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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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"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. 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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. 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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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"title": "Playwright Edward Albee's Incomplete Works May Never See The Light Of Day",
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"content": "\u003cp>Pulitzer Prize-winning playwright Edward Albee has been in the news a lot lately. Albee \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/09/16/462191417/playwright-edward-albee-who-changed-and-challenged-audiences-dies-at-88\" target=\"_blank\" rel=\"noopener\">died in 2016\u003c/a>, and since then his estate has turned down \u003ca href=\"http://www.npr.org/sections/codeswitch/2017/05/31/530750975/why-a-theater-director-made-a-color-conscious-choice-in-virginia-woolf-casting\" target=\"_blank\" rel=\"noopener\">a multi-racial production\u003c/a> of \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> and put his contemporary art collection up for auction for an estimated $9 million. Now \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/07/04/theater/edward-albees-final-wish-destroy-my-unfinished-work.html?_r=0\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that his incomplete works may never see the light of day.\u003c/p>\n\u003cp>The clause in Albee’s will is pretty clear: “If at the time of my death I shall leave any incomplete manuscripts I hereby direct my executors to destroy such incomplete manuscripts.”\u003c/p>\n\u003cp>Albee’s estate wouldn’t comment on whether they’ve followed his orders, but the directive is very much in character — and Emily Mann isn’t the least bit surprised. She’s the artistic director of the \u003ca href=\"http://www.mccarter.org/home.aspx?page_id=1\" target=\"_blank\" rel=\"noopener\">McCarter Theatre Center\u003c/a> in Princeton, N.J., and she worked with Albee on several plays. “He wanted to have authority over everything of his that was on the stage,” she says. That meant casting, props and even the color of the set.\u003c/p>\n\u003cp>Mann says the playwright was so exacting that when actress Rosemary Harris was rehearsing his play \u003cem>All Over\u003c/em>, “He wrote me a note on one of Rosemary’s lines which was, ‘I didn’t hear the comma.’ ”\u003c/p>\n\u003cp>According to Mann, whenever they worked on a new play together, Albee pretty much kept his writing a secret. There were never readings or workshops, just a final draft. The playwright told me in a 2008 interview, “I don’t think a play should go in rehearsal until it’s ready to open.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>That’s where the incomplete manuscripts come in. Albee’s last work, \u003cem>Laying an Egg\u003c/em>, was supposed to open off-Broadway, but it was postponed twice because the author said it wasn’t ready. Now we may never know what was in that play.\u003c/p>\n\u003cp>David Crespy is president of the \u003ca href=\"http://edwardalbeesociety.org/\" target=\"_blank\" rel=\"noopener\">Edward Albee Society\u003c/a>, which promotes scholarship on the playwrights work. “It’s a very disappointing decision,” he says. “… It’s kind of a way of shutting us out of Edward’s creative process — which, by the way, he \u003cem>wanted\u003c/em> to shut us out of his creative process.”\u003c/p>\n\u003cp>But in the past, other estates have chosen to ignore authors’ wishes. Franz Kafka asked for his work to be burned, and it wasn’t; the play \u003cem>Long Day’s Journey Into Night\u003c/em> was staged shortly after playwright Eugene O’Neill’s death, even though he asked for a 25-year waiting period.\u003c/p>\n\u003cp>David Friedlander is a lawyer for theater productions. He says the Albee estate’s decision may be a loss for future scholarship on the playwright, but it’s well within its rights: “Authors, when they’re working on drafts of things, they might write things that are poorly written, for one; ideas and concepts that are incomplete, or characters that are incomplete; or they may write things that are, you know, sexist or racist or politically charged that they may or may not really believe. But the artist, I think, has the absolute right to determine what gets disclosed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Albee exercised that right in \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=88141908\" target=\"_blank\" rel=\"noopener\">his 2008 interview with me\u003c/a>. When I asked about a new play he was working on, he gave a sly smile and said, “One is