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"content": "\u003cp>Legendary filmmaker George A. Romero, best known for directing the classic horror movie, \u003cem>Night of the Living Dead\u003c/em>, has died. He was 77.\u003c/p>\n\u003cp>Romero’s death was confirmed by his manager, Chris Roe, in a statement to NPR.\u003c/p>\n\u003cp>Roe said Romero passed away peacefully in his sleep Sunday while listening to the score of one of his all-time favorite films, \u003cem>The Quiet Man. \u003c/em>His wife, Suzanne Desrocher Romero and daughter, Tina Romero were at his side. Romero had been battling lung cancer.\u003c/p>\n\u003cp>“George Romero was a gentle giant, and one of the kindest and most giving human beings I’ve ever know or had the pleasure to work with,” Roe told NPR.\u003c/p>\n\u003cp>Born George Andrew Romero in the Bronx, New York City on Feb. 4, 1940 to a Cuban father and a Lithuania American mother, Romero launched his filmmaking career in the early 1960s, shortly after graduation from the College of Fine Arts at Carnegie Mellon University.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Romero was a pioneer in the zombie-horror movie genre and early established a name for himself with such films as the\u003cem> \u003c/em>satirical \u003cem>Night of the Living Dead, \u003c/em>which spawned\u003cem> \u003c/em>\u003cem>Dawn of the Dead,\u003c/em> \u003cem>Day of the Dead\u003c/em>\u003cem>, The Crazies\u003c/em> and \u003cem>Martin\u003c/em>. He defined the modern template for bringing the scary, gruesome and dead to life on screen, inspiring a myriad of zombies in Hollywood and the more recent high-rated AMC series, \u003cem>The Walking Dead.\u003c/em>\u003c/p>\n\u003cp>Romero once told NPR’s Arun Rath in \u003ca href=\"http://www.npr.org/2014/07/20/332644099/the-secret-behind-romeros-scary-zombies-i-made-them-the-neighbors\" target=\"_blank\" rel=\"noopener\">an interview\u003c/a>, “I have a soft spot in my heart for the zombies.”\u003c/p>\n\u003cp>He added that in his work, it’s “usually the humans that are the worst.”\u003c/p>\n\u003cp>Romero acknowledged that he used zombies as a vessel for commentary.\u003c/p>\n\u003cblockquote>\n\u003cp>“They are multi-purpose, you can’t really get angry at them, they have no hidden agendas, they are what they are. I sympathize with them. My stories have always been more about the humans and the mistakes that they’ve make and the zombies are just sort of out there. … They’re the disaster that everyone is facing, but my stories are more about the humans.”\u003c/p>\n\u003c/blockquote>\n\u003cp>When Romero created the cult classic \u003cem>Night of the Living Dead\u003c/em> back in 1968, it was on a budget of $100,000 and as the The Associated Press described, featured, “flesh-hungry ghouls trying to feast on humans holed up in a Pennsylvania house.” The film was inducted into the National Registry of Films by the Library of Congress in 1999.\u003c/p>\n\u003cp>Like many film directors, some of Romero’s movies were successful, others didn’t fare as well at the box-office. Later in life, he struggled to make films. Still, his legacy for reinventing the movie zombie, influencing years of scary movies and leaving imitators in his shadow, remain intact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stephen King, prolific writer of dark, scary novels, many of them turned into movies, \u003ca href=\"https://twitter.com/StephenKing/status/886710019756085248\">tweeted\u003c/a> a tribute to Romero: “Sad to hear my favorite collaborator–and good old friend–George Romero has died. George, there will never be another like you.” \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=George+Romero%2C+%27Night+Of+The+Living+Dead%27+Director%2C+Dies+At+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Romero was a pioneer in the zombie-horror movie genre and early established a name for himself with such films as the\u003cem> \u003c/em>satirical \u003cem>Night of the Living Dead, \u003c/em>which spawned\u003cem> \u003c/em>\u003cem>Dawn of the Dead,\u003c/em> \u003cem>Day of the Dead\u003c/em>\u003cem>, The Crazies\u003c/em> and \u003cem>Martin\u003c/em>. He defined the modern template for bringing the scary, gruesome and dead to life on screen, inspiring a myriad of zombies in Hollywood and the more recent high-rated AMC series, \u003cem>The Walking Dead.\u003c/em>\u003c/p>\n\u003cp>Romero once told NPR’s Arun Rath in \u003ca href=\"http://www.npr.org/2014/07/20/332644099/the-secret-behind-romeros-scary-zombies-i-made-them-the-neighbors\" target=\"_blank\" rel=\"noopener\">an interview\u003c/a>, “I have a soft spot in my heart for the zombies.”\u003c/p>\n\u003cp>He added that in his work, it’s “usually the humans that are the worst.”\u003c/p>\n\u003cp>Romero acknowledged that he used zombies as a vessel for commentary.\u003c/p>\n\u003cblockquote>\n\u003cp>“They are multi-purpose, you can’t really get angry at them, they have no hidden agendas, they are what they are. I sympathize with them. My stories have always been more about the humans and the mistakes that they’ve make and the zombies are just sort of out there. … They’re the disaster that everyone is facing, but my stories are more about the humans.”\u003c/p>\n\u003c/blockquote>\n\u003cp>When Romero created the cult classic \u003cem>Night of the Living Dead\u003c/em> back in 1968, it was on a budget of $100,000 and as the The Associated Press described, featured, “flesh-hungry ghouls trying to feast on humans holed up in a Pennsylvania house.” The film was inducted into the National Registry of Films by the Library of Congress in 1999.\u003c/p>\n\u003cp>Like many film directors, some of Romero’s movies were successful, others didn’t fare as well at the box-office. Later in life, he struggled to make films. Still, his legacy for reinventing the movie zombie, influencing years of scary movies and leaving imitators in his shadow, remain intact.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Stephen King, prolific writer of dark, scary novels, many of them turned into movies, \u003ca href=\"https://twitter.com/StephenKing/status/886710019756085248\">tweeted\u003c/a> a tribute to Romero: “Sad to hear my favorite collaborator–and good old friend–George Romero has died. George, there will never be another like you.” \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=George+Romero%2C+%27Night+Of+The+Living+Dead%27+Director%2C+Dies+At+77&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Over the past few days, an old, hitherto unknown music video has gone viral: the music video for “In Another Life,” by Russian pop star Emin. In the video, the singer frolics in a mansion with contestants from the 2013 Miss Universe pageant — the beauty contest then owned by Donald Trump.\u003c/p>\n\u003cp>At the end of the video, Emin (full name: Emin Agalarov) wakes up from his fantasy. The video cuts to Trump at the head of a conference table, delivering lines straight from \u003cem>The Apprentice: \u003c/em>“Emin, let’s get with it. You’re always late. You’re just another pretty face. … You’re fired.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iuZUNjFsgS8\u003c/p>\n\u003cp>Ever since Agalarov was revealed as one of the people who \u003ca href=\"http://www.npr.org/2017/07/11/536670194/donald-trump-jr-s-emails-about-meeting-with-russian-lawyer-annotated\" target=\"_blank\" rel=\"noopener\">arranged Donald Trump Jr.’s 2016 meeting\u003c/a> with a Russian lawyer who promised damaging information about rival candidate Hillary Clinton, this video and the rest of his online trail have been fodder for people curious to know more.\u003c/p>\n\u003cp>That trail is littered with plenty of photos of Agalarov with Trump over the years, as well as a \u003ca href=\"https://www.youtube.com/watch?v=6cKuqLx3A-8\">videotaped birthday message\u003c/a> Trump sent Agalarov in 2015. “You’re a winner, you’re a champ, you’re great at real estate, and boy, can you entertain,” Trump enthused.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And after Trump won the presidency, Agalarov returned the compliment with his own \u003ca href=\"https://www.instagram.com/p/BMohqTtBC7h/\">video\u003c/a>: “You’re an absolute winner. You proved everybody wrong. It’s incredible, congratulations.”\u003c/p>\n\u003cp>A few months ago, Agalarov boasted to \u003ca href=\"https://www.forbes.com/sites/noahkirsch/2017/03/20/russian-billionaire-family-trump-ties-ongoing/#4c36272e69b3\">\u003cem>Forbes\u003c/em>\u003c/a> of his continued access to the Trump family. And Agalarov’s connections don’t stop there: His billionaire father, Aras Agalarov, is close to Vladimir Putin, and his ex-wife is the daughter of the president of Azerbaijan, where Agalarov was born.\u003c/p>\n\u003cp>Agalarov grew up in Moscow and went to college in New York. He’s now executive vice president of his family’s real estate company, the Crocus Group. And when he’s not developing Russian shopping centers, resorts and boutiques, he’s recording and performing around the world.\u003c/p>\n\u003cp>Emin has covered \u003ca href=\"http://www.npr.org/artists/15396980/frank-sinatra\" target=\"_blank\" rel=\"noopener\">Frank Sinatra\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15624007/elvis-presley\" target=\"_blank\" rel=\"noopener\">Elvis Presley\u003c/a> in the past, and his latest single is “Good Love,” from a new album coming out this year. But \u003cem>LA Times\u003c/em> pop critic Mikael Wood, for one, is hardly impressed.\u003c/p>\n\u003cp>“This guy’s music is about as bland as it could be,” Wood says. “He’s like a bad \u003ca href=\"http://www.npr.org/artists/506983447/george-michael\" target=\"_blank\" rel=\"noopener\">George Michael\u003c/a> or a bad Michael Bublé or he’s a bad Ricky Martin, depending on the song.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZJbqCIWGdLI\u003c/p>\n\u003cp>At some point in his music career, Agalarov — apparently a Russian sensation — became the client of \u003ca href=\"http://www.npr.org/2017/07/10/536456901/he-says-he-connected-trump-jr-to-russian-lawyer-put-trump-sr-in-a-music-video\" target=\"_blank\" rel=\"noopener\">Rob Goldstone\u003c/a>, a British-born music publicist. The Russian government had reached out to Agalarov’s father, after which Agalarov asked Goldstone to connect Trump Jr. with the Russian lawyer who promised damaging information about Clinton. None of these players was available for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just weeks ago, Agalarov ended his U.S. tour with a concert at Lincoln Center, where he was joined onstage by musicians David Foster and Nile Rodgers. Now, he’s center stage with Donald Trump — and everyone knows his name. \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=Meet+Emin+Agalarov%2C+Trump-Connected+Russian+Pop+Star&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the past few days, an old, hitherto unknown music video has gone viral: the music video for “In Another Life,” by Russian pop star Emin. In the video, the singer frolics in a mansion with contestants from the 2013 Miss Universe pageant — the beauty contest then owned by Donald Trump.\u003c/p>\n\u003cp>At the end of the video, Emin (full name: Emin Agalarov) wakes up from his fantasy. The video cuts to Trump at the head of a conference table, delivering lines straight from \u003cem>The Apprentice: \u003c/em>“Emin, let’s get with it. You’re always late. You’re just another pretty face. … You’re fired.”\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/iuZUNjFsgS8'\n title='//www.youtube.com/embed/iuZUNjFsgS8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Ever since Agalarov was revealed as one of the people who \u003ca href=\"http://www.npr.org/2017/07/11/536670194/donald-trump-jr-s-emails-about-meeting-with-russian-lawyer-annotated\" target=\"_blank\" rel=\"noopener\">arranged Donald Trump Jr.’s 2016 meeting\u003c/a> with a Russian lawyer who promised damaging information about rival candidate Hillary Clinton, this video and the rest of his online trail have been fodder for people curious to know more.\u003c/p>\n\u003cp>That trail is littered with plenty of photos of Agalarov with Trump over the years, as well as a \u003ca href=\"https://www.youtube.com/watch?v=6cKuqLx3A-8\">videotaped birthday message\u003c/a> Trump sent Agalarov in 2015. “You’re a winner, you’re a champ, you’re great at real estate, and boy, can you entertain,” Trump enthused.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And after Trump won the presidency, Agalarov returned the compliment with his own \u003ca href=\"https://www.instagram.com/p/BMohqTtBC7h/\">video\u003c/a>: “You’re an absolute winner. You proved everybody wrong. It’s incredible, congratulations.”\u003c/p>\n\u003cp>A few months ago, Agalarov boasted to \u003ca href=\"https://www.forbes.com/sites/noahkirsch/2017/03/20/russian-billionaire-family-trump-ties-ongoing/#4c36272e69b3\">\u003cem>Forbes\u003c/em>\u003c/a> of his continued access to the Trump family. And Agalarov’s connections don’t stop there: His billionaire father, Aras Agalarov, is close to Vladimir Putin, and his ex-wife is the daughter of the president of Azerbaijan, where Agalarov was born.\u003c/p>\n\u003cp>Agalarov grew up in Moscow and went to college in New York. He’s now executive vice president of his family’s real estate company, the Crocus Group. And when he’s not developing Russian shopping centers, resorts and boutiques, he’s recording and performing around the world.\u003c/p>\n\u003cp>Emin has covered \u003ca href=\"http://www.npr.org/artists/15396980/frank-sinatra\" target=\"_blank\" rel=\"noopener\">Frank Sinatra\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15624007/elvis-presley\" target=\"_blank\" rel=\"noopener\">Elvis Presley\u003c/a> in the past, and his latest single is “Good Love,” from a new album coming out this year. But \u003cem>LA Times\u003c/em> pop critic Mikael Wood, for one, is hardly impressed.\u003c/p>\n\u003cp>“This guy’s music is about as bland as it could be,” Wood says. “He’s like a bad \u003ca href=\"http://www.npr.org/artists/506983447/george-michael\" target=\"_blank\" rel=\"noopener\">George Michael\u003c/a> or a bad Michael Bublé or he’s a bad Ricky Martin, depending on the song.”\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/ZJbqCIWGdLI'\n title='//www.youtube.com/embed/ZJbqCIWGdLI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At some point in his music career, Agalarov — apparently a Russian sensation — became the client of \u003ca href=\"http://www.npr.org/2017/07/10/536456901/he-says-he-connected-trump-jr-to-russian-lawyer-put-trump-sr-in-a-music-video\" target=\"_blank\" rel=\"noopener\">Rob Goldstone\u003c/a>, a British-born music publicist. The Russian government had reached out to Agalarov’s father, after which Agalarov asked Goldstone to connect Trump Jr. with the Russian lawyer who promised damaging information about Clinton. None of these players was available for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Just weeks ago, Agalarov ended his U.S. tour with a concert at Lincoln Center, where he was joined onstage by musicians David Foster and Nile Rodgers. Now, he’s center stage with Donald Trump — and everyone knows his name. \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=Meet+Emin+Agalarov%2C+Trump-Connected+Russian+Pop+Star&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kid Rock, the singer whose career has spanned rap, hard rock and country music, is fueling the speculation that he intends to announce a bid for the U.S. Senate next year to challenge incumbent Democrat Debbie Stabenow. That is unless it’s all a publicity stunt.\u003c/p>\n\u003cp>In a post on his personal website Thursday evening, \u003ca href=\"https://kidrock.com/blog/announcement/447744/once-again-the-press-is-wrong\" target=\"_blank\" rel=\"noopener\">the 46-year-old singer wrote\u003c/a>, “Like politicians write books during their campaigns, I’m planning on putting out music during mine and IT ALL STARTS TONIGHT AT MIDNIGHT.”\u003c/p>\n\u003cp>The post continued, “Senator Stabenow and I do share a love of music, although probably not the same kind. I concede she is better at playing politics than I am so I’ll keep doing what I do best, which is being a voice for tax paying, hardworking AMERICANS…”\u003c/p>\n\u003cp>Earlier this week, Kid Rock, whose legal name is Robert James Ritchie, tweeted a picture of a “Kid Rock for US Senate” sign along with what appears to be a campaign website.\u003c/p>\n\u003cp>But after a teasing a big announcement in his Thursday post, Kid Rock announced he’s releasing two new songs on Friday.