boneau said Monday.\u003c/p>\n\u003cp>Born Samuel Shepard Rogers in Illinois, the playwright spent much of his youth moving from place to place with his family, eventually attending high school just east of LA in Duarte, Calif. And by the time he opened his career in his early 20s with a string of one-act plays, the mythology of the fading West had firmly taken hold in him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As \u003ca href=\"http://www.nytimes.com/1984/01/29/theater/myths-dreams-realities-sam-shepard-s-america.html\" target=\"_blank\" rel=\"noopener\">he told The New York Times\u003c/a> in 1983, he was fascinated by the ebb tide of a myth — and how people seek to replace it with others.\u003c/p>\n\u003cp>“People are starved for the truth,” he told the \u003cem>Times\u003c/em>, “and when something comes along that even looks like the truth, people will latch on to it because everything’s so false. People are starved for a way of life — they’re hunting for a way to be or to act toward the world.”\u003c/p>\n\u003cp>In his early works and throughout his career, as he was helping trailblaze a space for playwrights off-Broadway and attracting a cult following of his own, Shepard continued to return to the West — and to another space where nostalgia often runs aground on reality: the family.\u003c/p>\n\u003cp>These muddled, sometimes dangerous familial ties served as the centerpiece of Shepard’s Pulitzer Prize-winning play, 1979’s \u003cem>Buried Child\u003c/em>. He would also go on to earn Pulitzer nominations for 1981’s \u003cem>True West\u003c/em> and 1983’s \u003cem>Fool for Love\u003c/em>.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>It was in 1983 that Shepard also took a star turn on the big screen, playing the test pilot Chuck Yeager in the film \u003cem>The Right Stuff\u003c/em>. That role would earn him an \u003ca href=\"https://www.oscars.org/oscars/ceremonies/1984\" target=\"_blank\" rel=\"noopener\">Oscar nomination for best supporting actor\u003c/a> the next year.\u003c/p>\n\u003cp>Shepard continued to play roles in front of the camera, even as he wrote for the stage. In fact, his most recent role was in the Netflix series \u003cem>Bloodline\u003c/em>, the final season of which was released earlier this year.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>In these performances on-screen, as in so many of his plays, the writer and actor said he often looked inward to find the complexities of the people he portrayed.\u003c/p>\n\u003cp>“It’s very difficult to escape your background. You know, I don’t think it’s necessary to even try to escape it,” Shepard told \u003cem>Fresh Air\u003c/em> in 1998. “More and more, I start to think that it’s necessary to see exactly what it is that you inherited on both ends of the stick: your timidity, your courage, your self-deceit, and your honesty — and all the rest of it.”\u003c/p>\n\u003cp>Shepard added: “It’s necessary to include all of that in order to be able to accept oneself.” \u003c/p>\n\u003cp>\u003ci>Watch Sam Shepard play drums with the Holy Modal Rounders on Rowan & Martin’s ‘Laugh-In’ in 1968:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/xvX9yPZvFgQ'\n title='//www.youtube.com/embed/xvX9yPZvFgQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Sam+Shepard%2C+%27Poet+Laureate+Of+America%27s+Emotional+Badlands%2C%27+Dies+At+73&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>For an entire generation of writers, Michiko Kakutani acted at times as intrepid champion, hated villain or helping hand. But from her perch as chief book critic at \u003cem>The New York Times\u003c/em>, the Pulitzer Prize winner rarely left one thing in doubt: her vast influence over the literary world she assessed.\u003c/p>\n\u003cp>On Thursday, after 38 years, Kakutani announced she is stepping down.\u003c/p>\n\u003cp>“It is with profound gratitude for her tremendous service to readers of The Times and readers of books everywhere that we take a moment to recognize her remarkable contributions over the past four decades,” editors Pamela Paul and Parul Sehgal \u003ca href=\"http://www.nytco.com/michiko-kakutani-steps-down-as-chief-book-critic-parul-sehgal-named-book-critic/\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a> Thursday.\u003c/p>\n\u003cp>“She has been one of our signature writers,” \u003cem>Times\u003c/em> Executive Editor Dean Baquet \u003ca href=\"https://twitter.com/xanalter/status/890619590660595713\" target=\"_blank\" rel=\"noopener\">said in a note\u003c/a> to the paper’s staff. “It is hard to imagine the story of the modern New York Times without a hefty chapter bearing her name.”\u003c/p>\n\u003cp>https://twitter.com/xanalter/status/890619590660595713\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Name a marquee author of the past several decades, and it’s just about certain that leading light was subjected to Kakutani’s scrutiny, along with hundreds of others. And a big name was far from a guarantor of a favorable review.\u003c/p>\n\u003cp>She was there to celebrate Nobel laureate Toni Morrison’s \u003cem>Beloved\u003c/em> as \u003ca href=\"http://www.nytimes.com/1987/09/02/books/books-of-the-times-788887.html\" target=\"_blank\" rel=\"noopener\">“dazzling”\u003c/a> — and to deride Morrison’s later work, \u003cem>Love\u003c/em>, as \u003ca href=\"http://www.nytimes.com/2003/10/31/books/books-of-the-times-family-secrets-feuding-women.html\" target=\"_blank\" rel=\"noopener\">“haphazard.”\u003c/a> She was as prepared to label Don Delillo’s \u003cem>Cosmopolis\u003c/em> \u003ca href=\"http://www.nytimes.com/2003/03/24/books/books-of-the-times-headed-toward-a-crash-of-sorts-in-a-stretch-limo.html\" target=\"_blank\" rel=\"noopener\">“a major dud”\u003c/a> as she was to laud his \u003cem>Underworld\u003c/em> as \u003ca href=\"http://www.nytimes.com/1997/09/16/books/books-of-the-times-of-america-as-a-splendid-junk-heap.html\" target=\"_blank\" rel=\"noopener\">“a dazzling, phosphorescent work of art.”\u003c/a>\u003c/p>\n\u003cp>It is perhaps this inclination toward mercilessness that earned Kakutani a fair share of critics in her own right — including \u003ca href=\"http://www.thecrimson.com/article.aspx?ref=523349\" target=\"_blank\" rel=\"noopener\">Jonathan Franzen\u003c/a> and Nicholson Baker, who said reading her reviews of his books was “like having my liver taken out without anaesthesia.”\u003c/p>\n\u003cp>“Bless her heart, she has reviewed seven of my books and I think she may have liked two and a half of them,” Baker \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1536561\" target=\"_blank\" rel=\"noopener\">told NPR in 2003\u003c/a>. “You know, so she always gives me a bad review, and she just doesn’t like my kind of writing.”\u003c/p>\n\u003cp>But \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/07/michiko-kakutani-retires/535113/\" target=\"_blank\" rel=\"noopener\">The Atlantic notes\u003c/a> that along with this bitterness often came respect:\u003c/p>\n\u003cblockquote>\n\u003cp>“And yet Kakutani, operating within a book culture that can sometimes bend toward hagiography and enthusiasm and smarm, has also distinguished herself by embracing ‘criticism’ in every sense of the word. She has been sharp, but she was never cruel. She has been on the side of the reader, always. If a book was a ‘lumpy hodgepodge,’ she has said that it was a lumpy hodgepodge—even if the creator of the mess happened to have been Margaret Atwood.\u003c/p>\n\u003cp>“And this in turn meant that, when Michiko Kakutani liked a book, the liking itself was a very, very big deal. Her criticism helped to make the careers of David Foster Wallace, and Zadie Smith, and George Saunders, and Mary Karr. And it helped to make her byline itself into a literary destination of its own. When Kakutani won the Pulitzer Prize in 1998, the judging committee cited not only her ‘fearless and authoritative’ journalism, but also the fact that her work had become ‘destination programming’ for people in the book world, such as it is, and beyond.”\u003c/p>\n\u003c/blockquote>\n\u003cp>“It was like having the good fairy touch you on the shoulder with her wand,” Karr said of \u003ca href=\"http://www.nytimes.com/1995/05/26/books/books-of-the-times-they-re-liars-and-that-s-just-the-least-of-their-problems.html\" target=\"_blank\" rel=\"noopener\">the glowing review\u003c/a> she got from Kakutani. The review “was mostly about what a genius I was,” Karr laughed, “so yeah, she’s my best friend.”\u003c/p>\n\u003cp>Kakutani said Thursday she may be leaving criticism, but she will not be leaving writing. “Moving on to focus on longer pieces about politics & culture,” \u003ca href=\"https://twitter.com/michikokakutani/status/890632785572114432\" target=\"_blank\" rel=\"noopener\">she tweeted\u003c/a>, “though i will always love & write about books.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a commemoration of her career in criticism, the \u003cem>Times\u003c/em> compiled a \u003ca href=\"https://www.nytimes.com/2017/07/27/books/38-years-on-books-the-essential-michiko-kakutani-reader.html\" target=\"_blank\" rel=\"noopener\">highlight reel of her works here\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michiko+Kakutani%2C+Chief+%27Times%27+Book+Critic%2C+Steps+Down+After+Nearly+4+Decades&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For an entire generation of writers, Michiko Kakutani acted at times as intrepid champion, hated villain or helping hand. But from her perch as chief book critic at \u003cem>The New York Times\u003c/em>, the Pulitzer Prize winner rarely left one thing in doubt: her vast influence over the literary world she assessed.\u003c/p>\n\u003cp>On Thursday, after 38 years, Kakutani announced she is stepping down.