emerging, yes. … It’s called \u003cem>Silence\u003c/em>, yes. Yes. That’s all I will tell you at the moment about it.” \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=+Playwright+Edward+Albee%27s+Incomplete+Works+May+Never+See+The+Light+Of+Day&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Pulitzer Prize-winning playwright Edward Albee has been in the news a lot lately. Albee \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/09/16/462191417/playwright-edward-albee-who-changed-and-challenged-audiences-dies-at-88\" target=\"_blank\" rel=\"noopener\">died in 2016\u003c/a>, and since then his estate has turned down \u003ca href=\"http://www.npr.org/sections/codeswitch/2017/05/31/530750975/why-a-theater-director-made-a-color-conscious-choice-in-virginia-woolf-casting\" target=\"_blank\" rel=\"noopener\">a multi-racial production\u003c/a> of \u003cem>Who’s Afraid of Virginia Woolf?\u003c/em> and put his contemporary art collection up for auction for an estimated $9 million. Now \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/07/04/theater/edward-albees-final-wish-destroy-my-unfinished-work.html?_r=0\" target=\"_blank\" rel=\"noopener\">reports\u003c/a> that his incomplete works may never see the light of day.\u003c/p>\n\u003cp>The clause in Albee’s will is pretty clear: “If at the time of my death I shall leave any incomplete manuscripts I hereby direct my executors to destroy such incomplete manuscripts.”\u003c/p>\n\u003cp>Albee’s estate wouldn’t comment on whether they’ve followed his orders, but the directive is very much in character — and Emily Mann isn’t the least bit surprised. She’s the artistic director of the \u003ca href=\"http://www.mccarter.org/home.aspx?page_id=1\" target=\"_blank\" rel=\"noopener\">McCarter Theatre Center\u003c/a> in Princeton, N.J., and she worked with Albee on several plays. “He wanted to have authority over everything of his that was on the stage,” she says. That meant casting, props and even the color of the set.\u003c/p>\n\u003cp>Mann says the playwright was so exacting that when actress Rosemary Harris was rehearsing his play \u003cem>All Over\u003c/em>, “He wrote me a note on one of Rosemary’s lines which was, ‘I didn’t hear the comma.’ ”\u003c/p>\n\u003cp>According to Mann, whenever they worked on a new play together, Albee pretty much kept his writing a secret. There were never readings or workshops, just a final draft. The playwright told me in a 2008 interview, “I don’t think a play should go in rehearsal until it’s ready to open.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>That’s where the incomplete manuscripts come in. Albee’s last work, \u003cem>Laying an Egg\u003c/em>, was supposed to open off-Broadway, but it was postponed twice because the author said it wasn’t ready. Now we may never know what was in that play.\u003c/p>\n\u003cp>David Crespy is president of the \u003ca href=\"http://edwardalbeesociety.org/\" target=\"_blank\" rel=\"noopener\">Edward Albee Society\u003c/a>, which promotes scholarship on the playwrights work. “It’s a very disappointing decision,” he says. “… It’s kind of a way of shutting us out of Edward’s creative process — which, by the way, he \u003cem>wanted\u003c/em> to shut us out of his creative process.”\u003c/p>\n\u003cp>But in the past, other estates have chosen to ignore authors’ wishes. Franz Kafka asked for his work to be burned, and it wasn’t; the play \u003cem>Long Day’s Journey Into Night\u003c/em> was staged shortly after playwright Eugene O’Neill’s death, even though he asked for a 25-year waiting period.\u003c/p>\n\u003cp>David Friedlander is a lawyer for theater productions. He says the Albee estate’s decision may be a loss for future scholarship on the playwright, but it’s well within its rights: “Authors, when they’re working on drafts of things, they might write things that are poorly written, for one; ideas and concepts that are incomplete, or characters that are incomplete; or they may write things that are, you know, sexist or racist or politically charged that they may or may not really believe. But the artist, I think, has the absolute right to determine what gets disclosed.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Albee exercised that right in \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=88141908\" target=\"_blank\" rel=\"noopener\">his 2008 interview with me\u003c/a>. When I asked about a new play he was working on, he gave a sly smile and said, “One is emerging, yes. … It’s called \u003cem>Silence\u003c/em>, yes. Yes. That’s all I will tell you at the moment about it.” \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=+Playwright+Edward+Albee%27s+Incomplete+Works+May+Never+See+The+Light+Of+Day&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Simone Veil, a Holocaust survivor and women’s rights advocate who was instrumental in legalizing abortion in France, has died at age 89.