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So far, Ritchie has not filed a statement of candidacy with the Federal Election Commission. The Kid Rock for Senate website sells campaign-themed merchandise but directs to a Warner Bros. record label website to complete transactions. That site does not ask the questions campaign websites must ask, such as whether the donor is an American citizen. The FEC says candidates must register \u003ca href=\"https://www.fec.gov/updates/testing-the-waters-2017/\" target=\"_blank\" rel=\"noopener\">if they raise or spend more than $5,000\u003c/a>.\u003c/p>\n\u003cp>In recent years, Kid Rock has become increasingly identified with conservative politics. Mitt Romney’s 2012 presidential campaign used his song, “Born Free” as its campaign theme song. Earlier this year, he attended \u003ca href=\"https://www.sarahpalin.com/behind-scenes-photos-awesome-evening-white-house/\" target=\"_blank\" rel=\"noopener\">a dinner at the White House\u003c/a> with President Trump and former Alaska Gov. Sarah Palin.\u003c/p>\n\u003cp>While Kid Rock’s hard living rock-and-roll lifestyle, which includes a sex tape and assault charges, would traditionally be considered a liability for a political candidate, the success of President Trump’s campaign last year may encourage more unconventional candidates to run for office.\u003c/p>\n\u003cp>And a lot of what’s adding fuel to the speculation is Trump’s slim-but-surprising upset victory last year in Michigan. Republicans are hoping it’s the start of a reversal of fortune in a state that typically sends Democrats to the Senate.\u003c/p>\n\u003cp>Stabenow, who was first elected to the Senate in 2000, is not considered one of the Senate’s most endangered Democrats in 2018. In a tweet, Stabenow, who plays guitar, gently poked fun at Kid Rock’s statements and vowed to “keep doing what I do best: fighting for Michigan.”\u003c/p>\n\u003cp>Her campaign tried to capitalize on the spectacle by blasting out a fundraising e-mail.\u003c/p>\n\u003cp>The subject line is: “Kid Rock… for Senate?”\u003c/p>\n\u003cp>“We don’t know if this is for real or just a publicity stunt. But after Donald Trump’s surprising win last year, we need to act fast.” It then asks for a $5 online donation.\u003c/p>\n\u003cp>Stu Sandler, a Republican campaign consultant in Michigan, says it’s not clear what Kid Rock’s intentions are, but it’s created a buzz about the upcoming campaign.\u003c/p>\n\u003cp>“I really don’t know, but it’s kind of a fun ride. He seems to be pretty emphatic by his own language, and he’s added some excitement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The bottom line is he’s not like any traditional candidate so he can do things other people can’t.” \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=Kid+Rock+Claims+Michigan+Senate+Bid+Is+%27Not+A+Hoax%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kid Rock, the singer whose career has spanned rap, hard rock and country music, is fueling the speculation that he intends to announce a bid for the U.S. Senate next year to challenge incumbent Democrat Debbie Stabenow. That is unless it’s all a publicity stunt.\u003c/p>\n\u003cp>In a post on his personal website Thursday evening, \u003ca href=\"https://kidrock.com/blog/announcement/447744/once-again-the-press-is-wrong\" target=\"_blank\" rel=\"noopener\">the 46-year-old singer wrote\u003c/a>, “Like politicians write books during their campaigns, I’m planning on putting out music during mine and IT ALL STARTS TONIGHT AT MIDNIGHT.”\u003c/p>\n\u003cp>The post continued, “Senator Stabenow and I do share a love of music, although probably not the same kind. I concede she is better at playing politics than I am so I’ll keep doing what I do best, which is being a voice for tax paying, hardworking AMERICANS…”\u003c/p>\n\u003cp>Earlier this week, Kid Rock, whose legal name is Robert James Ritchie, tweeted a picture of a “Kid Rock for US Senate” sign along with what appears to be a campaign website.\u003c/p>\n\u003cp>But after a teasing a big announcement in his Thursday post, Kid Rock announced he’s releasing two new songs on Friday.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So far, Ritchie has not filed a statement of candidacy with the Federal Election Commission. The Kid Rock for Senate website sells campaign-themed merchandise but directs to a Warner Bros. record label website to complete transactions. That site does not ask the questions campaign websites must ask, such as whether the donor is an American citizen. The FEC says candidates must register \u003ca href=\"https://www.fec.gov/updates/testing-the-waters-2017/\" target=\"_blank\" rel=\"noopener\">if they raise or spend more than $5,000\u003c/a>.\u003c/p>\n\u003cp>In recent years, Kid Rock has become increasingly identified with conservative politics. Mitt Romney’s 2012 presidential campaign used his song, “Born Free” as its campaign theme song. Earlier this year, he attended \u003ca href=\"https://www.sarahpalin.com/behind-scenes-photos-awesome-evening-white-house/\" target=\"_blank\" rel=\"noopener\">a dinner at the White House\u003c/a> with President Trump and former Alaska Gov. Sarah Palin.\u003c/p>\n\u003cp>While Kid Rock’s hard living rock-and-roll lifestyle, which includes a sex tape and assault charges, would traditionally be considered a liability for a political candidate, the success of President Trump’s campaign last year may encourage more unconventional candidates to run for office.\u003c/p>\n\u003cp>And a lot of what’s adding fuel to the speculation is Trump’s slim-but-surprising upset victory last year in Michigan. Republicans are hoping it’s the start of a reversal of fortune in a state that typically sends Democrats to the Senate.\u003c/p>\n\u003cp>Stabenow, who was first elected to the Senate in 2000, is not considered one of the Senate’s most endangered Democrats in 2018. In a tweet, Stabenow, who plays guitar, gently poked fun at Kid Rock’s statements and vowed to “keep doing what I do best: fighting for Michigan.”\u003c/p>\n\u003cp>Her campaign tried to capitalize on the spectacle by blasting out a fundraising e-mail.\u003c/p>\n\u003cp>The subject line is: “Kid Rock… for Senate?”\u003c/p>\n\u003cp>“We don’t know if this is for real or just a publicity stunt. But after Donald Trump’s surprising win last year, we need to act fast.” It then asks for a $5 online donation.\u003c/p>\n\u003cp>Stu Sandler, a Republican campaign consultant in Michigan, says it’s not clear what Kid Rock’s intentions are, but it’s created a buzz about the upcoming campaign.\u003c/p>\n\u003cp>“I really don’t know, but it’s kind of a fun ride. He seems to be pretty emphatic by his own language, and he’s added some excitement.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“The bottom line is he’s not like any traditional candidate so he can do things other people can’t.” \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=Kid+Rock+Claims+Michigan+Senate+Bid+Is+%27Not+A+Hoax%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Just a few days after director David Lowery finished shooting Disney’s live-action \u003cem>Pete’s Dragon\u003c/em>, he started a project that could hardly have been more different — the micro-budget, quietly revelatory, poetic, meditative, and aptly titled \u003cem>A Ghost Story\u003c/em>.\u003c/p>\n\u003cp>Lowery shot in secret and very quickly. His setting, an entirely unremarkable suburban rambler that was slated for demolition, which allowed him to destroy it when necessary, and his chief storytelling device a childlike representation of a ghost — a figure draped in a white bedsheet.\u003c/p>\n\u003cp>His two leads — a married couple, known only as “C” and “M” — are played by Casey Affleck and Rooney Mara, who’d starred in his \u003cem>Ain’t Them Bodies Saints\u003c/em> a few years back, and who have an easy rapport that was probably essential to filming on a short shoot.\u003c/p>\n\u003cp>Affleck’s C is quiet, a composer who’s better at expressing himself in music than in words. Mara’s M seems more comfortable saying what she’s feeling, but she gets very little bounce from her spouse. She wants to move, he’s attached for some unfathomable reason to the house. She loves him, and he, her, but their relationship is difficult. And then, abruptly, he dies in an auto accident just yards from the house. At the hospital morgue, M says her goodbyes, and leaves the body on its slab, in stillness.\u003c/p>\n\u003cp>When no one’s around, C leaves too. He sits up on the slab, still covered by a sheet, looking for all the world like a Halloween costume with black holes for eyes. A ghost-in-ghost’s-clothing, he begins to wander the crowded halls of the hospital unnoticed. A portal opens — a chance to move toward the light — but instead, C returns to the house he didn’t want to leave, to be with his grieving wife.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>M does grieve — sorting through their possessions with eyes brimming, stress-eating an entire pie in one harrowing, uninterrupted take, listening to C’s music, all with the ghost of C unseen, but ever in a corner of the frame.\u003c/p>\n\u003cp>And then, as she must, M moves on. She packs, looks around one last time, and drives away. C’s ghost can’t. He’s bound to this spot, through years, through other residents, even when the home is torn down, gradually slipping away from this world, until he’s entirely unmoored in time…but still stuck.\u003c/p>\n\u003cp>Director David Lowery started out as a film editor, and you could make the case that \u003cem>A Ghost Story\u003c/em> proves what good editing can do on its own. After three years spent making an effects-heavy Disney epic, this almost amounts to a cinematic cleanse. $100,000 budget, tiny cast, finished in a couple of weeks with no effects, almost no dialogue — except for one scene where some partying grad students take up residence in C’s house, and are stoned enough to articulate what you imagine a ghost might be thinking.\u003c/p>\n\u003cp>“We build our legacy piece by piece,” says one, “and maybe the whole world will remember you, or maybe just a couple of people, but you do what you can to make sure you’re still around after you’re gone.”\u003c/p>\n\u003cp>I should mention that the film is virtually without plot, so it requires some patience. Major stars and that title notwithstanding, \u003cem>A Ghost Story\u003c/em> is not a Saturday-night date movie. More a provocative art film in the European sense. Though barely 87 minutes, it unfolds in long, static shots, most of them without faces to hang onto. It’s almost a film without genre, and by the end it’s become a story untethered from time itself.\u003c/p>\n\u003cp>Still, it manages to be achingly intimate, and somehow optimistic. A meditation on loss but also on legacy — on our enduring need to endure. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We all hope to leave something behind — children, memories, a monument of some sort. Lowery will leave \u003cem>A Ghost Story\u003c/em>. And if my own experience is any indication, it will linger.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Just a few days after director David Lowery finished shooting Disney’s live-action \u003cem>Pete’s Dragon\u003c/em>, he started a project that could hardly have been more different — the micro-budget, quietly revelatory, poetic, meditative, and aptly titled \u003cem>A Ghost Story\u003c/em>.\u003c/p>\n\u003cp>Lowery shot in secret and very quickly. His setting, an entirely unremarkable suburban rambler that was slated for demolition, which allowed him to destroy it when necessary, and his chief storytelling device a childlike representation of a ghost — a figure draped in a white bedsheet.\u003c/p>\n\u003cp>His two leads — a married couple, known only as “C” and “M” — are played by Casey Affleck and Rooney Mara, who’d starred in his \u003cem>Ain’t Them Bodies Saints\u003c/em> a few years back, and who have an easy rapport that was probably essential to filming on a short shoot.\u003c/p>\n\u003cp>Affleck’s C is quiet, a composer who’s better at expressing himself in music than in words. Mara’s M seems more comfortable saying what she’s feeling, but she gets very little bounce from her spouse. She wants to move, he’s attached for some unfathomable reason to the house. She loves him, and he, her, but their relationship is difficult. And then, abruptly, he dies in an auto accident just yards from the house. At the hospital morgue, M says her goodbyes, and leaves the body on its slab, in stillness.\u003c/p>\n\u003cp>When no one’s around, C leaves too. He sits up on the slab, still covered by a sheet, looking for all the world like a Halloween costume with black holes for eyes. A ghost-in-ghost’s-clothing, he begins to wander the crowded halls of the hospital unnoticed. A portal opens — a chance to move toward the light — but instead, C returns to the house he didn’t want to leave, to be with his grieving wife.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>M does grieve — sorting through their possessions with eyes brimming, stress-eating an entire pie in one harrowing, uninterrupted take, listening to C’s music, all with the ghost of C unseen, but ever in a corner of the frame.\u003c/p>\n\u003cp>And then, as she must, M moves on. She packs, looks around one last time, and drives away. C’s ghost can’t. He’s bound to this spot, through years, through other residents, even when the home is torn down, gradually slipping away from this world, until he’s entirely unmoored in time…but still stuck.\u003c/p>\n\u003cp>Director David Lowery started out as a film editor, and you could make the case that \u003cem>A Ghost Story\u003c/em> proves what good editing can do on its own. After three years spent making an effects-heavy Disney epic, this almost amounts to a cinematic cleanse. $100,000 budget, tiny cast, finished in a couple of weeks with no effects, almost no dialogue — except for one scene where some partying grad students take up residence in C’s house, and are stoned enough to articulate what you imagine a ghost might be thinking.\u003c/p>\n\u003cp>“We build our legacy piece by piece,” says one, “and maybe the whole world will remember you, or maybe just a couple of people, but you do what you can to make sure you’re still around after you’re gone.”\u003c/p>\n\u003cp>I should mention that the film is virtually without plot, so it requires some patience. Major stars and that title notwithstanding, \u003cem>A Ghost Story\u003c/em> is not a Saturday-night date movie. More a provocative art film in the European sense. Though barely 87 minutes, it unfolds in long, static shots, most of them without faces to hang onto. It’s almost a film without genre, and by the end it’s become a story untethered from time itself.\u003c/p>\n\u003cp>Still, it manages to be achingly intimate, and somehow optimistic. A meditation on loss but also on legacy — on our enduring need to endure. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>We all hope to leave something behind — children, memories, a monument of some sort. Lowery will leave \u003cem>A Ghost Story\u003c/em>. And if my own experience is any indication, it will linger.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of South Africa’s top musicians — and an artist whose sound was known the world over, thanks to Paul Simon’s album \u003cem>Graceland\u003c/em> — has died. Guitarist, vocalist and composer Ray Chikapa Phiri was 70 years old. He had been battling lung cancer, and died early this morning in a hospital in the northeastern city of Nelspruit. His death was \u003ca href=\"http://www.bbc.com/news/world-africa-40580246\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> by a family spokesperson, Paul Nkanyane.\u003c/p>\n\u003cp>Internationally, Phiri was known primarily for his contributions to Paul Simon’s \u003cem>Graceland\u003c/em> album and ensuing tours; it was his guitar and arrangements that helped define the distinctly South African sound of the project.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OtT7Og2LBbE\u003c/p>\n\u003cp>But at home, Phiri was also celebrated as the co-founder of the influential group Stimela, a popular fusion band that melded smooth jazz with \u003cem>\u003ca href=\"http://www.afropop.org/6406/the-zulu-factor/\" target=\"_blank\" rel=\"noopener\">mbaqanga\u003c/a>\u003c/em>: an energetic, rhythm-heavy genre that itself \u003ca href=\"https://grovemusic.github.io/Entries/S51740.htm\" target=\"_blank\" rel=\"noopener\">married\u003c/a> local styles with jazz.