\u003c/p>\n\u003cp>“It is with profound gratitude for her tremendous service to readers of The Times and readers of books everywhere that we take a moment to recognize her remarkable contributions over the past four decades,” editors Pamela Paul and Parul Sehgal \u003ca href=\"http://www.nytco.com/michiko-kakutani-steps-down-as-chief-book-critic-parul-sehgal-named-book-critic/\" target=\"_blank\" rel=\"noopener\">said in a statement\u003c/a> Thursday.\u003c/p>\n\u003cp>“She has been one of our signature writers,” \u003cem>Times\u003c/em> Executive Editor Dean Baquet \u003ca href=\"https://twitter.com/xanalter/status/890619590660595713\" target=\"_blank\" rel=\"noopener\">said in a note\u003c/a> to the paper’s staff. “It is hard to imagine the story of the modern New York Times without a hefty chapter bearing her name.”\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Name a marquee author of the past several decades, and it’s just about certain that leading light was subjected to Kakutani’s scrutiny, along with hundreds of others. And a big name was far from a guarantor of a favorable review.\u003c/p>\n\u003cp>She was there to celebrate Nobel laureate Toni Morrison’s \u003cem>Beloved\u003c/em> as \u003ca href=\"http://www.nytimes.com/1987/09/02/books/books-of-the-times-788887.html\" target=\"_blank\" rel=\"noopener\">“dazzling”\u003c/a> — and to deride Morrison’s later work, \u003cem>Love\u003c/em>, as \u003ca href=\"http://www.nytimes.com/2003/10/31/books/books-of-the-times-family-secrets-feuding-women.html\" target=\"_blank\" rel=\"noopener\">“haphazard.”\u003c/a> She was as prepared to label Don Delillo’s \u003cem>Cosmopolis\u003c/em> \u003ca href=\"http://www.nytimes.com/2003/03/24/books/books-of-the-times-headed-toward-a-crash-of-sorts-in-a-stretch-limo.html\" target=\"_blank\" rel=\"noopener\">“a major dud”\u003c/a> as she was to laud his \u003cem>Underworld\u003c/em> as \u003ca href=\"http://www.nytimes.com/1997/09/16/books/books-of-the-times-of-america-as-a-splendid-junk-heap.html\" target=\"_blank\" rel=\"noopener\">“a dazzling, phosphorescent work of art.”\u003c/a>\u003c/p>\n\u003cp>It is perhaps this inclination toward mercilessness that earned Kakutani a fair share of critics in her own right — including \u003ca href=\"http://www.thecrimson.com/article.aspx?ref=523349\" target=\"_blank\" rel=\"noopener\">Jonathan Franzen\u003c/a> and Nicholson Baker, who said reading her reviews of his books was “like having my liver taken out without anaesthesia.”\u003c/p>\n\u003cp>“Bless her heart, she has reviewed seven of my books and I think she may have liked two and a half of them,” Baker \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=1536561\" target=\"_blank\" rel=\"noopener\">told NPR in 2003\u003c/a>. “You know, so she always gives me a bad review, and she just doesn’t like my kind of writing.”\u003c/p>\n\u003cp>But \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2017/07/michiko-kakutani-retires/535113/\" target=\"_blank\" rel=\"noopener\">The Atlantic notes\u003c/a> that along with this bitterness often came respect:\u003c/p>\n\u003cblockquote>\n\u003cp>“And yet Kakutani, operating within a book culture that can sometimes bend toward hagiography and enthusiasm and smarm, has also distinguished herself by embracing ‘criticism’ in every sense of the word. She has been sharp, but she was never cruel. She has been on the side of the reader, always. If a book was a ‘lumpy hodgepodge,’ she has said that it was a lumpy hodgepodge—even if the creator of the mess happened to have been Margaret Atwood.\u003c/p>\n\u003cp>“And this in turn meant that, when Michiko Kakutani liked a book, the liking itself was a very, very big deal. Her criticism helped to make the careers of David Foster Wallace, and Zadie Smith, and George Saunders, and Mary Karr. And it helped to make her byline itself into a literary destination of its own. When Kakutani won the Pulitzer Prize in 1998, the judging committee cited not only her ‘fearless and authoritative’ journalism, but also the fact that her work had become ‘destination programming’ for people in the book world, such as it is, and beyond.”\u003c/p>\n\u003c/blockquote>\n\u003cp>“It was like having the good fairy touch you on the shoulder with her wand,” Karr said of \u003ca href=\"http://www.nytimes.com/1995/05/26/books/books-of-the-times-they-re-liars-and-that-s-just-the-least-of-their-problems.html\" target=\"_blank\" rel=\"noopener\">the glowing review\u003c/a> she got from Kakutani. The review “was mostly about what a genius I was,” Karr laughed, “so yeah, she’s my best friend.”\u003c/p>\n\u003cp>Kakutani said Thursday she may be leaving criticism, but she will not be leaving writing. “Moving on to focus on longer pieces about politics & culture,” \u003ca href=\"https://twitter.com/michikokakutani/status/890632785572114432\" target=\"_blank\" rel=\"noopener\">she tweeted\u003c/a>, “though i will always love & write about books.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>As a commemoration of her career in criticism, the \u003cem>Times\u003c/em> compiled a \u003ca href=\"https://www.nytimes.com/2017/07/27/books/38-years-on-books-the-essential-michiko-kakutani-reader.html\" target=\"_blank\" rel=\"noopener\">highlight reel of her works here\u003c/a>. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Michiko+Kakutani%2C+Chief+%27Times%27+Book+Critic%2C+Steps+Down+After+Nearly+4+Decades&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Atomic Blonde' Is A Blast",
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"content": "\u003cp>Set in the days leading up to the fall of the Berlin Wall, \u003cem>Atomic Blonde\u003c/em> takes place in an underworld where the Cold War is over but the conflict continues, like the throbbing of a vestigial limb. In that respect — and perhaps that respect only — it belongs to the tradition of post-war thrillers like Carol Reed’s \u003cem>The Third Man\u003c/em> or Andrzej Wajda’s \u003cem>Ashes and Diamonds\u003c/em>, where danger and intrigue exist where they shouldn’t and the players involved are enmeshed in self-doubt and crippling mission drift. For the spies of \u003cem>Atomic Blonde\u003c/em>, the purpose of chasing a MacGuffin called “The List” has been vastly diminished by world events, but they keep on fighting regardless. That’s who they are. \u003c/p>\n\u003cp>The degree to which \u003cem>Atomic Blonde\u003c/em> takes any of this business seriously is an open question, given how little time is spent on political and existential chin-stroking and how much is devoted to fetishizing the era-specific fashion, interior design, and New Wave music. Yet it does explain why the film’s hollowness is a feature rather than a flaw, reflecting the mindset of kick-ass pulp heroine who submerges herself in an ice bath every night, as much to numb her conscience as to salve her wounds. She doesn’t know who to trust. She doesn’t know what she’s fighting for anymore. But nevertheless, she persists. \u003c/p>\n\u003cp>https://youtu.be/yIUube1pSC0\u003c/p>\n\u003cp>Based on Antony Johnson and Sam Hart’s graphic novel \u003cem>The Coldest City\u003c/em>, \u003cem>Atomic Blonde\u003c/em> opens with Lorraine Broughton (Charlize Theron), a MI6 spy, debriefing her superiors about a sensitive mission gone awry. From there, it backtracks to Lorraine getting sent to Berlin, where a British spy has just been killed over a list that includes the names of every espionage agent working in the city, regardless of allegiance. With the identities and lives of her colleagues on the line, Lorraine partners up with Berlin station chief David Percival (James McAvoy), but his erratic behavior immediately draws her suspicion. As Lorraine and David track down “The List” and protect the source (Eddie Marsan) who gave it to them, they face threats from Russian adversaries, black marketers, and a double-agent referred to as “Sachel.” \u003c/p>\n\u003cp>Director David Leitch spent nearly two decades as a stuntman and stunt coordinator before he and his partner, Chad Stahelski, put their choreographic skills to use on the terrific Keanu Reeves action thriller \u003cem>John Wick\u003c/em>. (Only Stahelski is credited, but the two co-directed.) \u003cem>John Wick\u003c/em> and its sequel made a kind of macabre ballet out of Reeves’ retired assassin shooting dozens of henchmen in the head for two hours. American films had been trying to mimic Hong Kong action cinema since John Woo and Chow Yun-Fat revolutionized the action genre with \u003cem>The Killer\u003c/em> and \u003cem>Hard-Boiled\u003c/em>, but Leitch and Stahelski were the first to fully capture the savage beauty of its aestheticized violence. It may be style over substance — but wow what style! \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Despite the Cold War trappings, \u003cem>Atomic Blonde\u003c/em> continues along the same lines, with the spy-versus-spy intrigue serving mainly as a delivery system for magnificent butt-kickings. Leitch clears his throat with a sequence where Lorraine fends off two assailants inside a moving car, using the business end of a red high-heeled shoe as her weapon of choice. From there, he offers a striking range of different looks, including a bravura single-shot scene of close combat near an stairwell, an apartment melee where Lorraine relies on available materials (chiefly a garden hose), and a behind-the-screen silhouette fight at an East German theater showing Andrei Tarkovsky’s \u003cem>Stalker\u003c/em>. \u003c/p>\n\u003cp>Though Lorraine’s fight for survival in this changing and confusing time isn’t as clear and effective a motivation as Reeves avenging his dog’s death in \u003cem>John Wick\u003c/em>, the premise does give Leitch the opportunity to explore the graphic possibilities of the setting and uncork a soundtrack that includes moody delectables like David Bowie’s “Cat People (Putting Out Fire),” ‘Til Tuesday’s “Voices Carry” and Depeche Mode’s “Behind the Wheel.” \u003cem>Atomic Blonde\u003c/em> is foremost an entry in the cinema of cool, with each fussed-over frame drenched in the noir trappings of chiaroscuro lighting and cigarette smoke or luxuriating in late-’80s German iconography or the contours of beautiful bodies. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Atomic Blonde\u003c/em> may be high in empty calories, but craftsmanship of this level is rare and exhilarating, and worth surviving some muddled plotting to appreciate. Theron has a background as a dancer — she trained in ballet until a knee injury altered her career — and the choreography not only serves the deadly elegance of her form, but makes the camera her invisible partner. Their \u003cem>pas de deux\u003c/em> is a knockout.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Set in the days leading up to the fall of the Berlin Wall, \u003cem>Atomic Blonde\u003c/em> takes place in an underworld where the Cold War is over but the conflict continues, like the throbbing of a vestigial limb. In that respect — and perhaps that respect only — it belongs to the tradition of post-war thrillers like Carol Reed’s \u003cem>The Third Man\u003c/em> or Andrzej Wajda’s \u003cem>Ashes and Diamonds\u003c/em>, where danger and intrigue exist where they shouldn’t and the players involved are enmeshed in self-doubt and crippling mission drift. For the spies of \u003cem>Atomic Blonde\u003c/em>, the purpose of chasing a MacGuffin called “The List” has been vastly diminished by world events, but they keep on fighting regardless. That’s who they are. \u003c/p>\n\u003cp>The degree to which \u003cem>Atomic Blonde\u003c/em> takes any of this business seriously is an open question, given how little time is spent on political and existential chin-stroking and how much is devoted to fetishizing the era-specific fashion, interior design, and New Wave music. Yet it does explain why the film’s hollowness is a feature rather than a flaw, reflecting the mindset of kick-ass pulp heroine who submerges herself in an ice bath every night, as much to numb her conscience as to salve her wounds. She doesn’t know who to trust. She doesn’t know what she’s fighting for anymore. But nevertheless, she persists. \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/yIUube1pSC0'\n title='//www.youtube.com/embed/yIUube1pSC0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Based on Antony Johnson and Sam Hart’s graphic novel \u003cem>The Coldest City\u003c/em>, \u003cem>Atomic Blonde\u003c/em> opens with Lorraine Broughton (Charlize Theron), a MI6 spy, debriefing her superiors about a sensitive mission gone awry. From there, it backtracks to Lorraine getting sent to Berlin, where a British spy has just been killed over a list that includes the names of every espionage agent working in the city, regardless of allegiance. With the identities and lives of her colleagues on the line, Lorraine partners up with Berlin station chief David Percival (James McAvoy), but his erratic behavior immediately draws her suspicion. As Lorraine and David track down “The List” and protect the source (Eddie Marsan) who gave it to them, they face threats from Russian adversaries, black marketers, and a double-agent referred to as “Sachel.” \u003c/p>\n\u003cp>Director David Leitch spent nearly two decades as a stuntman and stunt coordinator before he and his partner, Chad Stahelski, put their choreographic skills to use on the terrific Keanu Reeves action thriller \u003cem>John Wick\u003c/em>. (Only Stahelski is credited, but the two co-directed.) \u003cem>John Wick\u003c/em> and its sequel made a kind of macabre ballet out of Reeves’ retired assassin shooting dozens of henchmen in the head for two hours. American films had been trying to mimic Hong Kong action cinema since John Woo and Chow Yun-Fat revolutionized the action genre with \u003cem>The Killer\u003c/em> and \u003cem>Hard-Boiled\u003c/em>, but Leitch and Stahelski were the first to fully capture the savage beauty of its aestheticized violence. It may be style over substance — but wow what style! \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Despite the Cold War trappings, \u003cem>Atomic Blonde\u003c/em> continues along the same lines, with the spy-versus-spy intrigue serving mainly as a delivery system for magnificent butt-kickings. Leitch clears his throat with a sequence where Lorraine fends off two assailants inside a moving car, using the business end of a red high-heeled shoe as her weapon of choice. From there, he offers a striking range of different looks, including a bravura single-shot scene of close combat near an stairwell, an apartment melee where Lorraine relies on available materials (chiefly a garden hose), and a behind-the-screen silhouette fight at an East German theater showing Andrei Tarkovsky’s \u003cem>Stalker\u003c/em>. \u003c/p>\n\u003cp>Though Lorraine’s fight for survival in this changing and confusing time isn’t as clear and effective a motivation as Reeves avenging his dog’s death in \u003cem>John Wick\u003c/em>, the premise does give Leitch the opportunity to explore the graphic possibilities of the setting and uncork a soundtrack that includes moody delectables like David Bowie’s “Cat People (Putting Out Fire),” ‘Til Tuesday’s “Voices Carry” and Depeche Mode’s “Behind the Wheel.” \u003cem>Atomic Blonde\u003c/em> is foremost an entry in the cinema of cool, with each fussed-over frame drenched in the noir trappings of chiaroscuro lighting and cigarette smoke or luxuriating in late-’80s German iconography or the contours of beautiful bodies. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Atomic Blonde\u003c/em> may be high in empty calories, but craftsmanship of this level is rare and exhilarating, and worth surviving some muddled plotting to appreciate. Theron has a background as a dancer — she trained in ballet until a knee injury altered her career — and the choreography not only serves the deadly elegance of her form, but makes the camera her invisible partner. Their \u003cem>pas de deux\u003c/em> is a knockout.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Feeling 'Young, Scrappy And Hungry'? Have a 'Hamilton'-Inspired Meal",
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"content": "\u003cp>There’s nothing like fandom to encourage innovation, and the devotees of the Broadway hit \u003cem>Hamilton: An American Musical\u003c/em> are no exception — whether they’ve actually seen the show in person or have memorized every lyric of the 46 songs on the soundtrack album. So it was only a matter of time before enthusiastic fans were going to search out culinary tributes to their most treasured folk hero.\u003c/p>\n\u003cp>While the “Founding Father without a father” doesn’t seem to have been much of a foodie, his abbreviated signature has been enough to inspire an A. Ham Sandwich — yes, really. Historians have culled a handful of culinary references that have provided enough of a springboard for \u003ca href=\"http://coolmompicks.com/blog/2017/02/20/best-hamilton-party-ideas-decor-invitations-treats/\">enterprising bloggers\u003c/a>, mixologists and the parents of \u003cem>Hamilton\u003c/em>-crazed kids determined to have a \u003ca href=\"http://www.huffingtonpost.com/entry/8-year-old-didnt-throw-away-her-shot-to-have-a-hamilton-birthday-party_us_593ab040e4b0c5a35c9eb73d\">birthday party themed after the musical\u003c/a>. You’ll find plenty of suggested menus on Ye Olde Internet, from “Aaron Burr-gers” to “Hercules Mulliga-tawny Soup” — and who wouldn’t want a trio of \u003ca href=\"https://www.pinterest.com/pin/137922807318393346\">Schuyler Sisters cakes\u003c/a> adapted from classic Barbie Doll cake recipes?\u003c/p>\n\u003cp>Of course, if you’re a purist — and Hamilton would love a purist — then history has its eyes on you.\u003c/p>\n\u003cp>From a historical perspective, there are scant clues into Hamilton’s diet, starting with the 18th-century bodega that his mother, Rachel, opened in 1765 on the island of St. Croix, when Alexander and his older brother, James, were boys. From here, she supplied local planters with salted codfish and pork, apples, butter and flour. After her death three years later, Rachel’s two sons eventually went their separate ways. Working as a clerk in a trading house, Alexander, then a young teen, definitely showed an interest in food — but, as was his wont, primarily in terms of commerce, making hefty profits for the company by “tradin’ sugar cane and rum and all the things he can’t afford,” as sung in the musical’s opening number.\u003c/p>\n\u003cfigure id=\"attachment_13741635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-800x600.jpe\" alt=\"The dining room at the Hamilton Grange National Memorial in New York City. From a historical perspective, there are scant clues into Alexander Hamilton's diet\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13741635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-1920x1440.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-1180x885.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-960x720.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-520x390.jpe 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The dining room at the Hamilton Grange National Memorial in New York City. From a historical perspective, there are scant clues into Alexander Hamilton’s diet \u003ccite>(National Park Service)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Author Laura Kumin examines the cuisine of Hamilton’s world in \u003cem>The Hamilton Cookbook\u003c/em>, to be released in November by Post Hill Press, by delving into the food history of the time and gleaning scraps of insight from a variety of sources.