\u003c/p>\n\u003cp>Veil was among France’s most popular politicians and was revered across the political spectrum. In 1979, she became the first directly elected president of the European Parliament.\u003c/p>\n\u003cp>“May her example inspire our countrymen, who will find in her the best of France,” French President Emmanuel Macron \u003ca href=\"https://twitter.com/EmmanuelMacron/status/880713591300796417\">said in a message on Twitter\u003c/a>, in which he also expressed condolences to her family.\u003c/p>\n\u003cp>https://twitter.com/EmmanuelMacron/status/880713591300796417\u003c/p>\n\u003cp>Veil, who was originally from the city of Nice, was rounded up with other French Jews when she was 16 and sent to the Auschwitz concentration camp. Both of her parents and two of her siblings were killed during the war, \u003ca href=\"http://webdoc.france24.com/obituary-simone-veil-holocaust-women-abortion-france/\">France 24 reported\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Veil avoided being immediately sent to the gas chambers by lying to the Nazis about her age, the broadcaster reported. “She was registered for the labour camp, shaved from head to toe and tattooed with the serial number 78651 on her arm.”\u003c/p>\n\u003cp>After the war, Veil pursued a law degree and entered politics. During her time as health minister, she fought to loosen restrictions on contraceptive use.\u003c/p>\n\u003cp>A year later, she faced powerful opposition, including from her own political allies, when she fought to legalize abortion.\u003c/p>\n\u003cp>“No woman resorts to an abortion with a light heart. One only has to listen to them: It is always a tragedy,” Veil said in her opening address in 1974 at the National Assembly, France 24 reported. “We can no longer shut our eyes to the 300,000 abortions that each year mutilate the women of this country, trample on its laws and humiliate or traumatise those who undergo them.”\u003c/p>\n\u003cp>During her push for legal abortion, she “braved a volley of insults, some of them likening terminations to the Nazis’ treatment of Jews,” \u003ca href=\"https://www.theguardian.com/world/2017/jun/30/simone-veil-auschwitz-survivor-abortion-pioneer-dies-france\">The Guardian reported\u003c/a>. The bill ultimately passed because the left-wing opposition backed it, France 24 added.\u003c/p>\n\u003cp>The legislation that legalized abortion in France is still known as “Veil’s law,” and the \u003cem>Guardian\u003c/em> adds that it is “considered a cornerstone of women’s rights and secularism in France.”\u003c/p>\n\u003cp>Veil’s experience during the Holocaust prompted her to advocate for European unity, as she said in a 2007 interview with The Associated Press. “The idea of war was for me something terrible. … The only possible option was to make peace.”\u003c/p>\n\u003cp>Elected president of the European Parliament in its first direct vote of lawmakers in 1979, she “served as president until 1982 and remained in the Parliament until 1993,” the AP added.\u003c/p>\n\u003cp>Veil also served on the Constitutional Council — France’s top constitutional authority — and left public office in 2007.\u003c/p>\n\u003cp>She was elected to the Academie Francaise, which presides over the French language, in 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/06/30/world/europe/simone-veil-dead.html?_r=0\">As The New York Times reported\u003c/a>, when she was inducted into the Academie, novelist Jean d’Ormesson paid tribute to her vast support among the French:\u003c/p>\n\u003cblockquote>\n\u003cp>“This support does not rest on mediocre and lame consensus among the countless opinions that never cease dividing our old country. … It rests on the principles that you affirm and, against all odds, without ever raising your voice, manage to convince everyone of. We can say this without airs: In the heart of political life, you offer a moral and republican image.”\u003c/p>\n\u003c/blockquote>\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=French+Politician+Simone+Veil%2C+Holocaust+Survivor+And+Abortion+Pioneer%2C+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Veil avoided being immediately sent to the gas chambers by lying to the Nazis about her age, the broadcaster reported. “She was registered for the labour camp, shaved from head to toe and tattooed with the serial number 78651 on her arm.”\u003c/p>\n\u003cp>After the war, Veil pursued a law degree and entered politics. During her time as health minister, she fought to loosen restrictions on contraceptive use.\u003c/p>\n\u003cp>A year later, she faced powerful opposition, including from her own political allies, when she fought to legalize abortion.