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nmn3tOL2FuE\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Although \u003cem>Graceland\u003c/em> became famous around the world, it was an endeavor that came under heavy criticism at the time of its release, both in South Africa and internationally. Recorded in 1985 and released the following year, \u003cem>Graceland\u003c/em> was put together amidst the \u003ca href=\"https://www.theguardian.com/music/2012/apr/19/paul-simon-graceland-acclaim-outrage\" target=\"_blank\" rel=\"noopener\">UN-approved boycotts\u003c/a> of the apartheid state, a position which had also been endorsed by Artists United Against Apartheid, an influential group founded by guitarist Steven van Zandt and whose ranks included the likes of Bob Dylan, Peter Gabriel, Bruce Springsteen and George Clinton. (Its members recorded the anti-apartheid song \u003ca href=\"https://www.youtube.com/watch?v=TlMdYpnVOGQ\">“Sun City.”\u003c/a>) The recording project was also not sanctioned by the African National Congress (ANC).\u003c/p>\n\u003cp>But Phiri had a different perspective. In a 2012 documentary about the making of Graceland titled \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=jw6eTs8mw70\" target=\"_blank\" rel=\"noopener\">Under African Skies\u003c/a>\u003c/em>, Phiri explained his decision to participate in the collaboration.\u003c/p>\n\u003cp>“Here I was, living in South Africa,” Phiri said, “and then here comes a particular individual called Paul Simon. For me, music is the closest thing to religion. And if it’s utilized in the right way, it can inform and bring people closer, and they can find solutions to their problems. And \u003cem>Graceland \u003c/em>did that.”\u003c/p>\n\u003cp>The ANC, which is now South Africa’s ruling political party, released a statement today emphasizing not just Phiri’s talent, but his contributions to South Africa’s music industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“Ray Phiri was a voice for the voiceless and a legend of our time. An immensely gifted composer, vocalist and guitarist, he breathed consciousness and agitated thoughts of freedom through his music … He has played his role in unearthing and support new talent in the industry and has been an ardent and vocal advocate of the call for greater investment in local content development and the development of the industry as a whole.”\u003c/p>\n\u003c/blockquote>\n\u003cp>One of Stimela’s most famous songs was the protest track “Whispers In The Deep.” With lyrics like “We’re all tributaries of the great river of pain,” it became an anthemic cry in 1980’s South Africa. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0FFGIw0g-LQ\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=%27Graceland%27+Guitarist+And+Arranger+Ray+Phiri+Dies%2C+Age+70&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of South Africa’s top musicians — and an artist whose sound was known the world over, thanks to Paul Simon’s album \u003cem>Graceland\u003c/em> — has died. Guitarist, vocalist and composer Ray Chikapa Phiri was 70 years old. He had been battling lung cancer, and died early this morning in a hospital in the northeastern city of Nelspruit. His death was \u003ca href=\"http://www.bbc.com/news/world-africa-40580246\" target=\"_blank\" rel=\"noopener\">announced\u003c/a> by a family spokesperson, Paul Nkanyane.\u003c/p>\n\u003cp>Internationally, Phiri was known primarily for his contributions to Paul Simon’s \u003cem>Graceland\u003c/em> album and ensuing tours; it was his guitar and arrangements that helped define the distinctly South African sound of the project.\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/OtT7Og2LBbE'\n title='//www.youtube.com/embed/OtT7Og2LBbE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But at home, Phiri was also celebrated as the co-founder of the influential group Stimela, a popular fusion band that melded smooth jazz with \u003cem>\u003ca href=\"http://www.afropop.org/6406/the-zulu-factor/\" target=\"_blank\" rel=\"noopener\">mbaqanga\u003c/a>\u003c/em>: an energetic, rhythm-heavy genre that itself \u003ca href=\"https://grovemusic.github.io/Entries/S51740.htm\" target=\"_blank\" rel=\"noopener\">married\u003c/a> local styles with jazz.\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/nmn3tOL2FuE'\n title='//www.youtube.com/embed/nmn3tOL2FuE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Although \u003cem>Graceland\u003c/em> became famous around the world, it was an endeavor that came under heavy criticism at the time of its release, both in South Africa and internationally. Recorded in 1985 and released the following year, \u003cem>Graceland\u003c/em> was put together amidst the \u003ca href=\"https://www.theguardian.com/music/2012/apr/19/paul-simon-graceland-acclaim-outrage\" target=\"_blank\" rel=\"noopener\">UN-approved boycotts\u003c/a> of the apartheid state, a position which had also been endorsed by Artists United Against Apartheid, an influential group founded by guitarist Steven van Zandt and whose ranks included the likes of Bob Dylan, Peter Gabriel, Bruce Springsteen and George Clinton. (Its members recorded the anti-apartheid song \u003ca href=\"https://www.youtube.com/watch?v=TlMdYpnVOGQ\">“Sun City.”\u003c/a>) The recording project was also not sanctioned by the African National Congress (ANC).\u003c/p>\n\u003cp>But Phiri had a different perspective. In a 2012 documentary about the making of Graceland titled \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=jw6eTs8mw70\" target=\"_blank\" rel=\"noopener\">Under African Skies\u003c/a>\u003c/em>, Phiri explained his decision to participate in the collaboration.\u003c/p>\n\u003cp>“Here I was, living in South Africa,” Phiri said, “and then here comes a particular individual called Paul Simon. For me, music is the closest thing to religion. And if it’s utilized in the right way, it can inform and bring people closer, and they can find solutions to their problems. And \u003cem>Graceland \u003c/em>did that.”\u003c/p>\n\u003cp>The ANC, which is now South Africa’s ruling political party, released a statement today emphasizing not just Phiri’s talent, but his contributions to South Africa’s music industry:\u003c/p>\n\u003cblockquote>\n\u003cp>“Ray Phiri was a voice for the voiceless and a legend of our time. An immensely gifted composer, vocalist and guitarist, he breathed consciousness and agitated thoughts of freedom through his music … He has played his role in unearthing and support new talent in the industry and has been an ardent and vocal advocate of the call for greater investment in local content development and the development of the industry as a whole.”\u003c/p>\n\u003c/blockquote>\n\u003cp>One of Stimela’s most famous songs was the protest track “Whispers In The Deep.” With lyrics like “We’re all tributaries of the great river of pain,” it became an anthemic cry in 1980’s South Africa. \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/0FFGIw0g-LQ'\n title='//www.youtube.com/embed/0FFGIw0g-LQ'\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=%27Graceland%27+Guitarist+And+Arranger+Ray+Phiri+Dies%2C+Age+70&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Television’s most famous amphibian is set to get a new voice.\u003c/p>\n\u003cp>Steve Whitmire, the puppeteer who for 27 years has performed as Kermit the Frog, is no longer voicing the green lead of the various Muppets TV programs and films, a spokesperson for The Muppets Studio confirmed to NPR. He will be replaced by longtime show veteran Matt Vogel.\u003c/p>\n\u003cp>The spokesperson did not immediately comment on the reason for the switch.\u003c/p>\n\u003cp>Whitmire, who first joined the Muppets in 1978, had served as the man behind the frog since the death of show creator Jim Henson in 1990. And as NPR’s Rose Friedman notes, Whitmire wasn’t just a one-Muppet man: He has also played Bert’s best pal Ernie, Rizzo the Rat and Beaker, among other characters.\u003c/p>\n\u003cp>That said, Vogel has plenty of experience as well. He has voiced Sergeant Floyd Pepper, and \u003ca href=\"https://www.washingtonpost.com/national/kermit-the-frog-finding-a-new-voice-after-actor-switch/2017/07/11/feb28732-6627-11e7-94ab-5b1f0ff459df_story.html\" target=\"_blank\" rel=\"noopener\">The Associated Press notes\u003c/a> that during his career he has also stepped into the roles of Big Bird and Count von Count. \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=After+27+Years%2C+Kermit+The+Frog+Is+Getting+A+New+Voice&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>Television’s most famous amphibian is set to get a new voice.\u003c/p>\n\u003cp>Steve Whitmire, the puppeteer who for 27 years has performed as Kermit the Frog, is no longer voicing the green lead of the various Muppets TV programs and films, a spokesperson for The Muppets Studio confirmed to NPR. He will be replaced by longtime show veteran Matt Vogel.\u003c/p>\n\u003cp>The spokesperson did not immediately comment on the reason for the switch.\u003c/p>\n\u003cp>Whitmire, who first joined the Muppets in 1978, had served as the man behind the frog since the death of show creator Jim Henson in 1990. And as NPR’s Rose Friedman notes, Whitmire wasn’t just a one-Muppet man: He has also played Bert’s best pal Ernie, Rizzo the Rat and Beaker, among other characters.\u003c/p>\n\u003cp>That said, Vogel has plenty of experience as well. He has voiced Sergeant Floyd Pepper, and \u003ca href=\"https://www.washingtonpost.com/national/kermit-the-frog-finding-a-new-voice-after-actor-switch/2017/07/11/feb28732-6627-11e7-94ab-5b1f0ff459df_story.html\" target=\"_blank\" rel=\"noopener\">The Associated Press notes\u003c/a> that during his career he has also stepped into the roles of Big Bird and Count von Count. \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=After+27+Years%2C+Kermit+The+Frog+Is+Getting+A+New+Voice&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Game Of Thrones' Finds Fans Among Disability Rights Activists, Too",
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"content": "\u003cp>One of the main characters on HBO’s hit series, \u003cem>Game of Thrones\u003c/em>, is paralyzed. Another has lost his right hand. We’ve met an important character with a severe skin disorder and another with an intellectual disability.\u003c/p>\n\u003cp>And \u003ca href=\"http://www.imdb.com/name/nm0227759/\" target=\"_blank\" rel=\"noopener\">Peter Dinklage\u003c/a>, the actor who comes first in the credits, is a little person. So is \u003ca href=\"https://www.ncd.gov/newsroom/2013/041613\" target=\"_blank\" rel=\"noopener\">Rebecca Cokley,\u003c/a> executive director of the National Council on Disability. She’s a fan of the show — in part because it’s given average-sized viewers a new set of references for people who look like her.\u003c/p>\n\u003cp>Dinklage’s character, Tyrion Lannister, is complicated, powerful and very sexy.\u003c/p>\n\u003cp>Cokley loved the original \u003cem>Game of Thrones\u003c/em> books by author George R. R. Martin. But she did worry that it would be harder to witness certain scenes on the screen than on the page. In one episode, for example, an evil king humiliates Tyrion by staging a vulgar play with a cast made up exclusively of little people.\u003c/p>\n\u003cp>“When I read that in the book, I had never seen my own experience in life reflected so accurately, so vividly, so viscerally,” Cokley remembers.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Right after the episode including that scene aired, some of Cokely’s friends who don’t have disabilities called her — to make sure she was OK.\u003c/p>\n\u003cfigure id=\"attachment_13631469\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Game-of-thrones.jpg\" alt=\"In a 2012 interview with NPR, Peter Dinklage (second actor from left) said he appreciated how well-rounded his Game of Thrones character is. The show "does address the size issue, but it doesn't knock you over the head with it," he said.\" width=\"700\" height=\"466\" class=\"size-full wp-image-13631469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones-520x346.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">In a 2012 interview with NPR, Peter Dinklage (second actor from left) said he appreciated how well-rounded his Game of Thrones character is. The show “does address the size issue, but it doesn’t knock you over the head with it,” he said. \u003ccite>(Macall B. Polay/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They were like: ‘\u003cem>Wow, is that really what it’s like?\u003c/em>‘And I was like, ‘\u003cem>Yeah\u003c/em>,’ ” she recalls. “There are days when that’s what it’s like. People see me and get down on their knees and mock how I walk. Or they follow me around the store and take pictures of me.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.thismess.net/p/about-me.html\">David Perry\u003c/a> is another writer and activist for disability rights, and a \u003cem>Game of Thrones\u003c/em> fan; he also happens to hold a doctorate in medieval history. Perry calls the series “medieval-ish.” In a show set before modern medicine, he says, it makes sense to see people with disabilities. “Every human society is, of course, packed with disabled people.”\u003c/p>\n\u003cp>While plenty of \u003cem>Game of Thrones\u003c/em> characters have disabilities, Perry says the show still falls into some traps. Take the young princess scarred by a fictional severe skin disease — “\u003ca href=\"http://www.telegraph.co.uk/tv/2016/05/06/greyscale-the-history-and-diseases-that-inspired-game-of-thrones/\">greyscale\u003c/a>.” Perry says the character’s disability primarily serves to pump up the pathos.\u003c/p>\n\u003cp>“It isn’t really about her,” he points out. “Right? It’s all — \u003cem>this poor, physically disfigured girl who’s so good and pure and smart. Oh no, she’s going to be killed; now we have to be \u003c/em>really\u003cem> upset.\u003c/em> That is the kind of writing I kind of hate.”\u003c/p>\n\u003cp>Perry also takes issue with how quickly a fictional swordsman — Jaime Lannister — who loses one hand learns to fight with the other. Then there’s Bran Stark. Early in the series the character becomes paralyzed, and spends much of the first season being carried by Hodor, the character with intellectual disabilities. Both have mystical powers — an old cliché in disability representation (think of \u003cem>The Green Mile\u003c/em> or \u003cem>The Boy Who Could Fly\u003c/em>.) Some activists are concerned that this season, Bran will be magically cured.\u003c/p>\n\u003cp>“Will Bran learn to fly? Will he learn to shape-shift?” Perry asks. “Is he going to be able to change his body so he’s not paralyzed anymore?”\u003c/p>\n\u003cp>Granted, \u003cem>Game of Thrones\u003c/em> is a fantasy, Perry says. But that sort of transformation isn’t what most wheelchair users are looking for.\u003c/p>\n\u003cp>“You don’t want to learn to fly,” he says dryly. “You want a ramp built into your castle.”\u003c/p>\n\u003cp>Still, Perry admires how the series explores such a wide range of characters with different sorts of bodies and minds. Cokley admires that too; she’s especially effusive about the books’ author, George R. R. Martin.\u003c/p>\n\u003cp>“He obviously hangs out with a rabble-rousing group of disabled people,” she says. “I know it. I \u003cem>sense\u003c/em> it.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This fantasy universe is far more realistic than lots of other television shows, Cokley says, when it comes to representing people with disabilities on screen. \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=%27Game+Of+Thrones%27+Finds+Fans+Among+Disability+Rights+Activists%2C+Too&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the main characters on HBO’s hit series, \u003cem>Game of Thrones\u003c/em>, is paralyzed. Another has lost his right hand. We’ve met an important character with a severe skin disorder and another with an intellectual disability.\u003c/p>\n\u003cp>And \u003ca href=\"http://www.imdb.com/name/nm0227759/\" target=\"_blank\" rel=\"noopener\">Peter Dinklage\u003c/a>, the actor who comes first in the credits, is a little person. So is \u003ca href=\"https://www.ncd.gov/newsroom/2013/041613\" target=\"_blank\" rel=\"noopener\">Rebecca Cokley,\u003c/a> executive director of the National Council on Disability. She’s a fan of the show — in part because it’s given average-sized viewers a new set of references for people who look like her.\u003c/p>\n\u003cp>Dinklage’s character, Tyrion Lannister, is complicated, powerful and very sexy.