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>For instance, Hamilton’s wife, Eliza, would have brought a Dutch influence to the family table, based on the ancestral traditions that she grew up with. Think hearty split pea soup served with rye bread, topped with Dutch-style smoked bacon.\u003c/p>\n\u003cp>Meanwhile, Kumin writes, a West Indian Pepper Pot Soup, as popular in Revolutionary-era Philadelphia as it was in the Caribbean, recalls Hamilton’s island origins, and it turns out that Alexander and Eliza loved ice cream, introducing the dessert to George and Martha Washington when they hosted them for dinner in 1789.\u003c/p>\n\u003cp>Paterson, N.J., a city that Hamilton is credited with founding in 1791 as an industrial hub, is perhaps the site of the first documented Hamiltonian meal. \u003ca href=\"http://www.hamiltonpartnership.org/celebratehamilton\">Picnicking on the banks of the Passaic River in 1778\u003c/a> with Hamilton, Washington and the Marquis de Lafayette, aide-de-camp James McHenry wrote that the men feasted on a “modest repast of … cold ham, tongue, and some biscuit. With the assistance of a little spirit, we composed some excellent grog.”\u003c/p>\n\u003cp>No stranger to grog and other libations, Hamilton and his friends did seem to frequently “raise a glass to freedom,” inspiring plenty of modern \u003ca href=\"https://www.buzzfeed.com/FeliciaFitzpatrick/the-hamilton-musical-drinking-game-jbnr?utm_term=.qbLW9Qn1k#.id8vM9zBP\">drinking games\u003c/a> – as well as the Broadway musical’s \u003ca href=\"http://people.com/food/hamilton-musical-cocktail-recipe-lin-manuel-miranda/\">cocktail menu\u003c/a>. Some of the drinks to be had at the Richard Rodgers Theatre include the Hamiltini, featuring Hamilton Small Batch Vodka from upstate New York and the Founder’s Fizz, a blend of gin, lime juice, sugar and seltzer. It’s basically a classic gin rickey, which happens to be Washington, D.C.’s \u003ca href=\"http://www.npr.org/2011/07/15/138151925/washington-d-c-s-official-drink-the-rickey\">official cocktail\u003c/a>. There’s some irony to the fact that the Broadway version is made with British-made Beefeater Gin — perhaps just a tip of the hat to King George III.\u003c/p>\n\u003cp>Although imbibing liquor throughout the day was common during Hamilton’s time, John Adams — no fan of the upstart immigrant, whom he referred to as the “\u003ca href=\"https://founders.archives.gov/documents/Adams/99-02-02-5119\">bastard brat of a Scotch Pedler\u003c/a>” — complained that the first secretary of the Treasury wasn’t able to drink wine “without getting silly and vaporing about his administration like a young girl about her brilliants and trinkets.”\u003c/p>\n\u003cp>Hamilton may not have been able to hold his liquor, but it appears that coffee was his true vice, anyway. Writing in his biography \u003cem>Alexander Hamilton\u003c/em>, upon which the musical was based, historian Ron Chernow noted that Hamilton’s java habit, as described by a contemporary, may have helped the Founding Father to write like he was running out of time:\u003c/p>\n\u003cblockquote>\n\u003cp>“… having slept six or seven hours, he rose and having taken strong coffee, seated himself at his table, where he would remain six, seven, or eight hours. And the product of his rapid pen required little correction for the press.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The one person who may have actually impressed Hamilton at the dinner table was, ironically, his political rival — not Aaron Burr, but Thomas Jefferson. Often considered America’s Founding Foodie, Jefferson, originally played in the musical by Daveed Diggs, liked to negotiate during meals. In the song “The Room Where It Happens,” Diggs details the Compromise of 1790, also known as the “dinner table bargain” between Jefferson, Madison and Hamilton, singing, “Well, I arranged the meeting/I arranged the menu, the venue, the seating.”\u003c/p>\n\u003cfigure id=\"attachment_13741637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-800x496.jpe\" alt=\"In addition to cocktails inspired by 'Hamilton,' The PrivateBank Theatre in Chicago sells "Revolutionary Pyes" -- as spelled in the 1800s. A pye lady walks through the aisles and the lobby carrying a large tray of the desserts.\" width=\"800\" height=\"496\" class=\"size-medium wp-image-13741637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-800x496.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-160x99.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-768x476.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-1020x633.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-1920x1191.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-1180x732.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-960x595.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-240x149.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-375x233.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-520x323.jpe 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In addition to cocktails inspired by ‘Hamilton,’ The PrivateBank Theatre in Chicago sells “Revolutionary Pyes” — as spelled in the 1800s. A pye lady walks through the aisles and the lobby carrying a large tray of the desserts. \u003ccite>(Courtesy of Eli's Cheesecake Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The proof of Jefferson’s mastery of the art of the dinner party was in the pudding. As Charles Cerami recounted in his history \u003cem>Dinner at Mr. Jefferson’s\u003c/em>, guests, including Hamilton, were treated to extravagant menus filled with French flair — from capon stuffed with Virginia ham and chestnut puree with a cream-and-brandy-based Calvados sauce, to \u003ca href=\"https://www.monticello.org/site/research-and-collections/jeffersonian-dinners\">\u003cem>boeuf a la mode,\u003c/em>\u003c/a> a beef stew that was a staple at Monticello.\u003c/p>\n\u003cp>But clearly it was dessert that made Hamilton swoon:\u003c/p>\n\u003cblockquote>\n\u003cp>“At the precise moment when the evening was approaching perfection,” writes Cerami, “came the universally favorite dessert — the delicious vanilla ice cream that still seemed like a miracle, for it was enclosed in a warm pastry, like a cream puff, giving the illusion that the ice cream had come straight from the oven. It never failed to elicit cries from the groups of diners at Monticello, and it did not fail now. Even Madison gave a small squeal, and Hamilton positively exulted.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Still, if you don’t have a sweet tooth, then there’s only one other way to end a Hamilton-esque meal.\u003c/p>\n\u003cp>Yes, with \u003ca href=\"https://www.goodfoodstories.com/alexander-hamilton-cocktail/\">a shot\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ca href=\"https://www.kristenhartke.com\">\u003cem>Kristen Hartke\u003c/em>\u003c/a>\u003cem> is a food and beverage writer based in Washington, D.C.\u003c/em>\u003c/p>\n\u003chr>\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=Feeling+%27Young%2C+Scrappy+And+Hungry%27%3F+Have+A+%27Hamilton%27-Inspired+Meal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "It was only a matter of time before fans of the Broadway hit sought out culinary tributes to their most treasured folk hero. Here are historically minded ideas to eat like the Founding Father.",
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"title": "Feeling 'Young, Scrappy And Hungry'? Have a 'Hamilton'-Inspired Meal | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s nothing like fandom to encourage innovation, and the devotees of the Broadway hit \u003cem>Hamilton: An American Musical\u003c/em> are no exception — whether they’ve actually seen the show in person or have memorized every lyric of the 46 songs on the soundtrack album. So it was only a matter of time before enthusiastic fans were going to search out culinary tributes to their most treasured folk hero.\u003c/p>\n\u003cp>While the “Founding Father without a father” doesn’t seem to have been much of a foodie, his abbreviated signature has been enough to inspire an A. Ham Sandwich — yes, really. Historians have culled a handful of culinary references that have provided enough of a springboard for \u003ca href=\"http://coolmompicks.com/blog/2017/02/20/best-hamilton-party-ideas-decor-invitations-treats/\">enterprising bloggers\u003c/a>, mixologists and the parents of \u003cem>Hamilton\u003c/em>-crazed kids determined to have a \u003ca href=\"http://www.huffingtonpost.com/entry/8-year-old-didnt-throw-away-her-shot-to-have-a-hamilton-birthday-party_us_593ab040e4b0c5a35c9eb73d\">birthday party themed after the musical\u003c/a>. You’ll find plenty of suggested menus on Ye Olde Internet, from “Aaron Burr-gers” to “Hercules Mulliga-tawny Soup” — and who wouldn’t want a trio of \u003ca href=\"https://www.pinterest.com/pin/137922807318393346\">Schuyler Sisters cakes\u003c/a> adapted from classic Barbie Doll cake recipes?\u003c/p>\n\u003cp>Of course, if you’re a purist — and Hamilton would love a purist — then history has its eyes on you.\u003c/p>\n\u003cp>From a historical perspective, there are scant clues into Hamilton’s diet, starting with the 18th-century bodega that his mother, Rachel, opened in 1765 on the island of St. Croix, when Alexander and his older brother, James, were boys. From here, she supplied local planters with salted codfish and pork, apples, butter and flour. After her death three years later, Rachel’s two sons eventually went their separate ways. Working as a clerk in a trading house, Alexander, then a young teen, definitely showed an interest in food — but, as was his wont, primarily in terms of commerce, making hefty profits for the company by “tradin’ sugar cane and rum and all the things he can’t afford,” as sung in the musical’s opening number.