\u003c/p>\n\u003cp>“No woman resorts to an abortion with a light heart. One only has to listen to them: It is always a tragedy,” Veil said in her opening address in 1974 at the National Assembly, France 24 reported. “We can no longer shut our eyes to the 300,000 abortions that each year mutilate the women of this country, trample on its laws and humiliate or traumatise those who undergo them.”\u003c/p>\n\u003cp>During her push for legal abortion, she “braved a volley of insults, some of them likening terminations to the Nazis’ treatment of Jews,” \u003ca href=\"https://www.theguardian.com/world/2017/jun/30/simone-veil-auschwitz-survivor-abortion-pioneer-dies-france\">The Guardian reported\u003c/a>. The bill ultimately passed because the left-wing opposition backed it, France 24 added.\u003c/p>\n\u003cp>The legislation that legalized abortion in France is still known as “Veil’s law,” and the \u003cem>Guardian\u003c/em> adds that it is “considered a cornerstone of women’s rights and secularism in France.”\u003c/p>\n\u003cp>Veil’s experience during the Holocaust prompted her to advocate for European unity, as she said in a 2007 interview with The Associated Press. “The idea of war was for me something terrible. … The only possible option was to make peace.”\u003c/p>\n\u003cp>Elected president of the European Parliament in its first direct vote of lawmakers in 1979, she “served as president until 1982 and remained in the Parliament until 1993,” the AP added.\u003c/p>\n\u003cp>Veil also served on the Constitutional Council — France’s top constitutional authority — and left public office in 2007.\u003c/p>\n\u003cp>She was elected to the Academie Francaise, which presides over the French language, in 2008.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://www.nytimes.com/2017/06/30/world/europe/simone-veil-dead.html?_r=0\">As The New York Times reported\u003c/a>, when she was inducted into the Academie, novelist Jean d’Ormesson paid tribute to her vast support among the French:\u003c/p>\n\u003cblockquote>\n\u003cp>“This support does not rest on mediocre and lame consensus among the countless opinions that never cease dividing our old country. … It rests on the principles that you affirm and, against all odds, without ever raising your voice, manage to convince everyone of. We can say this without airs: In the heart of political life, you offer a moral and republican image.”\u003c/p>\n\u003c/blockquote>\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=French+Politician+Simone+Veil%2C+Holocaust+Survivor+And+Abortion+Pioneer%2C+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The United States is still a home for everyone; the proof is that a Muslim living in suburban Illinois can make a prayer rug joke and have it feel fully, unmistakably American. In \u003cem>The Big Sick\u003c/em>, when aspiring comedian Kumail Nanjiani leaves the Chicago stage, he often dines with his Pakistani parents in their cul-de-sac, where they expect him to do his full five minutes of prostrating before they can all dig into their biryani. But Kumail, like many a disaffected member of his generation, has soured on the concept of religion. So when he takes his rug into the basement, he sets his iPhone timer and watches exactly five minutes of YouTube videos.\u003c/p>\n\u003cp>This scene is gold. But it comes with the little stinger that Kumail knows he can only tell this particular joke to himself. His parents made sacrifices for him, built new lives in an unfamiliar country for him, and all they asked in return was that he continue to practice Islam — the one thing he no longer wants to do, because America has changed his priorities. That extends to their hopes for his arranged marriage, or, as Kumail notes they call it at home, a marriage. “Who could that be?” his mother asks when the doorbell rings, returning every time with a pretty, single Pakistani woman; the bachelorettes leave behind their headshots, which Kumail chucks into a shoebox. It’s an easy laugh with no easy answers.\u003c/p>\n\u003cp>\u003cem>The Big Sick\u003c/em> is autobiographical, the story of the real-life Nanjiani (a longtime comedy ringer you likely know best from \u003cem>Silicon Valley\u003c/em> and frequent appearances on L.A.-based comedy podcasts) and his real-life wife Emily V. Gordon. The two co-wrote the script, then handed it to director Michael Showalter (\u003cem>Wet Hot American Summer\u003c/em>), who ditches his usual archness to do right by the emotional honesty that makes this story so special. Then they let Judd Apatow produce, which was nice of them, as it means he finally gets his name attached to the James L. Brooks-type blend of sprawling, character-based comedy and tearjerker melodrama that he worships but hasn’t quite been able to pull off since \u003cem>The 40-Year-Old Virgin\u003c/em>.