\u003c/p>\n\u003cp>Cokley loved the original \u003cem>Game of Thrones\u003c/em> books by author George R. R. Martin. But she did worry that it would be harder to witness certain scenes on the screen than on the page. In one episode, for example, an evil king humiliates Tyrion by staging a vulgar play with a cast made up exclusively of little people.\u003c/p>\n\u003cp>“When I read that in the book, I had never seen my own experience in life reflected so accurately, so vividly, so viscerally,” Cokley remembers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Right after the episode including that scene aired, some of Cokely’s friends who don’t have disabilities called her — to make sure she was OK.\u003c/p>\n\u003cfigure id=\"attachment_13631469\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/Game-of-thrones.jpg\" alt=\"In a 2012 interview with NPR, Peter Dinklage (second actor from left) said he appreciated how well-rounded his Game of Thrones character is. The show "does address the size issue, but it doesn't knock you over the head with it," he said.\" width=\"700\" height=\"466\" class=\"size-full wp-image-13631469\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones.jpg 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/Game-of-thrones-520x346.jpg 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">In a 2012 interview with NPR, Peter Dinklage (second actor from left) said he appreciated how well-rounded his Game of Thrones character is. The show “does address the size issue, but it doesn’t knock you over the head with it,” he said. \u003ccite>(Macall B. Polay/HBO)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“They were like: ‘\u003cem>Wow, is that really what it’s like?\u003c/em>‘And I was like, ‘\u003cem>Yeah\u003c/em>,’ ” she recalls. “There are days when that’s what it’s like. People see me and get down on their knees and mock how I walk. Or they follow me around the store and take pictures of me.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.thismess.net/p/about-me.html\">David Perry\u003c/a> is another writer and activist for disability rights, and a \u003cem>Game of Thrones\u003c/em> fan; he also happens to hold a doctorate in medieval history. Perry calls the series “medieval-ish.” In a show set before modern medicine, he says, it makes sense to see people with disabilities. “Every human society is, of course, packed with disabled people.”\u003c/p>\n\u003cp>While plenty of \u003cem>Game of Thrones\u003c/em> characters have disabilities, Perry says the show still falls into some traps. Take the young princess scarred by a fictional severe skin disease — “\u003ca href=\"http://www.telegraph.co.uk/tv/2016/05/06/greyscale-the-history-and-diseases-that-inspired-game-of-thrones/\">greyscale\u003c/a>.” Perry says the character’s disability primarily serves to pump up the pathos.\u003c/p>\n\u003cp>“It isn’t really about her,” he points out. “Right? It’s all — \u003cem>this poor, physically disfigured girl who’s so good and pure and smart. Oh no, she’s going to be killed; now we have to be \u003c/em>really\u003cem> upset.\u003c/em> That is the kind of writing I kind of hate.”\u003c/p>\n\u003cp>Perry also takes issue with how quickly a fictional swordsman — Jaime Lannister — who loses one hand learns to fight with the other. Then there’s Bran Stark. Early in the series the character becomes paralyzed, and spends much of the first season being carried by Hodor, the character with intellectual disabilities. 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"content": "\u003cp>Nelsan Ellis, the actor who brought to life the flamboyant character of Lafayette Reynolds on HBO’s \u003cem>True Blood\u003c/em>, has died at the age of 39.\u003c/p>\n\u003cp>Ellis’ manager, Emily Gerson Saines, confirmed the death, \u003ca href=\"http://www.hollywoodreporter.com/news/true-blood-star-nelsan-ellis-dies-at-39-1019540\" target=\"_blank\" rel=\"noopener\">telling\u003c/a> The Hollywood Reporter that he died “after complications with heart failure. He was a great talent, and his words and presence will be forever missed.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://medium.com/hbo-cinemax-pr/hbos-official-statement-on-nelsan-ellis-s-passing-f6acda94f3f4\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>, HBO said, “We were extremely saddened to hear of the passing of Nelsan Ellis. Nelsan was a long-time member of the HBO family whose groundbreaking portrayal of Lafayette will be remembered fondly within the overall legacy of True Blood. Nelsan will be dearly missed by his fans and all of us at HBO.”\u003c/p>\n\u003cp>Ellis did not have a lead role in the series. But his portrayal of the gay short-order cook who deals in blood was so popular among fans that even though the character was killed off in the book version of the vampire drama, he was kept on for all seven seasons of the show, \u003cem>Rolling Stone\u003c/em> \u003ca href=\"http://www.rollingstone.com/tv/news/nelsan-ellis-lafayette-on-true-blood-dead-at-39-w491458\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>And yet the Juilliard-trained Ellis initially struggled to bring to life the character of Reynolds, \u003ca href=\"http://www.vibe.com/2010/06/nelsan-ellis-lafayette-talks-true-blood-gay-marriage-tyler-perry/\" target=\"_blank\" rel=\"noopener\">according to\u003c/a> \u003cem>Vibe\u003c/em> magazine.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The most intriguing thing about him is his strength and his stillness,” Ellis told the magazine in a 2010 interview. “He’s not quick on his toes unless he gets heated. He’s just in that Southern way — sort of sauntering along, being who he is.”\u003c/p>\n\u003cp>When asked whether he had heard feedback from the gay community, Ellis told the magazine, “Only in that they haven’t seen a dude like that before. And he’s not a stereotype.”\u003c/p>\n\u003cp>Production of \u003cem>True Blood \u003c/em>ended in 2014, but tributes from Ellis’ castmates poured forth on social media over the weekend.\u003c/p>\n\u003cp>“(T)hat beautiful, gifted man was also the most humble artist I’ve ever had the pleasure of knowing or working with,” \u003cem>True Blood\u003c/em> co-star Anna Paquin \u003ca href=\"https://www.instagram.com/p/BWVcVv1lVj8/\">posted\u003c/a> on Instagram. “Nelsan inhabited characters that bore no resemblance to himself in a way that put him in that tiny category of true virtuoso performer.”\u003c/p>\n\u003cp>And Joe Manganiello \u003ca href=\"https://twitter.com/JoeManganiello/status/883777950549549056\" target=\"_blank\" rel=\"noopener\">posted\u003c/a> to Twitter, “Crushed today by the loss of my friend and castmate Nelsan Ellis. He was a wonderful person, a pioneer, and a one of a kind artist. RIP.”\u003c/p>\n\u003cp>Most recently, Ellis had a recurring role in the CBS series \u003cem>Elementary, \u003c/em>playing a former drug dealer.\u003c/p>\n\u003cp>He also appeared in numerous films, including \u003cem>Get On Up\u003c/em>, \u003cem>The Help\u003c/em> and Lee Daniels\u003cem>‘ The Butler.\u003c/em>\u003c/p>\n\u003cp>Ellis spent part of his early years in a poor suburb of Birmingham, Ala., where his mother was shot, \u003cem>The Chicago Sun Times \u003c/em>\u003ca href=\"https://web.archive.org/web/20100106233454/http://www.lovingtruebloodindallas.com/2008/11/true-blood-actor-nelsan-ellis-credits.html\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>. As a teen, he moved to the outskirts of Chicago, where he discovered acting at Thornridge High School.\u003c/p>\n\u003cp>“I had no intention of being an actor,” Ellis told the newspaper in 2008. “It was my first experience being at a school where you had teenage black men who were serious about stuff, and you had these teachers who cared about the students and paid attention … My years at Thornridge probably changed the course of my life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Hollywood Reporter says Ellis leaves behind a son. \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=%27True+Blood%27+Actor+Nelsan+Ellis+Dies+At+39&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nelsan Ellis, the actor who brought to life the flamboyant character of Lafayette Reynolds on HBO’s \u003cem>True Blood\u003c/em>, has died at the age of 39.\u003c/p>\n\u003cp>Ellis’ manager, Emily Gerson Saines, confirmed the death, \u003ca href=\"http://www.hollywoodreporter.com/news/true-blood-star-nelsan-ellis-dies-at-39-1019540\" target=\"_blank\" rel=\"noopener\">telling\u003c/a> The Hollywood Reporter that he died “after complications with heart failure. He was a great talent, and his words and presence will be forever missed.”\u003c/p>\n\u003cp>In a \u003ca href=\"https://medium.com/hbo-cinemax-pr/hbos-official-statement-on-nelsan-ellis-s-passing-f6acda94f3f4\" target=\"_blank\" rel=\"noopener\">statement\u003c/a>, HBO said, “We were extremely saddened to hear of the passing of Nelsan Ellis. Nelsan was a long-time member of the HBO family whose groundbreaking portrayal of Lafayette will be remembered fondly within the overall legacy of True Blood. Nelsan will be dearly missed by his fans and all of us at HBO.”\u003c/p>\n\u003cp>Ellis did not have a lead role in the series. But his portrayal of the gay short-order cook who deals in blood was so popular among fans that even though the character was killed off in the book version of the vampire drama, he was kept on for all seven seasons of the show, \u003cem>Rolling Stone\u003c/em> \u003ca href=\"http://www.rollingstone.com/tv/news/nelsan-ellis-lafayette-on-true-blood-dead-at-39-w491458\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>And yet the Juilliard-trained Ellis initially struggled to bring to life the character of Reynolds, \u003ca href=\"http://www.vibe.com/2010/06/nelsan-ellis-lafayette-talks-true-blood-gay-marriage-tyler-perry/\" target=\"_blank\" rel=\"noopener\">according to\u003c/a> \u003cem>Vibe\u003c/em> magazine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The most intriguing thing about him is his strength and his stillness,” Ellis told the magazine in a 2010 interview. “He’s not quick on his toes unless he gets heated. He’s just in that Southern way — sort of sauntering along, being who he is.”\u003c/p>\n\u003cp>When asked whether he had heard feedback from the gay community, Ellis told the magazine, “Only in that they haven’t seen a dude like that before. And he’s not a stereotype.”\u003c/p>\n\u003cp>Production of \u003cem>True Blood \u003c/em>ended in 2014, but tributes from Ellis’ castmates poured forth on social media over the weekend.\u003c/p>\n\u003cp>“(T)hat beautiful, gifted man was also the most humble artist I’ve ever had the pleasure of knowing or working with,” \u003cem>True Blood\u003c/em> co-star Anna Paquin \u003ca href=\"https://www.instagram.com/p/BWVcVv1lVj8/\">posted\u003c/a> on Instagram. “Nelsan inhabited characters that bore no resemblance to himself in a way that put him in that tiny category of true virtuoso performer.”\u003c/p>\n\u003cp>And Joe Manganiello \u003ca href=\"https://twitter.com/JoeManganiello/status/883777950549549056\" target=\"_blank\" rel=\"noopener\">posted\u003c/a> to Twitter, “Crushed today by the loss of my friend and castmate Nelsan Ellis. He was a wonderful person, a pioneer, and a one of a kind artist. RIP.”\u003c/p>\n\u003cp>Most recently, Ellis had a recurring role in the CBS series \u003cem>Elementary, \u003c/em>playing a former drug dealer.\u003c/p>\n\u003cp>He also appeared in numerous films, including \u003cem>Get On Up\u003c/em>, \u003cem>The Help\u003c/em> and Lee Daniels\u003cem>‘ The Butler.\u003c/em>\u003c/p>\n\u003cp>Ellis spent part of his early years in a poor suburb of Birmingham, Ala., where his mother was shot, \u003cem>The Chicago Sun Times \u003c/em>\u003ca href=\"https://web.archive.org/web/20100106233454/http://www.lovingtruebloodindallas.com/2008/11/true-blood-actor-nelsan-ellis-credits.html\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>. As a teen, he moved to the outskirts of Chicago, where he discovered acting at Thornridge High School.\u003c/p>\n\u003cp>“I had no intention of being an actor,” Ellis told the newspaper in 2008. “It was my first experience being at a school where you had teenage black men who were serious about stuff, and you had these teachers who cared about the students and paid attention … My years at Thornridge probably changed the course of my life.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The Hollywood Reporter says Ellis leaves behind a son. \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=%27True+Blood%27+Actor+Nelsan+Ellis+Dies+At+39&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Octavia Butler: Writing Herself Into the Story",
"headTitle": "Octavia Butler: Writing Herself Into the Story | KQED",
"content": "\u003cp>Octavia Butler used to say she remembers exactly when she decided to become a science fiction writer. She was 9 years old and saw a 1954 B-movie called \u003cem>Devil Girl from Mars, \u003c/em>and two things struck her. First: “Geez, I can write a better story than that!” And second: “Somebody got \u003cem>paid \u003c/em>for writing that story!” If they could, she decided, then she could, too.\u003c/p>\n\u003cp>Eventually she did exactly that. Octavia Estelle Butler became one of the world’s premier science fiction writers, the first black female science fiction writer to reach national prominence, and the only writer in her genre to receive a prestigious MacArthur Fellowship. (“You have a Genius Grant,” Charlie Rose said in a 2000 interview. “They don’t call it that,” she corrected him firmly; “somebody probably made that up.”) When she died in 2006, she was lauded as a pioneer, an icon and one of America’s best writers.\u003c/p>\n\u003cp>\u003cstrong>Tracing a writer’s evolution\u003c/strong>\u003c/p>\n\u003cp>“Octavia Butler: Telling My Stories” is an exhibit currently at the \u003ca href=\"http://www.huntington.org/WebAssets/Templates/content.aspx?id=56\" target=\"_blank\" rel=\"noopener noreferrer\">Huntington Library\u003c/a>, in the Pasadena suburb of San Marino, Calif. Curator Natalie Russell went through some “8,000 manuscripts, letters and photographs, and an additional 80 boxes of ephemera” to create an exhibition that shows, in chronological order, how Butler’s career was born and evolved, and what influenced her.\u003c/p>\n\u003cfigure id=\"attachment_13630402\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13630402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-800x1899.jpg\" alt=\"Butler often posted reminders to herself when she created characters and worlds. It was important to her that the worlds she created be credible to her readers.\" width=\"800\" height=\"1899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-800x1899.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-160x380.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-768x1823.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-1020x2422.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-1180x2802.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-960x2279.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-240x570.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-375x890.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-520x1235.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f.jpg 1769w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Butler often posted reminders to herself when she created characters and worlds. It was important to her that the worlds she created be credible to her readers. \u003ccite>((c) Estate of Octavia E. Butler/The Huntington Library, Art Collections and Botanical Gardens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large glass cases hold early notebooks and drawings, report cards from her days at Pasadena City College and notes to herself about character development. Early copies of her first editions are here. So is the one-page letter from the MacArthur Foundation notifying Butler she’d been chosen as a fellow in 1995.\u003c/p>\n\u003cp>The walls are hung with blowups of Butler’s childhood drawings and the affirmations she repeated to herself: “I am a best-selling writer, I write best-selling books,” one says. “Every day in every way I am researching and writing my award-winning books and short stories.”\u003c/p>\n\u003cp>That encouragement was probably essential: Butler faced a lot of challenges. She grew up black and poor in Pasadena, Calif., when legal segregation was dead, but de facto segregation was very much alive. She was also shy, unusually tall for her age, and not particularly social. “I’m an only child,” Butler told \u003cem>Sci Fi Buzz\u003c/em>. “I had no idea how to get along with other children. And also, I was a strange kid who learned to stay by herself and make things up.”