\u003c/p>\n\u003cfigure id=\"attachment_13741635\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-800x600.jpe\" alt=\"The dining room at the Hamilton Grange National Memorial in New York City. From a historical perspective, there are scant clues into Alexander Hamilton's diet\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13741635\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-800x600.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-160x120.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-768x576.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-1020x765.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-1920x1440.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-1180x885.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-960x720.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-240x180.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-375x281.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/c4d6c882-155d-451f-6736c610d7902912-5de86cfba1f9840aadbc6531789b671d1880ac2e-520x390.jpe 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The dining room at the Hamilton Grange National Memorial in New York City. From a historical perspective, there are scant clues into Alexander Hamilton’s diet \u003ccite>(National Park Service)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Author Laura Kumin examines the cuisine of Hamilton’s world in \u003cem>The Hamilton Cookbook\u003c/em>, to be released in November by Post Hill Press, by delving into the food history of the time and gleaning scraps of insight from a variety of sources.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>For instance, Hamilton’s wife, Eliza, would have brought a Dutch influence to the family table, based on the ancestral traditions that she grew up with. Think hearty split pea soup served with rye bread, topped with Dutch-style smoked bacon.\u003c/p>\n\u003cp>Meanwhile, Kumin writes, a West Indian Pepper Pot Soup, as popular in Revolutionary-era Philadelphia as it was in the Caribbean, recalls Hamilton’s island origins, and it turns out that Alexander and Eliza loved ice cream, introducing the dessert to George and Martha Washington when they hosted them for dinner in 1789.\u003c/p>\n\u003cp>Paterson, N.J., a city that Hamilton is credited with founding in 1791 as an industrial hub, is perhaps the site of the first documented Hamiltonian meal. \u003ca href=\"http://www.hamiltonpartnership.org/celebratehamilton\">Picnicking on the banks of the Passaic River in 1778\u003c/a> with Hamilton, Washington and the Marquis de Lafayette, aide-de-camp James McHenry wrote that the men feasted on a “modest repast of … cold ham, tongue, and some biscuit. With the assistance of a little spirit, we composed some excellent grog.”\u003c/p>\n\u003cp>No stranger to grog and other libations, Hamilton and his friends did seem to frequently “raise a glass to freedom,” inspiring plenty of modern \u003ca href=\"https://www.buzzfeed.com/FeliciaFitzpatrick/the-hamilton-musical-drinking-game-jbnr?utm_term=.qbLW9Qn1k#.id8vM9zBP\">drinking games\u003c/a> – as well as the Broadway musical’s \u003ca href=\"http://people.com/food/hamilton-musical-cocktail-recipe-lin-manuel-miranda/\">cocktail menu\u003c/a>. Some of the drinks to be had at the Richard Rodgers Theatre include the Hamiltini, featuring Hamilton Small Batch Vodka from upstate New York and the Founder’s Fizz, a blend of gin, lime juice, sugar and seltzer. It’s basically a classic gin rickey, which happens to be Washington, D.C.’s \u003ca href=\"http://www.npr.org/2011/07/15/138151925/washington-d-c-s-official-drink-the-rickey\">official cocktail\u003c/a>. There’s some irony to the fact that the Broadway version is made with British-made Beefeater Gin — perhaps just a tip of the hat to King George III.\u003c/p>\n\u003cp>Although imbibing liquor throughout the day was common during Hamilton’s time, John Adams — no fan of the upstart immigrant, whom he referred to as the “\u003ca href=\"https://founders.archives.gov/documents/Adams/99-02-02-5119\">bastard brat of a Scotch Pedler\u003c/a>” — complained that the first secretary of the Treasury wasn’t able to drink wine “without getting silly and vaporing about his administration like a young girl about her brilliants and trinkets.”\u003c/p>\n\u003cp>Hamilton may not have been able to hold his liquor, but it appears that coffee was his true vice, anyway. Writing in his biography \u003cem>Alexander Hamilton\u003c/em>, upon which the musical was based, historian Ron Chernow noted that Hamilton’s java habit, as described by a contemporary, may have helped the Founding Father to write like he was running out of time:\u003c/p>\n\u003cblockquote>\n\u003cp>“… having slept six or seven hours, he rose and having taken strong coffee, seated himself at his table, where he would remain six, seven, or eight hours. And the product of his rapid pen required little correction for the press.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The one person who may have actually impressed Hamilton at the dinner table was, ironically, his political rival — not Aaron Burr, but Thomas Jefferson. Often considered America’s Founding Foodie, Jefferson, originally played in the musical by Daveed Diggs, liked to negotiate during meals. In the song “The Room Where It Happens,” Diggs details the Compromise of 1790, also known as the “dinner table bargain” between Jefferson, Madison and Hamilton, singing, “Well, I arranged the meeting/I arranged the menu, the venue, the seating.”\u003c/p>\n\u003cfigure id=\"attachment_13741637\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-800x496.jpe\" alt=\"In addition to cocktails inspired by 'Hamilton,' The PrivateBank Theatre in Chicago sells "Revolutionary Pyes" -- as spelled in the 1800s. A pye lady walks through the aisles and the lobby carrying a large tray of the desserts.\" width=\"800\" height=\"496\" class=\"size-medium wp-image-13741637\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-800x496.jpe 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-160x99.jpe 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-768x476.jpe 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-1020x633.jpe 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-1920x1191.jpe 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-1180x732.jpe 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-960x595.jpe 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-240x149.jpe 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-375x233.jpe 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hamilton-pye-box-dsc08189_custom-3eff0dfea0b863ee40fd22d35b207efde87d3d0f-520x323.jpe 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In addition to cocktails inspired by ‘Hamilton,’ The PrivateBank Theatre in Chicago sells “Revolutionary Pyes” — as spelled in the 1800s. A pye lady walks through the aisles and the lobby carrying a large tray of the desserts. \u003ccite>(Courtesy of Eli's Cheesecake Company)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The proof of Jefferson’s mastery of the art of the dinner party was in the pudding. As Charles Cerami recounted in his history \u003cem>Dinner at Mr. Jefferson’s\u003c/em>, guests, including Hamilton, were treated to extravagant menus filled with French flair — from capon stuffed with Virginia ham and chestnut puree with a cream-and-brandy-based Calvados sauce, to \u003ca href=\"https://www.monticello.org/site/research-and-collections/jeffersonian-dinners\">\u003cem>boeuf a la mode,\u003c/em>\u003c/a> a beef stew that was a staple at Monticello.\u003c/p>\n\u003cp>But clearly it was dessert that made Hamilton swoon:\u003c/p>\n\u003cblockquote>\n\u003cp>“At the precise moment when the evening was approaching perfection,” writes Cerami, “came the universally favorite dessert — the delicious vanilla ice cream that still seemed like a miracle, for it was enclosed in a warm pastry, like a cream puff, giving the illusion that the ice cream had come straight from the oven. It never failed to elicit cries from the groups of diners at Monticello, and it did not fail now. Even Madison gave a small squeal, and Hamilton positively exulted.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Still, if you don’t have a sweet tooth, then there’s only one other way to end a Hamilton-esque meal.\u003c/p>\n\u003cp>Yes, with \u003ca href=\"https://www.goodfoodstories.com/alexander-hamilton-cocktail/\">a shot\u003c/a>.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Justin Bieber has spent the last 18 months on the road promoting his album “Purpose.” But after more than 150 shows on six continents, Bieber abruptly announced today that he is canceling the last leg of the tour. There were more than a dozen dates left across North America and East Asia, including high-profile stops at the MetLife Stadium in East Rutherford, N.J., the Rose Bowl Stadium in Pasadena, Calif. and Tokyo’s Ajinomoto Stadium.\u003c/p>\n\u003cp>Last week, the singer was barred from performing in China due to his “bad behavior,” the country’s Municipal Bureau of Culture \u003ca href=\"http://www.independent.co.uk/news/world/asia/justin-bieber-china-ban-concerts-performing-bad-behaviour-a7853616.html\" target=\"_blank\" rel=\"noopener\">asserted\u003c/a>.