\u003c/p>\n\u003cp>Because, yes, this movie about comedians has a side of tears. But not right away, you gluttons for sadness. Opposite Nanjiani, who plays himself, there is the effortlessly charming Zoe Kazan as Emily, a white graduate student who flirts with him at his show before insisting that she can’t see anyone right now. She insists this as one beer turns into three dates and various nights on his apartment’s air mattress. There’s a nice joke where Emily tries to set limits by calling an Uber from Kumail’s place, and his phone buzzes because he moonlights as a driver — destiny by way of the App Store.\u003c/p>\n\u003cp>Kumail wants badly to be with Emily, but can’t bring himself to tell his parents (Anupam Kher and Zenobia Shroff) for fear they will disown him; he tries confiding in his brother (Adeel Akhtar), who advises him to break off the relationship immediately so he won’t upset the family. His loyalty to his parents leads him to attempt a double life, and soon a hurt Emily has called off their relationship. The complexity of Kumail’s feelings toward his heritage is refreshing. He clearly loves his culture, and has written a one-man show about Pakistan, including an oral exam, which he makes his friends suffer through. Yet there’s a sense that he’s become trapped by his family, even beyond the familiar child-of-immigrant jokes where they hint at preferred careers in medicine or law. They’re barreling toward something that is going to hurt.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And that’s all before \u003cem>The Big Sick\u003c/em> rears its ugly head. After breaking up with Kumail, Emily collapses and is placed in intensive care at a local hospital, where, in a medically induced coma, she can’t see that her now-ex is doting over her. The film doesn’t get too lost in medical jargon, but \u003ca href=\"http://www.hollywoodreporter.com/news/big-sick-emilys-illness-is-real-based-a-distressing-true-story-1015698\" target=\"_blank\" rel=\"noopener\">the real Gordon\u003c/a> has a rare autoimmune disorder called adult-onset Still’s disease (AOSD), a form of arthritis that can (and does) shut down major organs in the body. Movie characters spend more time lounging around hospitals than pharmacy reps, but \u003cem>The Big Sick\u003c/em> is the first “hospital film” in a while that makes us feel the stakes of a vicious mystery disease in our guts.\u003c/p>\n\u003cp>While Emily suffers rounds of tests, her parents come to town, and they’re played in a brilliant bit of casting by Holly Hunter and Ray Romano. Hunter’s no-nonsense nurturing instincts and Romano’s beta-male blunderings give Kumail a different window into parenting from his own; though at first wary of him because they know he’s been dishonest with their daughter, they soon warm to his sheepish charms and form an unlikely trio facing down this anxiety together. Though \u003cem>The Big Sick\u003c/em> is not especially concerned with making you laugh, it does have a lot to say about laughter: in an electrifying scene, the parents go to Kumail’s comedy show to take their mind off things, and wind up defending him from a racist heckler. Their anger is, at least in part, because their right to laugh at something has been violated.\u003c/p>\n\u003cp>Nanjiani’s biggest strength as a comedian is also his biggest weakness as a dramatic actor: the withering line deliveries that sound like he’s struggling to control his sarcasm. His chemistry with Kazan helps us take him more seriously, though the demands of the story are such that they aren’t together for long before Emily goes comatose. In the film’s second half, the laws of attraction are really being applied to Kumail’s relationship with Emily’s parents, who grow to appreciate him without her knowledge, and without Kazan’s infectious onscreen presence.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>So maybe this isn’t really a rom-com. But buried inside this seeming flaw is the film’s unique, understated comic irony. After rejecting his parents’ attempts to arrange his marriage, Kumail winds up arranging his own.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The United States is still a home for everyone; the proof is that a Muslim living in suburban Illinois can make a prayer rug joke and have it feel fully, unmistakably American. In \u003cem>The Big Sick\u003c/em>, when aspiring comedian Kumail Nanjiani leaves the Chicago stage, he often dines with his Pakistani parents in their cul-de-sac, where they expect him to do his full five minutes of prostrating before they can all dig into their biryani. But Kumail, like many a disaffected member of his generation, has soured on the concept of religion. So when he takes his rug into the basement, he sets his iPhone timer and watches exactly five minutes of YouTube videos.