\u003c/p>\n\u003cp>She often made them up while sitting on the porch at her grandmother’s chicken farm, in the High Desert town of Victorville, Calif., where she dreamed about animals. The drawings of horses that illustrated one of her early stories are on the walls at the Huntington. After \u003cem>Devil Girl\u003c/em>, though, Butler switched to science fiction, determined to make that her career.\u003c/p>\n\u003cp>\u003cstrong>Creating her own path\u003c/strong>\u003c/p>\n\u003cp>That was astonishing, because the world was not full of well-paid science fiction writers, and with very few exceptions, all of those were male and white. No one like Butler existed in the genre. And that didn’t seem to hold Butler back one bit. “I don’t recall every having wanted desperately to be a black woman fiction writer,” she told Rose. “I wanted to be a \u003cem>writer\u003c/em>.”\u003c/p>\n\u003cp>She went to Pasadena public schools, then got an associate’s degree from Pasadena City College. And she kept writing. She had short stories published here and there while she held what she called “lots of horrible little jobs” —warehouse worker, dishwasher, potato chip inspector. (“The one good thing about all those jobs was they left her mind free to think about her characters,” Russell says.) Butler’s first book, \u003cem>Patternmaster\u003c/em>, was published in 1976 and caught people’s attention. It became part of \u003cem>The Patternist\u003c/em> series; the stories revolved around a group of elite beings with telepathic superpowers.\u003c/p>\n\u003cfigure id=\"attachment_13630404\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13630404\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-800x1144.jpg\" alt=\"Cover for the first edition of 'Kindred,' published by Doubleday in 1979\" width=\"800\" height=\"1144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-800x1144.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-768x1099.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-1020x1459.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-1920x2746.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-1180x1688.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-960x1373.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-240x343.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-375x536.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-520x744.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover for the first edition of ‘Kindred,’ published by Doubleday in 1979 \u003ccite>(Huntington Library, (c) Estate of Octavia E. Butler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Kindred\u003c/em>, one of the books most famously associated with Butler, was published in 1979. It’s the story of Dana, a contemporary black writer hurtled backward in time to antebellum Maryland. A spirited feminist, Dana must learn to conform herself to the times so she can survive; she needs to find her slave-holding ancestor to ensure her own existence more than 150 years in the future.\u003c/p>\n\u003cp>Butler researched the book arduously. “She needed to go to Maryland, to see what the geography was like, find out what a working slave plantation was like,” Russell says. “How far away were the towns? If you were trying to run away, where would you go?”\u003c/p>\n\u003cp>Those lifelike details made \u003cem>Kindred\u003c/em> a classic. It’s taught in high schools and colleges annually, and it’s a book club favorite. Butler often said she was inspired to write it when she heard young black people minimize the severity of slavery, and strongly assert what they would or would not have tolerated if they were enslaved. She wanted them to not only know the \u003cem>facts \u003c/em>of slavery, but how slavery \u003cem>felt\u003c/em>. She wanted to make those militant young people see that even surviving such an institution made their ancestors heroic.\u003c/p>\n\u003cp>\u003cstrong>Making room for others\u003c/strong>\u003c/p>\n\u003cp>Butler wrote more than a dozen books in all. In addition to the MacArthur Fellowship, she was awarded science fiction’s equivalent of the National Book Award — two each of the coveted Nebula and Hugo awards. She became one of science fiction’s best-known female writers, considered a colleague of Ursula Le Guin and Madeleine L’Engle. And while Butler was the most prominent black female writer in the genre, she was determined that she not remain the only one.\u003c/p>\n\u003cfigure id=\"attachment_13630405\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13630405\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-800x600.jpg\" alt=\"A detail from notes Butler made for the Oankali, characters from the 'Xenogenesis' trilogy.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888.jpg 1987w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A detail from notes Butler made for the Oankali, characters from the ‘Xenogenesis’ trilogy. \u003ccite>((c) Estate of Octavia E. Butler/The Huntington Library, Art Collections and Botanical Gardens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Science fiction writer \u003ca href=\"http://www.tananarivedue.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tananarive Due\u003c/a> recalls meeting Butler in 1997 as a new writer. “You could fit all the black science fiction and fantasy writers on one stage, and that’s not the case anymore — the field has exploded so much!”\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/Kundalini-Equation-Steven-Barnes-ebook/dp/B00ET8EMN0/ref=la_B000AQ3WS6_1_9?s=books&ie=UTF8&qid=1498858295&sr=1-9\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Barnes\u003c/a>, Due’s husband, is a science fiction writer, too, and was a friend of Butler’s for two decades. “She opened a door and walked all the way through it,” he says, “and therefore created a path for others.”\u003c/p>\n\u003cp>Butler enjoyed having the company. A photo early in the exhibit shows her at Clarion, the science fiction/fantasy writers’ workshop, in 1970. It’s a group picture with her mentor, Harlan Ellison, at the center surrounded by mostly young, mostly male, almost all-white faces\u003cem>. Almost\u003c/em>. There at the edge is a very serious Octavia Butler, almost fading into the background. Two decades later, she is with a group of black women at a writer’s conference sponsored by \u003cem>Essence\u003c/em> magazine. She’s smiling broadly and glowing, clearly enjoying the reverence paid her by other young writers.\u003c/p>\n\u003cp>Octavia Butler’s death in February 2006 took everyone by surprise. She’d been living in Seattle, where she’d moved in 1999, and died after a fall that some think was possibly the result of a stroke. (She’d been having health problems for several years.) She was 58. Obituaries in important papers across the country emphasized her pioneering role in creating a space for people of color in science fiction.\u003c/p>\n\u003cp>In several interviews Butler said she wrote because she had two choices: write, or die. “If I hadn’t written, I probably would have done something stupid that would have led to my death,” she said cheerfully. We’re fortunate that she chose to write.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Octavia+Butler%3A+Writing+Herself+Into+The+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Octavia Butler used to say she remembers exactly when she decided to become a science fiction writer. She was 9 years old and saw a 1954 B-movie called \u003cem>Devil Girl from Mars, \u003c/em>and two things struck her. First: “Geez, I can write a better story than that!” And second: “Somebody got \u003cem>paid \u003c/em>for writing that story!” If they could, she decided, then she could, too.\u003c/p>\n\u003cp>Eventually she did exactly that. Octavia Estelle Butler became one of the world’s premier science fiction writers, the first black female science fiction writer to reach national prominence, and the only writer in her genre to receive a prestigious MacArthur Fellowship. (“You have a Genius Grant,” Charlie Rose said in a 2000 interview. “They don’t call it that,” she corrected him firmly; “somebody probably made that up.”) When she died in 2006, she was lauded as a pioneer, an icon and one of America’s best writers.\u003c/p>\n\u003cp>\u003cstrong>Tracing a writer’s evolution\u003c/strong>\u003c/p>\n\u003cp>“Octavia Butler: Telling My Stories” is an exhibit currently at the \u003ca href=\"http://www.huntington.org/WebAssets/Templates/content.aspx?id=56\" target=\"_blank\" rel=\"noopener noreferrer\">Huntington Library\u003c/a>, in the Pasadena suburb of San Marino, Calif. Curator Natalie Russell went through some “8,000 manuscripts, letters and photographs, and an additional 80 boxes of ephemera” to create an exhibition that shows, in chronological order, how Butler’s career was born and evolved, and what influenced her.\u003c/p>\n\u003cfigure id=\"attachment_13630402\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13630402\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-800x1899.jpg\" alt=\"Butler often posted reminders to herself when she created characters and worlds. It was important to her that the worlds she created be credible to her readers.\" width=\"800\" height=\"1899\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-800x1899.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-160x380.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-768x1823.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-1020x2422.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-1180x2802.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-960x2279.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-240x570.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-375x890.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f-520x1235.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb3_custom-c44def59b577085e7e48e3e5fa45d438c1d6368f.jpg 1769w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Butler often posted reminders to herself when she created characters and worlds. It was important to her that the worlds she created be credible to her readers. \u003ccite>((c) Estate of Octavia E. Butler/The Huntington Library, Art Collections and Botanical Gardens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Large glass cases hold early notebooks and drawings, report cards from her days at Pasadena City College and notes to herself about character development. Early copies of her first editions are here. So is the one-page letter from the MacArthur Foundation notifying Butler she’d been chosen as a fellow in 1995.\u003c/p>\n\u003cp>The walls are hung with blowups of Butler’s childhood drawings and the affirmations she repeated to herself: “I am a best-selling writer, I write best-selling books,” one says. “Every day in every way I am researching and writing my award-winning books and short stories.”\u003c/p>\n\u003cp>That encouragement was probably essential: Butler faced a lot of challenges. She grew up black and poor in Pasadena, Calif., when legal segregation was dead, but de facto segregation was very much alive. She was also shy, unusually tall for her age, and not particularly social. “I’m an only child,” Butler told \u003cem>Sci Fi Buzz\u003c/em>. “I had no idea how to get along with other children. And also, I was a strange kid who learned to stay by herself and make things up.”\u003c/p>\n\u003cp>She often made them up while sitting on the porch at her grandmother’s chicken farm, in the High Desert town of Victorville, Calif., where she dreamed about animals. The drawings of horses that illustrated one of her early stories are on the walls at the Huntington. After \u003cem>Devil Girl\u003c/em>, though, Butler switched to science fiction, determined to make that her career.\u003c/p>\n\u003cp>\u003cstrong>Creating her own path\u003c/strong>\u003c/p>\n\u003cp>That was astonishing, because the world was not full of well-paid science fiction writers, and with very few exceptions, all of those were male and white. No one like Butler existed in the genre. And that didn’t seem to hold Butler back one bit. “I don’t recall every having wanted desperately to be a black woman fiction writer,” she told Rose. “I wanted to be a \u003cem>writer\u003c/em>.”\u003c/p>\n\u003cp>She went to Pasadena public schools, then got an associate’s degree from Pasadena City College. And she kept writing. She had short stories published here and there while she held what she called “lots of horrible little jobs” —warehouse worker, dishwasher, potato chip inspector. (“The one good thing about all those jobs was they left her mind free to think about her characters,” Russell says.) Butler’s first book, \u003cem>Patternmaster\u003c/em>, was published in 1976 and caught people’s attention. It became part of \u003cem>The Patternist\u003c/em> series; the stories revolved around a group of elite beings with telepathic superpowers.\u003c/p>\n\u003cfigure id=\"attachment_13630404\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13630404\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-800x1144.jpg\" alt=\"Cover for the first edition of 'Kindred,' published by Doubleday in 1979\" width=\"800\" height=\"1144\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-800x1144.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-160x229.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-768x1099.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-1020x1459.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-1920x2746.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-1180x1688.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-960x1373.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-240x343.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-375x536.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb2_custom-daabf9616bdbe87bf657b7e1999e13d7a62301b7-520x744.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Cover for the first edition of ‘Kindred,’ published by Doubleday in 1979 \u003ccite>(Huntington Library, (c) Estate of Octavia E. Butler)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Kindred\u003c/em>, one of the books most famously associated with Butler, was published in 1979. It’s the story of Dana, a contemporary black writer hurtled backward in time to antebellum Maryland. A spirited feminist, Dana must learn to conform herself to the times so she can survive; she needs to find her slave-holding ancestor to ensure her own existence more than 150 years in the future.\u003c/p>\n\u003cp>Butler researched the book arduously. “She needed to go to Maryland, to see what the geography was like, find out what a working slave plantation was like,” Russell says. “How far away were the towns? If you were trying to run away, where would you go?”\u003c/p>\n\u003cp>Those lifelike details made \u003cem>Kindred\u003c/em> a classic. It’s taught in high schools and colleges annually, and it’s a book club favorite. Butler often said she was inspired to write it when she heard young black people minimize the severity of slavery, and strongly assert what they would or would not have tolerated if they were enslaved. She wanted them to not only know the \u003cem>facts \u003c/em>of slavery, but how slavery \u003cem>felt\u003c/em>. She wanted to make those militant young people see that even surviving such an institution made their ancestors heroic.\u003c/p>\n\u003cp>\u003cstrong>Making room for others\u003c/strong>\u003c/p>\n\u003cp>Butler wrote more than a dozen books in all. In addition to the MacArthur Fellowship, she was awarded science fiction’s equivalent of the National Book Award — two each of the coveted Nebula and Hugo awards. She became one of science fiction’s best-known female writers, considered a colleague of Ursula Le Guin and Madeleine L’Engle. And while Butler was the most prominent black female writer in the genre, she was determined that she not remain the only one.\u003c/p>\n\u003cfigure id=\"attachment_13630405\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13630405\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-800x600.jpg\" alt=\"A detail from notes Butler made for the Oankali, characters from the 'Xenogenesis' trilogy.