\u003c/p>\n\u003cp>The pop megastar’s team posted a \u003ca href=\"http://www.justinbiebermusic.com/\" target=\"_blank\" rel=\"noopener\">message\u003c/a> on his website this afternoon, stating that his cancellation was due to “unforeseen circumstances.” But the tour has already been highly lucrative: as of April, it had grossed about \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7751681/justin-bieber-purpose-world-tour-earnings\" target=\"_blank\" rel=\"noopener\">$200 million\u003c/a>, according to \u003cem>Billboard\u003c/em> Magazine. \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=%27Sorry%2C%27+Beliebers%3A+Justin+Bieber+Has+Abruptly+Canceled+The+Rest+Of+His+Tour&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>Justin Bieber has spent the last 18 months on the road promoting his album “Purpose.” But after more than 150 shows on six continents, Bieber abruptly announced today that he is canceling the last leg of the tour. There were more than a dozen dates left across North America and East Asia, including high-profile stops at the MetLife Stadium in East Rutherford, N.J., the Rose Bowl Stadium in Pasadena, Calif. and Tokyo’s Ajinomoto Stadium.\u003c/p>\n\u003cp>Last week, the singer was barred from performing in China due to his “bad behavior,” the country’s Municipal Bureau of Culture \u003ca href=\"http://www.independent.co.uk/news/world/asia/justin-bieber-china-ban-concerts-performing-bad-behaviour-a7853616.html\" target=\"_blank\" rel=\"noopener\">asserted\u003c/a>.\u003c/p>\n\u003cp>The pop megastar’s team posted a \u003ca href=\"http://www.justinbiebermusic.com/\" target=\"_blank\" rel=\"noopener\">message\u003c/a> on his website this afternoon, stating that his cancellation was due to “unforeseen circumstances.” But the tour has already been highly lucrative: as of April, it had grossed about \u003ca href=\"http://www.billboard.com/articles/columns/chart-beat/7751681/justin-bieber-purpose-world-tour-earnings\" target=\"_blank\" rel=\"noopener\">$200 million\u003c/a>, according to \u003cem>Billboard\u003c/em> Magazine. \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=%27Sorry%2C%27+Beliebers%3A+Justin+Bieber+Has+Abruptly+Canceled+The+Rest+Of+His+Tour&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "The Enduring Legacy of Jane Austen's 'Truth Universally Acknowledged'",
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"content": "\u003cp>\u003cem>Geoff Nunberg (\u003c/em>\u003ca href=\"https://twitter.com/GeoffNunberg\">@GeoffNunberg\u003c/a>) \u003cem>is a linguist who teaches at the School of Information at the University of California at Berkeley.\u003c/em>\u003c/p>\n\u003cp>Shortly after Amazon introduced the Kindle, they put up a page with a ranked list of the most frequently highlighted passages across all the books. It’s not there anymore, but when I first looked at the list in 2013, the opening sentence of \u003cem>Pride and Prejudice\u003c/em> was in third place. That was all the more impressive because eight of the other top 10 finishers were passages from the \u003cem>Hunger Games\u003c/em> series, which was the hit of the season that year, as Austen’s novel had been exactly 200 years earlier.\u003c/p>\n\u003cp>“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”\u003c/p>\n\u003cp>We can argue about whether that’s the most famous first line in English literature or whether the honor belongs to the opening sentence of \u003cem>Moby Dick\u003c/em> or \u003cem>A Tale of Two Cities\u003c/em> or \u003cem>1984\u003c/em>. But there’s no other opening sentence that lends itself so well to sampling, mash-ups and adaptation.\u003c/p>\n\u003cp>If you’re looking to add a literary touch to your article on \u003ca href=\"http://www.pensions-expert.com/index.php/DC-Auto-enrolment/Default-DC-structures-require-closer-scrutiny\">pension schemes\u003c/a> or \u003ca href=\"http://humblebeehome.blogspot.com/2014/02/it-is-truth-universally-acknowledged.html\">emergency contraceptives\u003c/a>, you’re not going to get very far with “Call me Ishmael.” But “It is a truth universally acknowledged” is always available as an elegant replacement for “As everybody knows” when you want to introduce some banal truism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The phrase is ubiquitous in the age of Jane-o-mania. Rummage around on the Internet and you’ll learn that it is a truth universally acknowledged that a “pop star in possession of a good fortune must be \u003ca href=\"https://blogs.wsj.com/speakeasy/2013/08/13/fans-show-pride-in-jane-austen-and-prejudice-against-kelly-clarkson/\">in want of baubles\u003c/a>,” that business class \u003ca href=\"https://www.thelocal.no/20170404/10-reasons-to-get-on-board-with-qatar-airways-qsuite-qatar-tlccu\">is more comfortable\u003c/a> than economy, that “\u003ca href=\"https://www.yahoo.com/style/grandpa-got-stood-internet-isnt-155500930.html\">online dating sucks\u003c/a>” and, needless to say, that Jane Austen “\u003ca href=\"http://ew.com/article/2013/01/28/pride-and-prejudice-anniversary-colin-firth/?http://p=872946\">has left quite a mark\u003c/a> on pop culture.”\u003c/p>\n\u003cp>Here’s the puzzling thing. Those adaptations of Austen’s sentence are almost never ironic or facetious. They only underscore the prevailing wisdom, rather than throwing it into question.\u003c/p>\n\u003cp>Yet my guess is that a large portion of the people who adapt that sentence know perfectly well that the original version is anything but straightforward. It may be the single most celebrated example of literary irony in all of English literature. Pick up a paperback of \u003cem>Pride and Prejudice\u003c/em> at a garage sale and it’s even money you’ll find the first sentence underlined with “IRONY” written in the margin.\u003c/p>\n\u003cp>The sentence may look like a truism, but the first part actually undermines the second. In her book \u003cem>Why Jane Austen\u003c/em>, Rachel Brownstein points out that if the novel had begun simply with “A single man possessed of a good fortune must be in want of a wife,” we’d snuggle in for a stock romantic story. We might expect the next sentence to describe an aristocratic Colin Firth lookalike galloping full-tilt toward the Bennets’ house at Longbourn.\u003c/p>\n\u003cp>But prefacing that clause with “It is a truth universally acknowledged” implies that’s only what most people say they believe — after all, if everybody really does accept it, why bother to mention the fact? In fact, as Austen says in the following sentence, nobody really cares what the wealthy man himself thinks he needs. There’s only one truth that matters to Mrs. Bennet and the other families in the neighborhood — that a daughter who has no fortune must be found a well-to-do husband to look after her, which Mrs. Bennet has made “the business of her life.”\u003c/p>\n\u003cp>But we suspect that Austen has her reservations about that single-minded pursuit of an advantageous marriage, even if she doesn’t say so outright. And we’re flattered to think that she counts on astute readers like us to pick up on that, while others will miss it. It makes us feel complicit with her. As the modernist writer Katherine Mansfield wrote in 1920, “every true admirer of [Austen’s] novels cherishes the happy thought that he alone — reading between the lines — has become the secret friend of their author.” (That pronoun “he” gives us a start now, but bear in mind that back then the most prominent Austen devotees were the male literati of the Bloomsbury set.)\u003c/p>\n\u003cp>Austen’s sentence is a masterpiece of indirection, and it’s no wonder that people keep trying to repurpose it in the hope that they can pluck it from its original context and its irony will somehow cling to its roots. But that can’t happen without the covert wink, the tip-off to the sharp reader that the truth isn’t as pat as the rest of the sentence makes it seem. Otherwise, the phrase is an empty gesture. It merely signifies irony, the way an empire waistline or a neck cloth signifies Regency gentility.\u003c/p>\n\u003cp>OK, it’s just a sentence. But it points to what always happens when Austen is repackaged for export. There have been some wonderful stage, \u003ca href=\"https://www.youtube.com/watch?v=sk4hAHHB7L8\">film\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Pride_and_Prejudice_(1980_TV_series)\">TV adaptations\u003c/a> of \u003cem>Pride and Prejudice\u003c/em> over the years. But as charming as they are, they can only depict the second half of that opening sentence, the Colin Firth \u003ca href=\"https://www.youtube.com/watch?v=hasKmDr1yrA\">bits\u003c/a>. We get a beguiling story of romance and courtship. But we don’t see it at Austen’s skeptical remove. We miss the arched eyebrow, the sly and confiding voice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the paradox of Austen’s novels. Like the opening sentence of \u003cem>Pride and Prejudice\u003c/em>, they cry out for adaptation. They seem infinitely resilient: You can relocate them to \u003ca href=\"http://www.npr.org/2015/07/17/423740582/in-clothes-and-language-clueless-offered-counterpoint-to-grunge-crowd\">Beverly Hills\u003c/a> or \u003ca href=\"https://en.wikipedia.org/wiki/Aisha_(film)\">Delhi\u003c/a>; rewrite them as \u003ca href=\"http://www.npr.org/2011/11/29/142848012/pride-and-prejudice-meets-clue-at-pemberley\">murder mysteries\u003c/a> or \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/10/thank-the-bbc-for-jane-austen-erotica/412039/\">erotica\u003c/a>; populate them with \u003ca href=\"https://books.google.com/books?id=rrYemmZ_P5gC&printsec=frontcover#v=onepage&q&f=false\">vampires\u003c/a> or \u003ca href=\"http://www.npr.org/2016/02/04/465305804/these-zombies-make-an-austen-update-even-the-undead-cant-revive\">zombies\u003c/a> — they’ll always retain some trace of their original appeal. Yet there are few other novels so unwilling to give up their souls. \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=The+Enduring+Legacy+Of+Jane+Austen%27s+%27Truth+Universally+Acknowledged%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Geoff Nunberg (\u003c/em>\u003ca href=\"https://twitter.com/GeoffNunberg\">@GeoffNunberg\u003c/a>) \u003cem>is a linguist who teaches at the School of Information at the University of California at Berkeley.