\u003c/p>\n\u003cp>This scene is gold. But it comes with the little stinger that Kumail knows he can only tell this particular joke to himself. His parents made sacrifices for him, built new lives in an unfamiliar country for him, and all they asked in return was that he continue to practice Islam — the one thing he no longer wants to do, because America has changed his priorities. That extends to their hopes for his arranged marriage, or, as Kumail notes they call it at home, a marriage. “Who could that be?” his mother asks when the doorbell rings, returning every time with a pretty, single Pakistani woman; the bachelorettes leave behind their headshots, which Kumail chucks into a shoebox. It’s an easy laugh with no easy answers.\u003c/p>\n\u003cp>\u003cem>The Big Sick\u003c/em> is autobiographical, the story of the real-life Nanjiani (a longtime comedy ringer you likely know best from \u003cem>Silicon Valley\u003c/em> and frequent appearances on L.A.-based comedy podcasts) and his real-life wife Emily V. Gordon. The two co-wrote the script, then handed it to director Michael Showalter (\u003cem>Wet Hot American Summer\u003c/em>), who ditches his usual archness to do right by the emotional honesty that makes this story so special. Then they let Judd Apatow produce, which was nice of them, as it means he finally gets his name attached to the James L. Brooks-type blend of sprawling, character-based comedy and tearjerker melodrama that he worships but hasn’t quite been able to pull off since \u003cem>The 40-Year-Old Virgin\u003c/em>.\u003c/p>\n\u003cp>Because, yes, this movie about comedians has a side of tears. But not right away, you gluttons for sadness. Opposite Nanjiani, who plays himself, there is the effortlessly charming Zoe Kazan as Emily, a white graduate student who flirts with him at his show before insisting that she can’t see anyone right now. She insists this as one beer turns into three dates and various nights on his apartment’s air mattress. There’s a nice joke where Emily tries to set limits by calling an Uber from Kumail’s place, and his phone buzzes because he moonlights as a driver — destiny by way of the App Store.\u003c/p>\n\u003cp>Kumail wants badly to be with Emily, but can’t bring himself to tell his parents (Anupam Kher and Zenobia Shroff) for fear they will disown him; he tries confiding in his brother (Adeel Akhtar), who advises him to break off the relationship immediately so he won’t upset the family. His loyalty to his parents leads him to attempt a double life, and soon a hurt Emily has called off their relationship. The complexity of Kumail’s feelings toward his heritage is refreshing. He clearly loves his culture, and has written a one-man show about Pakistan, including an oral exam, which he makes his friends suffer through. Yet there’s a sense that he’s become trapped by his family, even beyond the familiar child-of-immigrant jokes where they hint at preferred careers in medicine or law. They’re barreling toward something that is going to hurt.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that’s all before \u003cem>The Big Sick\u003c/em> rears its ugly head. After breaking up with Kumail, Emily collapses and is placed in intensive care at a local hospital, where, in a medically induced coma, she can’t see that her now-ex is doting over her. The film doesn’t get too lost in medical jargon, but \u003ca href=\"http://www.hollywoodreporter.com/news/big-sick-emilys-illness-is-real-based-a-distressing-true-story-1015698\" target=\"_blank\" rel=\"noopener\">the real Gordon\u003c/a> has a rare autoimmune disorder called adult-onset Still’s disease (AOSD), a form of arthritis that can (and does) shut down major organs in the body. Movie characters spend more time lounging around hospitals than pharmacy reps, but \u003cem>The Big Sick\u003c/em> is the first “hospital film” in a while that makes us feel the stakes of a vicious mystery disease in our guts.\u003c/p>\n\u003cp>While Emily suffers rounds of tests, her parents come to town, and they’re played in a brilliant bit of casting by Holly Hunter and Ray Romano. Hunter’s no-nonsense nurturing instincts and Romano’s beta-male blunderings give Kumail a different window into parenting from his own; though at first wary of him because they know he’s been dishonest with their daughter, they soon warm to his sheepish charms and form an unlikely trio facing down this anxiety together. Though \u003cem>The Big Sick\u003c/em> is not especially concerned with making you laugh, it does have a lot to say about laughter: in an electrifying scene, the parents go to Kumail’s comedy show to take their mind off things, and wind up defending him from a racist heckler. Their anger is, at least in part, because their right to laugh at something has been violated.\u003c/p>\n\u003cp>Nanjiani’s biggest strength as a comedian is also his biggest weakness as a dramatic actor: the withering line deliveries that sound like he’s struggling to control his sarcasm. His chemistry with Kazan helps us take him more seriously, though the demands of the story are such that they aren’t together for long before Emily goes comatose. In the film’s second half, the laws of attraction are really being applied to Kumail’s relationship with Emily’s parents, who grow to appreciate him without her knowledge, and without Kazan’s infectious onscreen presence.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"headTitle": "Geri Allen, Pianist, Composer and Educator, Dies at 60 | KQED",