\" width=\"800\" height=\"600\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/oeb-4-c06909121fc7e85f3e38a556428f763703c5d888.jpg 1987w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A detail from notes Butler made for the Oankali, characters from the ‘Xenogenesis’ trilogy. \u003ccite>((c) Estate of Octavia E. Butler/The Huntington Library, Art Collections and Botanical Gardens)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Science fiction writer \u003ca href=\"http://www.tananarivedue.com/\" target=\"_blank\" rel=\"noopener noreferrer\">Tananarive Due\u003c/a> recalls meeting Butler in 1997 as a new writer. “You could fit all the black science fiction and fantasy writers on one stage, and that’s not the case anymore — the field has exploded so much!”\u003c/p>\n\u003cp>\u003ca href=\"https://www.amazon.com/Kundalini-Equation-Steven-Barnes-ebook/dp/B00ET8EMN0/ref=la_B000AQ3WS6_1_9?s=books&ie=UTF8&qid=1498858295&sr=1-9\" target=\"_blank\" rel=\"noopener noreferrer\">Steven Barnes\u003c/a>, Due’s husband, is a science fiction writer, too, and was a friend of Butler’s for two decades. “She opened a door and walked all the way through it,” he says, “and therefore created a path for others.”\u003c/p>\n\u003cp>Butler enjoyed having the company. A photo early in the exhibit shows her at Clarion, the science fiction/fantasy writers’ workshop, in 1970. It’s a group picture with her mentor, Harlan Ellison, at the center surrounded by mostly young, mostly male, almost all-white faces\u003cem>. Almost\u003c/em>. There at the edge is a very serious Octavia Butler, almost fading into the background. Two decades later, she is with a group of black women at a writer’s conference sponsored by \u003cem>Essence\u003c/em> magazine. She’s smiling broadly and glowing, clearly enjoying the reverence paid her by other young writers.\u003c/p>\n\u003cp>Octavia Butler’s death in February 2006 took everyone by surprise. She’d been living in Seattle, where she’d moved in 1999, and died after a fall that some think was possibly the result of a stroke. (She’d been having health problems for several years.) She was 58. Obituaries in important papers across the country emphasized her pioneering role in creating a space for people of color in science fiction.\u003c/p>\n\u003cp>In several interviews Butler said she wrote because she had two choices: write, or die. “If I hadn’t written, I probably would have done something stupid that would have led to my death,” she said cheerfully. We’re fortunate that she chose to write.\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener noreferrer\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Octavia+Butler%3A+Writing+Herself+Into+The+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Pierre Henry, a true giant of 20th-century musical exploration, died this week at the age of 89, \u003ca href=\"http://www.lemonde.fr/disparitions/article/2017/07/06/le-compositeur-francais-pierre-henry-est-mort_5156693_3382.html\" target=\"_blank\" rel=\"noopener\">as reported by \u003cem>Le Monde\u003c/em>\u003c/a>. The composer began exploring the nascent possibilities of electronic sound in the 1940s.\u003c/p>\n\u003cp>Beginning in 1949, Henry was vital to the development of \u003cem>musique concrète\u003c/em>, a groundbreaking form of music devised in France by Pierre Schaeffer just one year prior, in 1948. Think of \u003cem>musique concrète\u003c/em> as an early form of sampling, using sounds collected from anywhere, from the sound of a bell to a passing train. “The technique of sampling is at the heart of \u003cem>musique concrète\u003c/em>,” Henry \u003ca href=\"https://reader.exacteditions.com/issues/35766/spread/36\" target=\"_blank\" rel=\"noopener\">explained to \u003cem>The Wire\u003c/em> in 1997\u003c/a>. “We invented an alphabet, and today it has become a language.” The language Schaeffer and Henry developed is still spoken in the pop music we hear every day.\u003c/p>\n\u003cp>Back then, synthesizers and samplers as we know them didn’t exist, but there were a few ways to make electronic sounds, using homemade circuits, tone generators or various contraptions. The best-known of these electronic forebears is the theremin, invented in 1919. Tinkerers soon realized that they could “hack” devices that already existed — turntables, radios, reel-to-reel tape machines — to make some of the first electronic music. One could slow down and speed up a tape, loop it, play it backwards or cut it up, leading to worlds of new possibilities.\u003c/p>\n\u003cp>\u003cem>Musique concrète\u003c/em> is known as tape music, but in the early days it was turntable music, too. Messing around with turntables was easier than tape machines, which at the time were finicky and expensive. Henry quickly became “a sort of turntable genius,” as Schaeffer observed in his diary, translated to English in the book\u003cem> In Search Of A Concrete Music\u003c/em>. Henry soon became adept at working with tape machines too, chopping and splicing with skill. Even after synthesizers became widely available, Schaeffer preferred to use his old tools instead of the new ones.\u003c/p>\n\u003cp>“\u003cem>Musique concrète\u003c/em> is about the art of decision,” Henry said in the indispensable documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Zsb1w-3iFa8\" target=\"_blank\" rel=\"noopener\">The Art Of Sounds\u003c/a>\u003c/em>. “It’s the art of choice. You select one sound over another, and that’s where composing begins.” In the hands of artists like Henry, \u003cem>musique concrète\u003c/em> became something exquisite and sophisticated. A key to \u003cem>musique concrète\u003c/em>‘s allure and mystery was that one could “manipulate” the sounds by using various treatments to transform them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Henry was an incredibly prolific composer over the course of his life, even converting his Paris home into a living musical instrument of sorts — a quirky venue and sound installation, packed with collages and antique machines. And Henry didn’t just toil on experimental music in the studio; he was on the pop charts, too. You can still hear traces of Henry on TV; \u003cem>Futurama\u003c/em>‘s theme song is inspired by Henry’s groovy “Psyche-Rock,” made with Michel Colombier, from 1967.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=vC1cgcOEErQ\u003c/p>\n\u003cp>Henry was classically trained, studying at the famous Conservatoire in Paris under \u003ca href=\"http://www.npr.org/artists/15162965/olivier-messiaen\" target=\"_blank\" rel=\"noopener\">Olivier Messiaen\u003c/a> and Nadia Boulanger. At the time, Schaeffer predicted that Henry would soon quit the challenges of \u003cem>musique concrète\u003c/em>. “All of the musicians whom until then we had invited to join us had practically run away from a musical undertaking bristling with difficulties and defended by the barbed wire of technique,” Schaeffer wrote in his diary. But Henry refused to back down, wrestling with the machines until they did what he wanted them to. “Pierre Henry had abandoned his kettledrums and was giving all his time to the studio,” Schaeffer marveled. “Within a few months he had acquired skills in manipulation that amazed even sound engineers.”\u003c/p>\n\u003cp>Just as importantly, Henry’s wife, Michèle Henry, was the unsung heroine of the early days of \u003cem>musique concrète.\u003c/em> She capably managed the immense task of cataloging and organizing the thousands and thousands of “sound objects,” or samples, that Schaeffer, Henry and others were creating. \u003c/p>\n\u003cp>Where Schaeffer was cool and cerebral, a theoretician with a background in radio engineering, Henry was wild, a musician prone to impulse and occasional flights of fancy. Henry was trained in percussion and piano, and wanted to make songs at a fast clip. Schaeffer, meanwhile, sought to develop a lofty philosophy of sound.\u003c/p>\n\u003cp>Both were geniuses, and both were stubborn. Without that push-pull dynamic, without the tension between them, \u003cem>musique concrète\u003c/em> as we know it would not exist. Henry helped take that music out of the laboratory and into the world. He wasn’t afraid of commercial success, or of pop music. “For Schaeffer, \u003cem>musique concrète\u003c/em> was like a musical philosophy … for me, I immediately wanted to create works, and what’s more, profitable ones,” recalled Henry in \u003cem>The Art Of Sounds\u003c/em>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=zpOD7GQbd8Q\u003c/p>\n\u003cp>Henry and Schaeffer collaborated in 1950 on the strange and beautiful \u003cem>Symphonie pour un homme seul \u003c/em>(“Symphony For A Lonely Man,” or “Symphony For A Man Alone”). In 1951, Schaeffer, Henry and the engineer Jacques Poullin were the three forces behind a center called the Groupe de Recherches du Musique Concréte (GRMC). Schaeffer and Henry worked tightly together before acrimoniously parting ways in 1958 (and then befriending each other again, decades later).\u003cem> \u003c/em>“As time passed Schaeffer reproached me with spending too much time on practical applications and not enough on research,” Henry said in 1997, encapsulating the personality divide between them. “But I was more interested in opening up \u003cem>musique concrète\u003c/em> to wider audiences. We quarreled a great deal and he ended up firing me. But it wasn’t such a bad thing because I founded my own studio.”\u003c/p>\n\u003cp>In 1958, the famous GRM (\u003ca href=\"http://www.inagrm.com/historique\" target=\"_blank\" rel=\"noopener\">Groupe de Recherches Musicales\u003c/a>), which exists in France to this day, was established. Henry set up his own studio, which he called Studio Apsome, in his house. In 1963, he created one of his enduring masterpieces — \u003cem>Variations pour une porte et un soupir\u003c/em> (“Variations For A Door And A Sigh”), inspired by sampling the squeaky sounds on a door in an old French farmhouse. In addition to squeaky door sounds, there was also an actual sigh, and plenty of farm noises, too. “Occasional offstage noises intrude: Henry blocked the stream to heighten the sound of rushing water, starved the pigs to make them squeal, rampaged after clucking chickens, recording all the while,” wrote the critic Art Lange in his memorable primer on \u003cem>musique concrète\u003c/em> in \u003cem>The Wire\u003c/em>.\u003c/p>\n\u003cp>Decades of memorable compositions by Henry followed, including sonic explorations inspired by the \u003cem>Tibetan Book Of The Dead\u003c/em>, a stint on the pop charts in the late 1960s for “Psyche-Rock,” cortical brain experiments and a collaboration with the British rock band Spooky Tooth. Henry released album after album, each different from the previous one, and kept on creating and collecting exciting new sounds until he died. Through it all, his childlike wonder never left him — he always remained fascinated by new sonic possibilities.\u003c/p>\n\u003cp>“I think nature was my first influence, and the sounds I heard during my childhood,” said Henry in \u003cem>The Art Of Sounds\u003c/em>. “I listened to them a lot, and they remained a part of my inner landscape … The passion I had from the first to add sound effects to my instruments, to find analogies to what I was doing at home and what I could hear outside.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“My childhood certainly proved to be the best beginning an innovative musician could have.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Life+And+Work+Of+Pierre+Henry%2C+Ceaseless+Sonic+Explorer&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pierre Henry, a true giant of 20th-century musical exploration, died this week at the age of 89, \u003ca href=\"http://www.lemonde.fr/disparitions/article/2017/07/06/le-compositeur-francais-pierre-henry-est-mort_5156693_3382.html\" target=\"_blank\" rel=\"noopener\">as reported by \u003cem>Le Monde\u003c/em>\u003c/a>. The composer began exploring the nascent possibilities of electronic sound in the 1940s.\u003c/p>\n\u003cp>Beginning in 1949, Henry was vital to the development of \u003cem>musique concrète\u003c/em>, a groundbreaking form of music devised in France by Pierre Schaeffer just one year prior, in 1948. Think of \u003cem>musique concrète\u003c/em> as an early form of sampling, using sounds collected from anywhere, from the sound of a bell to a passing train. “The technique of sampling is at the heart of \u003cem>musique concrète\u003c/em>,” Henry \u003ca href=\"https://reader.exacteditions.com/issues/35766/spread/36\" target=\"_blank\" rel=\"noopener\">explained to \u003cem>The Wire\u003c/em> in 1997\u003c/a>. “We invented an alphabet, and today it has become a language.” The language Schaeffer and Henry developed is still spoken in the pop music we hear every day.\u003c/p>\n\u003cp>Back then, synthesizers and samplers as we know them didn’t exist, but there were a few ways to make electronic sounds, using homemade circuits, tone generators or various contraptions. The best-known of these electronic forebears is the theremin, invented in 1919. Tinkerers soon realized that they could “hack” devices that already existed — turntables, radios, reel-to-reel tape machines — to make some of the first electronic music. One could slow down and speed up a tape, loop it, play it backwards or cut it up, leading to worlds of new possibilities.\u003c/p>\n\u003cp>\u003cem>Musique concrète\u003c/em> is known as tape music, but in the early days it was turntable music, too. Messing around with turntables was easier than tape machines, which at the time were finicky and expensive. Henry quickly became “a sort of turntable genius,” as Schaeffer observed in his diary, translated to English in the book\u003cem> In Search Of A Concrete Music\u003c/em>. Henry soon became adept at working with tape machines too, chopping and splicing with skill. Even after synthesizers became widely available, Schaeffer preferred to use his old tools instead of the new ones.\u003c/p>\n\u003cp>“\u003cem>Musique concrète\u003c/em> is about the art of decision,” Henry said in the indispensable documentary \u003cem>\u003ca href=\"https://www.youtube.com/watch?v=Zsb1w-3iFa8\" target=\"_blank\" rel=\"noopener\">The Art Of Sounds\u003c/a>\u003c/em>. “It’s the art of choice. You select one sound over another, and that’s where composing begins.” In the hands of artists like Henry, \u003cem>musique concrète\u003c/em> became something exquisite and sophisticated. A key to \u003cem>musique concrète\u003c/em>‘s allure and mystery was that one could “manipulate” the sounds by using various treatments to transform them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Henry was an incredibly prolific composer over the course of his life, even converting his Paris home into a living musical instrument of sorts — a quirky venue and sound installation, packed with collages and antique machines. And Henry didn’t just toil on experimental music in the studio; he was on the pop charts, too. You can still hear traces of Henry on TV; \u003cem>Futurama\u003c/em>‘s theme song is inspired by Henry’s groovy “Psyche-Rock,” made with Michel Colombier, from 1967.\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/vC1cgcOEErQ'\n title='//www.youtube.com/embed/vC1cgcOEErQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Henry was classically trained, studying at the famous Conservatoire in Paris under \u003ca href=\"http://www.npr.org/artists/15162965/olivier-messiaen\" target=\"_blank\" rel=\"noopener\">Olivier Messiaen\u003c/a> and Nadia Boulanger. At the time, Schaeffer predicted that Henry would soon quit the challenges of \u003cem>musique concrète\u003c/em>. “All of the musicians whom until then we had invited to join us had practically run away from a musical undertaking bristling with difficulties and defended by the barbed wire of technique,” Schaeffer wrote in his diary. But Henry refused to back down, wrestling with the machines until they did what he wanted them to. “Pierre Henry had abandoned his kettledrums and was giving all his time to the studio,” Schaeffer marveled. “Within a few months he had acquired skills in manipulation that amazed even sound engineers.”\u003c/p>\n\u003cp>Just as importantly, Henry’s wife, Michèle Henry, was the unsung heroine of the early days of \u003cem>musique concrète.\u003c/em> She capably managed the immense task of cataloging and organizing the thousands and thousands of “sound objects,” or samples, that Schaeffer, Henry and others were creating. \u003c/p>\n\u003cp>Where Schaeffer was cool and cerebral, a theoretician with a background in radio engineering, Henry was wild, a musician prone to impulse and occasional flights of fancy. Henry was trained in percussion and piano, and wanted to make songs at a fast clip. Schaeffer, meanwhile, sought to develop a lofty philosophy of sound.