\u003c/em>\u003c/p>\n\u003cp>Shortly after Amazon introduced the Kindle, they put up a page with a ranked list of the most frequently highlighted passages across all the books. It’s not there anymore, but when I first looked at the list in 2013, the opening sentence of \u003cem>Pride and Prejudice\u003c/em> was in third place. That was all the more impressive because eight of the other top 10 finishers were passages from the \u003cem>Hunger Games\u003c/em> series, which was the hit of the season that year, as Austen’s novel had been exactly 200 years earlier.\u003c/p>\n\u003cp>“It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife.”\u003c/p>\n\u003cp>We can argue about whether that’s the most famous first line in English literature or whether the honor belongs to the opening sentence of \u003cem>Moby Dick\u003c/em> or \u003cem>A Tale of Two Cities\u003c/em> or \u003cem>1984\u003c/em>. But there’s no other opening sentence that lends itself so well to sampling, mash-ups and adaptation.\u003c/p>\n\u003cp>If you’re looking to add a literary touch to your article on \u003ca href=\"http://www.pensions-expert.com/index.php/DC-Auto-enrolment/Default-DC-structures-require-closer-scrutiny\">pension schemes\u003c/a> or \u003ca href=\"http://humblebeehome.blogspot.com/2014/02/it-is-truth-universally-acknowledged.html\">emergency contraceptives\u003c/a>, you’re not going to get very far with “Call me Ishmael.” But “It is a truth universally acknowledged” is always available as an elegant replacement for “As everybody knows” when you want to introduce some banal truism.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The phrase is ubiquitous in the age of Jane-o-mania. Rummage around on the Internet and you’ll learn that it is a truth universally acknowledged that a “pop star in possession of a good fortune must be \u003ca href=\"https://blogs.wsj.com/speakeasy/2013/08/13/fans-show-pride-in-jane-austen-and-prejudice-against-kelly-clarkson/\">in want of baubles\u003c/a>,” that business class \u003ca href=\"https://www.thelocal.no/20170404/10-reasons-to-get-on-board-with-qatar-airways-qsuite-qatar-tlccu\">is more comfortable\u003c/a> than economy, that “\u003ca href=\"https://www.yahoo.com/style/grandpa-got-stood-internet-isnt-155500930.html\">online dating sucks\u003c/a>” and, needless to say, that Jane Austen “\u003ca href=\"http://ew.com/article/2013/01/28/pride-and-prejudice-anniversary-colin-firth/?http://p=872946\">has left quite a mark\u003c/a> on pop culture.”\u003c/p>\n\u003cp>Here’s the puzzling thing. Those adaptations of Austen’s sentence are almost never ironic or facetious. They only underscore the prevailing wisdom, rather than throwing it into question.\u003c/p>\n\u003cp>Yet my guess is that a large portion of the people who adapt that sentence know perfectly well that the original version is anything but straightforward. It may be the single most celebrated example of literary irony in all of English literature. Pick up a paperback of \u003cem>Pride and Prejudice\u003c/em> at a garage sale and it’s even money you’ll find the first sentence underlined with “IRONY” written in the margin.\u003c/p>\n\u003cp>The sentence may look like a truism, but the first part actually undermines the second. In her book \u003cem>Why Jane Austen\u003c/em>, Rachel Brownstein points out that if the novel had begun simply with “A single man possessed of a good fortune must be in want of a wife,” we’d snuggle in for a stock romantic story. We might expect the next sentence to describe an aristocratic Colin Firth lookalike galloping full-tilt toward the Bennets’ house at Longbourn.\u003c/p>\n\u003cp>But prefacing that clause with “It is a truth universally acknowledged” implies that’s only what most people say they believe — after all, if everybody really does accept it, why bother to mention the fact? In fact, as Austen says in the following sentence, nobody really cares what the wealthy man himself thinks he needs. There’s only one truth that matters to Mrs. Bennet and the other families in the neighborhood — that a daughter who has no fortune must be found a well-to-do husband to look after her, which Mrs. Bennet has made “the business of her life.”\u003c/p>\n\u003cp>But we suspect that Austen has her reservations about that single-minded pursuit of an advantageous marriage, even if she doesn’t say so outright. And we’re flattered to think that she counts on astute readers like us to pick up on that, while others will miss it. It makes us feel complicit with her. As the modernist writer Katherine Mansfield wrote in 1920, “every true admirer of [Austen’s] novels cherishes the happy thought that he alone — reading between the lines — has become the secret friend of their author.” (That pronoun “he” gives us a start now, but bear in mind that back then the most prominent Austen devotees were the male literati of the Bloomsbury set.)\u003c/p>\n\u003cp>Austen’s sentence is a masterpiece of indirection, and it’s no wonder that people keep trying to repurpose it in the hope that they can pluck it from its original context and its irony will somehow cling to its roots. But that can’t happen without the covert wink, the tip-off to the sharp reader that the truth isn’t as pat as the rest of the sentence makes it seem. Otherwise, the phrase is an empty gesture. It merely signifies irony, the way an empire waistline or a neck cloth signifies Regency gentility.\u003c/p>\n\u003cp>OK, it’s just a sentence. But it points to what always happens when Austen is repackaged for export. There have been some wonderful stage, \u003ca href=\"https://www.youtube.com/watch?v=sk4hAHHB7L8\">film\u003c/a> and \u003ca href=\"https://en.wikipedia.org/wiki/Pride_and_Prejudice_(1980_TV_series)\">TV adaptations\u003c/a> of \u003cem>Pride and Prejudice\u003c/em> over the years. But as charming as they are, they can only depict the second half of that opening sentence, the Colin Firth \u003ca href=\"https://www.youtube.com/watch?v=hasKmDr1yrA\">bits\u003c/a>. We get a beguiling story of romance and courtship. But we don’t see it at Austen’s skeptical remove. We miss the arched eyebrow, the sly and confiding voice.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That’s the paradox of Austen’s novels. Like the opening sentence of \u003cem>Pride and Prejudice\u003c/em>, they cry out for adaptation. They seem infinitely resilient: You can relocate them to \u003ca href=\"http://www.npr.org/2015/07/17/423740582/in-clothes-and-language-clueless-offered-counterpoint-to-grunge-crowd\">Beverly Hills\u003c/a> or \u003ca href=\"https://en.wikipedia.org/wiki/Aisha_(film)\">Delhi\u003c/a>; rewrite them as \u003ca href=\"http://www.npr.org/2011/11/29/142848012/pride-and-prejudice-meets-clue-at-pemberley\">murder mysteries\u003c/a> or \u003ca href=\"https://www.theatlantic.com/entertainment/archive/2015/10/thank-the-bbc-for-jane-austen-erotica/412039/\">erotica\u003c/a>; populate them with \u003ca href=\"https://books.google.com/books?id=rrYemmZ_P5gC&printsec=frontcover#v=onepage&q&f=false\">vampires\u003c/a> or \u003ca href=\"http://www.npr.org/2016/02/04/465305804/these-zombies-make-an-austen-update-even-the-undead-cant-revive\">zombies\u003c/a> — they’ll always retain some trace of their original appeal. Yet there are few other novels so unwilling to give up their souls. \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=The+Enduring+Legacy+Of+Jane+Austen%27s+%27Truth+Universally+Acknowledged%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Salvador Dalí's Remains Exhumed, Revealing A Perfectly Arranged Mustache",
"headTitle": "Salvador Dalí’s Remains Exhumed, Revealing A Perfectly Arranged Mustache | KQED",
"content": "\u003cp>The remains of Salvador Dalí were exhumed Thursday night, pulled from their resting place by Spanish officials hoping to confirm whether the surrealist painter fathered a child in an affair. The closed procedure extracted some hair samples, nails, teeth and two long bones from the artist’s embalmed body, the DNA of which might offer the conclusive answer to a high-profile paternity lawsuit long underway.\u003c/p>\n\u003cp>For now, that answer remains elusive — but forensic experts did uncover at least one curious fact when they pulled him briefly from his tomb at the Dalí Museum Theater in Figueres: His iconic mustache remains perfectly intact.\u003c/p>\n\u003cp>“The mustache preserved its classic 10-past-10 position,” Lluís Peñuelas, secretary-general of the Dalí Foundation, \u003ca href=\"https://elpais.com/cultura/2017/07/21/actualidad/1500616779_353229.html\" target=\"_blank\" rel=\"noopener\">told the Spanish newspaper El Pais\u003c/a>. “Checking it was a very exciting moment.”\u003c/p>\n\u003cp>The paper notes the forensic doctor who embalmed Dalí in 1989 was also on hand for Thursday’s operation, which was conducted with a pulley and concluded just hours after it began.\u003c/p>\n\u003cp>It was “a miracle,” Narcís Bardalet told a local radio station, \u003ca href=\"https://www.nytimes.com/2017/07/21/world/europe/salvador-dali-exhumed-paternity.html\" target=\"_blank\" rel=\"noopener\">according to The New York Times\u003c/a>. “Salvador Dalí is forever.”