\u003c/p>\n\u003cp>Both were geniuses, and both were stubborn. Without that push-pull dynamic, without the tension between them, \u003cem>musique concrète\u003c/em> as we know it would not exist. Henry helped take that music out of the laboratory and into the world. He wasn’t afraid of commercial success, or of pop music. “For Schaeffer, \u003cem>musique concrète\u003c/em> was like a musical philosophy … for me, I immediately wanted to create works, and what’s more, profitable ones,” recalled Henry in \u003cem>The Art Of Sounds\u003c/em>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zpOD7GQbd8Q'\n title='//www.youtube.com/embed/zpOD7GQbd8Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Henry and Schaeffer collaborated in 1950 on the strange and beautiful \u003cem>Symphonie pour un homme seul \u003c/em>(“Symphony For A Lonely Man,” or “Symphony For A Man Alone”). In 1951, Schaeffer, Henry and the engineer Jacques Poullin were the three forces behind a center called the Groupe de Recherches du Musique Concréte (GRMC). Schaeffer and Henry worked tightly together before acrimoniously parting ways in 1958 (and then befriending each other again, decades later).\u003cem> \u003c/em>“As time passed Schaeffer reproached me with spending too much time on practical applications and not enough on research,” Henry said in 1997, encapsulating the personality divide between them. “But I was more interested in opening up \u003cem>musique concrète\u003c/em> to wider audiences. We quarreled a great deal and he ended up firing me. But it wasn’t such a bad thing because I founded my own studio.”\u003c/p>\n\u003cp>In 1958, the famous GRM (\u003ca href=\"http://www.inagrm.com/historique\" target=\"_blank\" rel=\"noopener\">Groupe de Recherches Musicales\u003c/a>), which exists in France to this day, was established. Henry set up his own studio, which he called Studio Apsome, in his house. In 1963, he created one of his enduring masterpieces — \u003cem>Variations pour une porte et un soupir\u003c/em> (“Variations For A Door And A Sigh”), inspired by sampling the squeaky sounds on a door in an old French farmhouse. In addition to squeaky door sounds, there was also an actual sigh, and plenty of farm noises, too. “Occasional offstage noises intrude: Henry blocked the stream to heighten the sound of rushing water, starved the pigs to make them squeal, rampaged after clucking chickens, recording all the while,” wrote the critic Art Lange in his memorable primer on \u003cem>musique concrète\u003c/em> in \u003cem>The Wire\u003c/em>.\u003c/p>\n\u003cp>Decades of memorable compositions by Henry followed, including sonic explorations inspired by the \u003cem>Tibetan Book Of The Dead\u003c/em>, a stint on the pop charts in the late 1960s for “Psyche-Rock,” cortical brain experiments and a collaboration with the British rock band Spooky Tooth. Henry released album after album, each different from the previous one, and kept on creating and collecting exciting new sounds until he died. Through it all, his childlike wonder never left him — he always remained fascinated by new sonic possibilities.\u003c/p>\n\u003cp>“I think nature was my first influence, and the sounds I heard during my childhood,” said Henry in \u003cem>The Art Of Sounds\u003c/em>. “I listened to them a lot, and they remained a part of my inner landscape … The passion I had from the first to add sound effects to my instruments, to find analogies to what I was doing at home and what I could hear outside.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The \u003ca href=\"https://dma.ticketleap.com/fridafest/details\" target=\"_blank\" rel=\"noopener\">rules were clear\u003c/a>; to participate, you needed four things:\u003c/p>\n\u003cp>A floral-printed dress (knee length), a shawl (red or pink), artificial flowers in your hair (three, at a minimum), but most important of all, of course, was the unibrow.\u003c/p>\n\u003cp>Hundreds of people came together at the Dallas Museum of Art Thursday night, in an attempt to set the record for the largest gathering ever of people dressed like Mexican artist Frida Kahlo.\u003c/p>\n\u003cp>Her work is on display at the museum as part of a wildly popular exhibit that also features paintings by Mexican artists Diego Rivera and Jose Clemente Orozco. The exhibit is among the museum’s top 10 most successful since 2000, according to \u003ca href=\"https://www.dallasnews.com/arts/visual-arts/2017/06/15/frida-kahlo-fueled-mexico-dallas-museum-art-officially-blockbuster\" target=\"_blank\" rel=\"noopener\">the Dallas Morning News\u003c/a>, with more than 75,000 visitors as of mid-June.\u003c/p>\n\u003cp>Thursday would have marked the influential artist’s 110th birthday, but she died in 1954.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Kahlo’s likeness is known by many who otherwise know nothing about art, as the \u003ca href=\"http://www.star-telegram.com/entertainment/arts-culture/article157577894.html\" target=\"_blank\" rel=\"noopener\">Star-Telegraph notes\u003c/a>, maybe because so many of the iconic pictures she painted were \u003ca href=\"https://www.fridakahlo.org/diego-and-i.jsp\" target=\"_blank\" rel=\"noopener\">of herself\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13608648\" 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/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-800x600.jpg\" alt=\"Frida Kahlo look-alikes were corralled into the southeast courtyard of the Dallas Museum of Art Thursday night.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13608648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frida Kahlo look-alikes were corralled into the southeast courtyard of the Dallas Museum of Art Thursday night. \u003ccite>(Miguel Perez/KERA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no official word yet on whether a record was set, but prior to Thursday, there didn’t appear to be another record-holder listed in the Guinness World Records.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The exhibit, called “México 1900-1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde,” is on display until July 16. \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=Frida+Kahlo+Celebrated+With+An+Attempt+At+A+World+Record+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://dma.ticketleap.com/fridafest/details\" target=\"_blank\" rel=\"noopener\">rules were clear\u003c/a>; to participate, you needed four things:\u003c/p>\n\u003cp>A floral-printed dress (knee length), a shawl (red or pink), artificial flowers in your hair (three, at a minimum), but most important of all, of course, was the unibrow.\u003c/p>\n\u003cp>Hundreds of people came together at the Dallas Museum of Art Thursday night, in an attempt to set the record for the largest gathering ever of people dressed like Mexican artist Frida Kahlo.\u003c/p>\n\u003cp>Her work is on display at the museum as part of a wildly popular exhibit that also features paintings by Mexican artists Diego Rivera and Jose Clemente Orozco. The exhibit is among the museum’s top 10 most successful since 2000, according to \u003ca href=\"https://www.dallasnews.com/arts/visual-arts/2017/06/15/frida-kahlo-fueled-mexico-dallas-museum-art-officially-blockbuster\" target=\"_blank\" rel=\"noopener\">the Dallas Morning News\u003c/a>, with more than 75,000 visitors as of mid-June.\u003c/p>\n\u003cp>Thursday would have marked the influential artist’s 110th birthday, but she died in 1954.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Kahlo’s likeness is known by many who otherwise know nothing about art, as the \u003ca href=\"http://www.star-telegram.com/entertainment/arts-culture/article157577894.html\" target=\"_blank\" rel=\"noopener\">Star-Telegraph notes\u003c/a>, maybe because so many of the iconic pictures she painted were \u003ca href=\"https://www.fridakahlo.org/diego-and-i.jsp\" target=\"_blank\" rel=\"noopener\">of herself\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13608648\" 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/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-800x600.jpg\" alt=\"Frida Kahlo look-alikes were corralled into the southeast courtyard of the Dallas Museum of Art Thursday night.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13608648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dsc_0015-c22e64c3a5a156e4c472fdd7d8fa228d4886cc6f-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Frida Kahlo look-alikes were corralled into the southeast courtyard of the Dallas Museum of Art Thursday night. \u003ccite>(Miguel Perez/KERA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>There’s no official word yet on whether a record was set, but prior to Thursday, there didn’t appear to be another record-holder listed in the Guinness World Records.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The exhibit, called “México 1900-1950: Diego Rivera, Frida Kahlo, José Clemente Orozco, and the Avant-Garde,” is on display until July 16. \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=Frida+Kahlo+Celebrated+With+An+Attempt+At+A+World+Record+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Architecture Of An Asylum' Tracks History of U.S. Treatment of Mental Illness",
"headTitle": "‘Architecture Of An Asylum’ Tracks History of U.S. Treatment of Mental Illness | KQED",
"content": "\u003cp>When I moved to Washington, D.C., in 1962, St. Elizabeths Hospital was notorious — a rundown federal facility for the treatment of people with mental illness that was overcrowded and understaffed. Opened with idealism and hope in 1855, the facility had ballooned from 250 patients to as many as 8,000. Its vast, rolling patch of farmland had fallen into disrepair, too, in the poorest neighborhood in the U.S. capital.\u003c/p>\n\u003cp>St. Elizabeths is now the subject of an exhibition at the National Building Museum; \u003ca href=\"https://nbm.org/exhibition/architecture-asylum-st-elizabeths-1852-2017/\" target=\"_blank\" rel=\"noopener\">Architecture of an Asylum\u003c/a> explores the links between architecture and mental health.\u003c/p>\n\u003cp>\u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1470530/\" target=\"_blank\" rel=\"noopener\">Dorothea Dix\u003c/a>, the 19th-century reformer who fought for the facility, would have rolled over in her grave to see what St. Elizabeths had become by the 1960s.\u003c/p>\n\u003cp>“She had observed the treatment of the mentally ill in jails and other kinds of alms houses [and] poor houses all over the country,” explains exhibit curator \u003ca href=\"https://www.nbm.org/about/staff/sarah-leavitt/\" target=\"_blank\" rel=\"noopener\">Sarah Leavitt\u003c/a>. Dix “was really appalled by the treatment that they were getting, and she made it her life’s work to change that story.”\u003c/p>\n\u003cfigure id=\"attachment_13600841\" 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/nurses-and-dorothea-dix-800x635.jpg\" alt=\"St. Elizabeths nurses in the 1950s study a portrait of Dorothea Lynde Dix, a 19th century social reformer. Dix helped found the treatment facility in the 1850s.\" width=\"800\" height=\"635\" class=\"size-medium wp-image-13600841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-800x635.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-1020x810.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-1180x937.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-960x762.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-240x191.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-375x298.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-520x413.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">St. Elizabeths nurses in the 1950s study a portrait of Dorothea Lynde Dix, a 19th century social reformer. Dix helped found the treatment facility in the 1850s. \u003ccite>( National Archives and Records Administration/National Building Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dix lobbied state legislators and Congress and got them to create what was then called The Government Hospital for the Insane. She hand-picked the land on which it was built. And at her small wooden desk — you can see it in the exhibition — Dix outlined her vision.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“She really believed that architecture and landscape architecture would really have a role in curing people,” Leavitt says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.linkedin.com/in/r-denise-everson-assoc-aia-b6168b11\" target=\"_blank\" rel=\"noopener\">Denise Everson\u003c/a>, an architect in the D.C. area who specializes in design and health, says certain elements were considered vital: Natural light and views of the outdoors were thought to help keep patients from feeling “hemmed in,” Everson explains. “So that you know you are a part of a larger society.”\u003c/p>\n\u003cfigure id=\"attachment_13600734\" 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/allison-building-sleeping-porch-_custom-50a5ede6362b962ff7e199ffd795967af04cf887-800x644.jpg\" alt=\"The porches of the 1890s Allison Buildings, shown above in 1910, were later enclosed to provide more space for patient beds.\" width=\"800\" height=\"644\" class=\"size-medium wp-image-13600734\">\u003cfigcaption class=\"wp-caption-text\">The porches of the 1890s Allison Buildings, shown above in 1910, were later enclosed to provide more space for patient beds.\u003c/figcaption>\u003c/figure>\n\u003cp>Dix insisted on these elements for her hospital. Leavitt says disgust with the dark cells, barred windows and bone-chilling cold in 19th century jails likely fueled Dix’s thinking.\u003c/p>\n\u003cp>“There was this idea that the mentally ill wouldn’t notice extreme cold or heat,” Leavitt says. “She was really disgusted by that, and really viscerally angry.”\u003c/p>\n\u003cp>Dix made sure the hospital that became St. Elizabeths in 1916 had heat, tall arched windows and screened sleeping porches where patients could catch summer breezes. Photos, models and floor plans included in the museum exhibit show handsome brick buildings — with towers, high ceilings, open space and river views.\u003c/p>\n\u003cp>In the 1850s, these facilities were available only to white patients, though. African-American patients were housed in two smaller buildings, without the same amenities and views. Women and men — white or black — were also separated. Still, 100 years before psychiatric drugs, everyone got the same treatment.\u003c/p>\n\u003cfigure id=\"attachment_13600842\" 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/dr.-ashby-with-electroshock-machine-800x646.jpg\" alt='This \"old electric shock machine,\" shown above circa 1920, was used for patient therapy at St. Elizabeths in the early 20th century.' width=\"800\" height=\"646\" class=\"size-medium wp-image-13600842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-800x646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-768x620.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-1020x824.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-1180x953.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-960x775.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-240x194.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-375x303.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-520x420.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This “old electric shock machine,” shown above circa 1920, was used for patient therapy at St. Elizabeths in the early 20th century. \u003ccite>( National Archives and Records Administration/National Building Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>St. Elizabeths gave some mentally ill patients \u003ca href=\"https://www.archives.gov/publications/prologue/2010/summer/institutional.html\" target=\"_blank\" rel=\"noopener\">hydrotherapy\u003c/a> — baths, showers and wraps.\u003c/p>\n\u003cp>“There was the hot water to calm more manic patients,” Leavitt says, “and the cold water to stimulate quieter patients that needed to get awake.” Photos show patients lying wrapped like mummies in wet blankets.\u003c/p>\n\u003cp>Another picture, from the 1920s, shows a man sitting at an electroshock machine, a lamplike device suspended over his head. A few \u003ca href=\"http://www.npr.org/2016/08/14/489997276/how-patient-h-m-and-his-lobotomy-contributed-to-understanding-memories\" target=\"_blank\" rel=\"noopener\">lobotomies\u003c/a> were performed at the hospital as well. “The idea was that it would calm the patient, which probably it did, but at what cost?” Leavitt says.\u003c/p>\n\u003cfigure id=\"attachment_13600844\" 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/hydrotherapy-800x619.jpg\" alt=\"In one hydrotherapy practice, attendants wrap patients in wet sheets and wait for several hours. The photo above was taken circa 1900.\" width=\"800\" height=\"619\" class=\"size-medium wp-image-13600844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-960x743.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In one hydrotherapy practice, attendants wrap patients in wet sheets and wait for several hours. The photo above was taken circa 1900. \u003ccite>( National Archives and Records Administration/National Building Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The historic photos reveal some happier moments, too — one from the 1960s shows \u003ca href=\"https://adta.org/marian-chace-biography/\" target=\"_blank\" rel=\"noopener\">dance therapist Marian Chace\u003c/a> moving around a room with patients.\u003c/p>\n\u003cp>“She really believed that would help open up their minds, and help them come to peace with their day, with their existence — with everything,” Leavitt says. “I think that’s a really beautiful image.”\u003c/p>\n\u003cfigure id=\"attachment_13600845\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/dance-therapy-800x1130.jpg\" alt=\"For many decades, Marian Chace led the dance therapy program at St. Elizabeths. The photo above was taken circa the 1960s.\" width=\"800\" height=\"1130\" class=\"size-medium wp-image-13600845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-800x1130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-768x1085.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-1020x1440.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-1180x1666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-960x1356.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-240x339.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-375x530.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-520x734.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For many decades, Marian Chace led the dance therapy program at St. Elizabeths. The photo above was taken circa the 1960s. \u003ccite>(St. Elizabeths Hospital Library/National Building Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, over decades, the sun-filled, airy rooms of St. Elizabeths got overcrowded, understaffed and eventually emptied out. New psychiatric drug therapies, decreased federal and state support, and the de-institutionalization of many patients — which started with President John F. Kennedy and increased under Ronald Reagan — led to a societal shift toward community-based treatment. It’s an approach that has helped some but left others struggling with their condition in homeless shelters, on the streets or in jails.\u003c/p>\n\u003cp>There are still 300 patients at St. Elizabeths, but 75 buildings stand idle. The graceful St. Elizabeths campus will eventually house condos and the Department of Homeland Security.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Still, Dix’s dream of architecture as a path to healing lives on.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Some things cannot be cured,” says Everson. “But I think humane treatment — I think, creative treatment — is where we should go as a community, as a nation and as a world.” \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=%27Architecture+Of+An+Asylum%27+Tracks+History+Of+U.S.+Treatment+Of+Mental+Illness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Founded in 1855, St. Elizabeths Hospital in Washington, D.C., grew from 250 patients to 8,000. A new exhibit at the National Building Museum explores the links between architecture and mental health.",
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"title": "'Architecture Of An Asylum' Tracks History of U.S. Treatment of Mental Illness | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When I moved to Washington, D.C., in 1962, St. Elizabeths Hospital was notorious — a rundown federal facility for the treatment of people with mental illness that was overcrowded and understaffed. Opened with idealism and hope in 1855, the facility had ballooned from 250 patients to as many as 8,000. Its vast, rolling patch of farmland had fallen into disrepair, too, in the poorest neighborhood in the U.S. capital.\u003c/p>\n\u003cp>St. Elizabeths is now the subject of an exhibition at the National Building Museum; \u003ca href=\"https://nbm.org/exhibition/architecture-asylum-st-elizabeths-1852-2017/\" target=\"_blank\" rel=\"noopener\">Architecture of an Asylum\u003c/a> explores the links between architecture and mental health.\u003c/p>\n\u003cp>\u003ca href=\"https://www.ncbi.nlm.nih.gov/pmc/articles/PMC1470530/\" target=\"_blank\" rel=\"noopener\">Dorothea Dix\u003c/a>, the 19th-century reformer who fought for the facility, would have rolled over in her grave to see what St. Elizabeths had become by the 1960s.\u003c/p>\n\u003cp>“She had observed the treatment of the mentally ill in jails and other kinds of alms houses [and] poor houses all over the country,” explains exhibit curator \u003ca href=\"https://www.nbm.org/about/staff/sarah-leavitt/\" target=\"_blank\" rel=\"noopener\">Sarah Leavitt\u003c/a>. Dix “was really appalled by the treatment that they were getting, and she made it her life’s work to change that story.”\u003c/p>\n\u003cfigure id=\"attachment_13600841\" 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/nurses-and-dorothea-dix-800x635.jpg\" alt=\"St. Elizabeths nurses in the 1950s study a portrait of Dorothea Lynde Dix, a 19th century social reformer. Dix helped found the treatment facility in the 1850s.\" width=\"800\" height=\"635\" class=\"size-medium wp-image-13600841\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-800x635.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-160x127.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-768x610.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-1020x810.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-1180x937.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-960x762.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-240x191.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-375x298.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix-520x413.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/nurses-and-dorothea-dix.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">St. Elizabeths nurses in the 1950s study a portrait of Dorothea Lynde Dix, a 19th century social reformer. Dix helped found the treatment facility in the 1850s. \u003ccite>( National Archives and Records Administration/National Building Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Dix lobbied state legislators and Congress and got them to create what was then called The Government Hospital for the Insane. She hand-picked the land on which it was built. And at her small wooden desk — you can see it in the exhibition — Dix outlined her vision.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“She really believed that architecture and landscape architecture would really have a role in curing people,” Leavitt says.\u003c/p>\n\u003cp>\u003ca href=\"https://www.linkedin.com/in/r-denise-everson-assoc-aia-b6168b11\" target=\"_blank\" rel=\"noopener\">Denise Everson\u003c/a>, an architect in the D.C. area who specializes in design and health, says certain elements were considered vital: Natural light and views of the outdoors were thought to help keep patients from feeling “hemmed in,” Everson explains. “So that you know you are a part of a larger society.”\u003c/p>\n\u003cfigure id=\"attachment_13600734\" 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/allison-building-sleeping-porch-_custom-50a5ede6362b962ff7e199ffd795967af04cf887-800x644.jpg\" alt=\"The porches of the 1890s Allison Buildings, shown above in 1910, were later enclosed to provide more space for patient beds.\" width=\"800\" height=\"644\" class=\"size-medium wp-image-13600734\">\u003cfigcaption class=\"wp-caption-text\">The porches of the 1890s Allison Buildings, shown above in 1910, were later enclosed to provide more space for patient beds.\u003c/figcaption>\u003c/figure>\n\u003cp>Dix insisted on these elements for her hospital. Leavitt says disgust with the dark cells, barred windows and bone-chilling cold in 19th century jails likely fueled Dix’s thinking.\u003c/p>\n\u003cp>“There was this idea that the mentally ill wouldn’t notice extreme cold or heat,” Leavitt says. “She was really disgusted by that, and really viscerally angry.”\u003c/p>\n\u003cp>Dix made sure the hospital that became St. Elizabeths in 1916 had heat, tall arched windows and screened sleeping porches where patients could catch summer breezes. Photos, models and floor plans included in the museum exhibit show handsome brick buildings — with towers, high ceilings, open space and river views.\u003c/p>\n\u003cp>In the 1850s, these facilities were available only to white patients, though. African-American patients were housed in two smaller buildings, without the same amenities and views. Women and men — white or black — were also separated. Still, 100 years before psychiatric drugs, everyone got the same treatment.\u003c/p>\n\u003cfigure id=\"attachment_13600842\" 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/dr.-ashby-with-electroshock-machine-800x646.jpg\" alt='This \"old electric shock machine,\" shown above circa 1920, was used for patient therapy at St. Elizabeths in the early 20th century.' width=\"800\" height=\"646\" class=\"size-medium wp-image-13600842\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-800x646.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-160x129.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-768x620.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-1020x824.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-1180x953.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-960x775.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-240x194.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-375x303.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine-520x420.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dr.-ashby-with-electroshock-machine.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">This “old electric shock machine,” shown above circa 1920, was used for patient therapy at St. Elizabeths in the early 20th century. \u003ccite>( National Archives and Records Administration/National Building Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>St. Elizabeths gave some mentally ill patients \u003ca href=\"https://www.archives.gov/publications/prologue/2010/summer/institutional.html\" target=\"_blank\" rel=\"noopener\">hydrotherapy\u003c/a> — baths, showers and wraps.\u003c/p>\n\u003cp>“There was the hot water to calm more manic patients,” Leavitt says, “and the cold water to stimulate quieter patients that needed to get awake.” Photos show patients lying wrapped like mummies in wet blankets.\u003c/p>\n\u003cp>Another picture, from the 1920s, shows a man sitting at an electroshock machine, a lamplike device suspended over his head. A few \u003ca href=\"http://www.npr.org/2016/08/14/489997276/how-patient-h-m-and-his-lobotomy-contributed-to-understanding-memories\" target=\"_blank\" rel=\"noopener\">lobotomies\u003c/a> were performed at the hospital as well. “The idea was that it would calm the patient, which probably it did, but at what cost?” Leavitt says.\u003c/p>\n\u003cfigure id=\"attachment_13600844\" 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/hydrotherapy-800x619.jpg\" alt=\"In one hydrotherapy practice, attendants wrap patients in wet sheets and wait for several hours. The photo above was taken circa 1900.\" width=\"800\" height=\"619\" class=\"size-medium wp-image-13600844\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-800x619.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-160x124.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-768x594.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-1020x789.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-1180x913.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-960x743.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-240x186.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-375x290.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy-520x402.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/hydrotherapy.jpg 1300w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">In one hydrotherapy practice, attendants wrap patients in wet sheets and wait for several hours. The photo above was taken circa 1900. \u003ccite>( National Archives and Records Administration/National Building Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The historic photos reveal some happier moments, too — one from the 1960s shows \u003ca href=\"https://adta.org/marian-chace-biography/\" target=\"_blank\" rel=\"noopener\">dance therapist Marian Chace\u003c/a> moving around a room with patients.\u003c/p>\n\u003cp>“She really believed that would help open up their minds, and help them come to peace with their day, with their existence — with everything,” Leavitt says. “I think that’s a really beautiful image.”\u003c/p>\n\u003cfigure id=\"attachment_13600845\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/07/dance-therapy-800x1130.jpg\" alt=\"For many decades, Marian Chace led the dance therapy program at St. Elizabeths. The photo above was taken circa the 1960s.\" width=\"800\" height=\"1130\" class=\"size-medium wp-image-13600845\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-800x1130.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-160x226.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-768x1085.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-1020x1440.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-1180x1666.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-960x1356.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-240x339.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-375x530.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy-520x734.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/07/dance-therapy.jpg 1400w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">For many decades, Marian Chace led the dance therapy program at St. Elizabeths. The photo above was taken circa the 1960s. \u003ccite>(St. Elizabeths Hospital Library/National Building Museum)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, over decades, the sun-filled, airy rooms of St. Elizabeths got overcrowded, understaffed and eventually emptied out. New psychiatric drug therapies, decreased federal and state support, and the de-institutionalization of many patients — which started with President John F. Kennedy and increased under Ronald Reagan — led to a societal shift toward community-based treatment. It’s an approach that has helped some but left others struggling with their condition in homeless shelters, on the streets or in jails.\u003c/p>\n\u003cp>There are still 300 patients at St. Elizabeths, but 75 buildings stand idle. The graceful St. Elizabeths campus will eventually house condos and the Department of Homeland Security.\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>Still, Dix’s dream of architecture as a path to healing lives on.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Some things cannot be cured,” says Everson. “But I think humane treatment — I think, creative treatment — is where we should go as a community, as a nation and as a world.” \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=%27Architecture+Of+An+Asylum%27+Tracks+History+Of+U.S.+Treatment+Of+Mental+Illness&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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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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"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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"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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"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.",
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"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.",
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"radiolab": {
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"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": {
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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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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"science-friday": {
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