\u003c/p>\n\u003cfigure id=\"attachment_13711790\" class=\"wp-caption aligncenter\" style=\"max-width: 4753px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2.jpg\" alt=\"Tourists visit Salvador Dali's tomb at the Dali Museum Theater in Figueres on Friday, following the exhumation of his remains\" width=\"4753\" height=\"3565\" class=\"size-full wp-image-13711790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2.jpg 4753w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-520x390.jpg 520w\" sizes=\"(max-width: 4753px) 100vw, 4753px\">\u003cfigcaption class=\"wp-caption-text\">Tourists visit Salvador Dali’s tomb at the Dali Museum Theater in Figueres on Friday, following the exhumation of his remains \u003ccite>(Lluis Gene/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He might also be a father. At least, that’s what 61-year-old tarot card reader Pilar Abel alleges, saying Dalí had an affair with her mother back in 1955 — one year before her birth.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The first time I saw him, I was a little girl,” she told reporters three years ago, when she filed her lawsuit for partial claim to Dalí’s estate. “I was out for a walk with my grandmother, and she pointed him out.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/06/27/534516129/paternity-suit-salvador-dalis-body-ordered-exhumed\" target=\"_blank\" rel=\"noopener\">As NPR’s Lauren Frayer reported last month\u003c/a>, Dalí was married around that time — though, characteristically, that marriage was a tad unconventional.\u003c/p>\n\u003cp>“He was married at the time to his muse Gala, who lived in a castle, which he visited with written permission only,” Lauren explained. “They had no children. Without an heir, Dalí left his fortune — in the hundreds of millions — to the Spanish state when he died in 1989.”\u003c/p>\n\u003cp>Abel went public with her claim in 2007 and has sought proof since then, saying she wishes to honor her mother’s memory. And her lawyer, Enrique Blanquez, says that proof would also entitle Abel to one-fourth of the Dalí estate, \u003ca href=\"http://hosted.ap.org/dynamic/stories/E/EU_SPAIN_DALI?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT\">according to The Associated Press\u003c/a>.\u003c/p>\n\u003cp>Peñuelas and the foundation, which manages the artist’s estate, fought the exhumation order \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/06/26/534411874/salvador-dal-s-body-ordered-exhumed-in-paternity-suit\" target=\"_blank\" rel=\"noopener\">issued by a Madrid judge last month\u003c/a> and vow to continue the fight in court.\u003c/p>\n\u003cp>“[The Foundation] considers the exhumation performed on Salvador Dalí’s remains entirely inappropriate,” the Dalí Foundation said in a statement \u003ca href=\"https://news.artnet.com/art-world/inside-salvador-dali-overnight-exhumation-1029929\" target=\"_blank\" rel=\"noopener\">quoted by Artnet\u003c/a>.\u003c/p>\n\u003cp>“Before agreeing to such an invasive act as the exhumation of Salvador Dalí in a museum, the claimant Pilar Abel Martínez — as proposed by the Foundation and the Spanish State — should have been required to carry out a DNA test to compare her DNA with that of her legal father (deceased) or her brother, to thereby obtain all available evidence that she is not their daughter or sister.”\u003c/p>\n\u003cp>Still, Abel remains convinced the forensic experts now on the case will prove her right — after all, she says, she looks just like him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The only thing missing is the mustache,” she says. \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=Salvador+Dal%C3%AD%27s+Remains+Exhumed%2C+Revealing+A+Perfectly+Arranged+Mustache&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The remains of Salvador Dalí were exhumed Thursday night, pulled from their resting place by Spanish officials hoping to confirm whether the surrealist painter fathered a child in an affair. The closed procedure extracted some hair samples, nails, teeth and two long bones from the artist’s embalmed body, the DNA of which might offer the conclusive answer to a high-profile paternity lawsuit long underway.\u003c/p>\n\u003cp>For now, that answer remains elusive — but forensic experts did uncover at least one curious fact when they pulled him briefly from his tomb at the Dalí Museum Theater in Figueres: His iconic mustache remains perfectly intact.\u003c/p>\n\u003cp>“The mustache preserved its classic 10-past-10 position,” Lluís Peñuelas, secretary-general of the Dalí Foundation, \u003ca href=\"https://elpais.com/cultura/2017/07/21/actualidad/1500616779_353229.html\" target=\"_blank\" rel=\"noopener\">told the Spanish newspaper El Pais\u003c/a>. “Checking it was a very exciting moment.”\u003c/p>\n\u003cp>The paper notes the forensic doctor who embalmed Dalí in 1989 was also on hand for Thursday’s operation, which was conducted with a pulley and concluded just hours after it began.\u003c/p>\n\u003cp>It was “a miracle,” Narcís Bardalet told a local radio station, \u003ca href=\"https://www.nytimes.com/2017/07/21/world/europe/salvador-dali-exhumed-paternity.html\" target=\"_blank\" rel=\"noopener\">according to The New York Times\u003c/a>. “Salvador Dalí is forever.”\u003c/p>\n\u003cfigure id=\"attachment_13711790\" class=\"wp-caption aligncenter\" style=\"max-width: 4753px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2.jpg\" alt=\"Tourists visit Salvador Dali's tomb at the Dali Museum Theater in Figueres on Friday, following the exhumation of his remains\" width=\"4753\" height=\"3565\" class=\"size-full wp-image-13711790\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2.jpg 4753w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/gettyimages-820056402-899f1b40e0d43a52a945ef0c006648e338cba8b2-520x390.jpg 520w\" sizes=\"(max-width: 4753px) 100vw, 4753px\">\u003cfigcaption class=\"wp-caption-text\">Tourists visit Salvador Dali’s tomb at the Dali Museum Theater in Figueres on Friday, following the exhumation of his remains \u003ccite>(Lluis Gene/AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He might also be a father. At least, that’s what 61-year-old tarot card reader Pilar Abel alleges, saying Dalí had an affair with her mother back in 1955 — one year before her birth.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The first time I saw him, I was a little girl,” she told reporters three years ago, when she filed her lawsuit for partial claim to Dalí’s estate. “I was out for a walk with my grandmother, and she pointed him out.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/06/27/534516129/paternity-suit-salvador-dalis-body-ordered-exhumed\" target=\"_blank\" rel=\"noopener\">As NPR’s Lauren Frayer reported last month\u003c/a>, Dalí was married around that time — though, characteristically, that marriage was a tad unconventional.\u003c/p>\n\u003cp>“He was married at the time to his muse Gala, who lived in a castle, which he visited with written permission only,” Lauren explained. “They had no children. Without an heir, Dalí left his fortune — in the hundreds of millions — to the Spanish state when he died in 1989.”\u003c/p>\n\u003cp>Abel went public with her claim in 2007 and has sought proof since then, saying she wishes to honor her mother’s memory. And her lawyer, Enrique Blanquez, says that proof would also entitle Abel to one-fourth of the Dalí estate, \u003ca href=\"http://hosted.ap.org/dynamic/stories/E/EU_SPAIN_DALI?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT\">according to The Associated Press\u003c/a>.\u003c/p>\n\u003cp>Peñuelas and the foundation, which manages the artist’s estate, fought the exhumation order \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/06/26/534411874/salvador-dal-s-body-ordered-exhumed-in-paternity-suit\" target=\"_blank\" rel=\"noopener\">issued by a Madrid judge last month\u003c/a> and vow to continue the fight in court.\u003c/p>\n\u003cp>“[The Foundation] considers the exhumation performed on Salvador Dalí’s remains entirely inappropriate,” the Dalí Foundation said in a statement \u003ca href=\"https://news.artnet.com/art-world/inside-salvador-dali-overnight-exhumation-1029929\" target=\"_blank\" rel=\"noopener\">quoted by Artnet\u003c/a>.\u003c/p>\n\u003cp>“Before agreeing to such an invasive act as the exhumation of Salvador Dalí in a museum, the claimant Pilar Abel Martínez — as proposed by the Foundation and the Spanish State — should have been required to carry out a DNA test to compare her DNA with that of her legal father (deceased) or her brother, to thereby obtain all available evidence that she is not their daughter or sister.”\u003c/p>\n\u003cp>Still, Abel remains convinced the forensic experts now on the case will prove her right — after all, she says, she looks just like him.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The only thing missing is the mustache,” she says. \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=Salvador+Dal%C3%AD%27s+Remains+Exhumed%2C+Revealing+A+Perfectly+Arranged+Mustache&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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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"marketplace": {
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
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"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
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},
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},
"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/reveal300px.png",
"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
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},
"science-friday": {
"id": "science-friday",
"title": "Science Friday",
"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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