"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15131132/geri-allen\" target=\"_blank\" rel=\"noopener\">Geri Allen\u003c/a>, a widely influential jazz pianist, composer and educator who defied classification while steadfastly affirming her roots in the hard-bop tradition of her native Detroit, died Tuesday in Philadelphia. She was 60, and had lived for the last four years in Pittsburgh.\u003c/p>\n\u003cp>The cause was cancer, said Ora Harris, her manager of 30 years. The news shocked Allen’s devoted listeners, as well as her peers and the many pianists she directly influenced.\u003c/p>\n\u003cp>In addition to her varied and commanding work as a leader, Allen made her mark as a venturesome improviser on notable albums with the saxophonist-composers \u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, Oliver Lake, \u003ca href=\"http://www.npr.org/artists/129299340/steve-coleman\" target=\"_blank\" rel=\"noopener\">Steve Coleman\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15839986/charles-lloyd\" target=\"_blank\" rel=\"noopener\">Charles Lloyd\u003c/a>; drummer Ralph Peterson, Jr.; bassist \u003ca href=\"http://www.npr.org/artists/15393702/charlie-haden\" target=\"_blank\" rel=\"noopener\">Charlie Haden\u003c/a> and drummer \u003ca href=\"http://www.npr.org/artists/15401669/paul-motian\" target=\"_blank\" rel=\"noopener\">Paul Motian\u003c/a>; and many others. Her recent collaborations with drummer \u003ca href=\"http://www.npr.org/artists/101472592/terri-lyne-carrington\" target=\"_blank\" rel=\"noopener\">Terri Lyne Carrington\u003c/a>, in separate trios featuring bassist \u003ca href=\"http://www.npr.org/artists/90478159/esperanza-spalding\" target=\"_blank\" rel=\"noopener\">Esperanza Spalding\u003c/a> and tenor saxophonist David Murray, found her in a ceaselessly exploratory mode, probing new harmonic expanses and dynamic arcs.\u003c/p>\n\u003cp>Allen’s solo piano work, from \u003cem>Home Grown\u003c/em> in 1985 to \u003cem>Flying Toward the Sound\u003c/em> in 2010, reveals an uncommon technical prowess and kaleidoscopic tonal range. The subtitle of \u003cem>Flying Toward the Sound\u003c/em> claims inspiration from \u003ca href=\"http://www.npr.org/artists/15696501/cecil-taylor\" target=\"_blank\" rel=\"noopener\">Cecil Taylor\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15678496/mccoy-tyner\" target=\"_blank\" rel=\"noopener\">McCoy Tyner\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15294441/herbie-hancock\" target=\"_blank\" rel=\"noopener\">Herbie Hancock\u003c/a> specifically, but on this and other recordings we hear Allen, unfailingly distinctive. From \u003cem>Home Grown\u003c/em>, the track “Black Man,” with its looping, interlocking pulses and forward momentum, points clearly toward a rhythmic sensibility heard today from such celebrated pianists as \u003ca href=\"http://www.npr.org/artists/127899386/craig-taborn\" target=\"_blank\" rel=\"noopener\">Craig Taborn\u003c/a> and \u003ca href=\"http://www.npr.org/artists/92749291/vijay-iyer\" target=\"_blank\" rel=\"noopener\">Vijay Iyer\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=z27W_1BcfR0\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Geri Antoinette Allen was born June 12, 1957 in Pontiac, Mich., and raised in Detroit. Her father, Mount V. Allen, Jr., was a principal in the Detroit public school system, and her mother, Barbara Jean, was a defense contract administrator for the U.S. government.\u003c/p>\n\u003cp>Allen took up the piano at age 7 and went on to graduate from Cass Technical High School, the alma mater of jazz greats on the order of Paul Chambers, Wardell Gray, \u003ca href=\"http://www.npr.org/artists/15156346/gerald-wilson\" target=\"_blank\" rel=\"noopener\">Gerald Wilson\u003c/a> and Donald Byrd.\u003c/p>\n\u003cp>While in school Allen became a protégé of the late trumpeter Marcus Belgrave, who directed the Jazz Development Workshop and also mentored saxophonist \u003ca href=\"http://www.npr.org/artists/15398179/kenny-garrett\" target=\"_blank\" rel=\"noopener\">Kenny Garrett\u003c/a> and violinist \u003ca href=\"http://www.npr.org/artists/15237513/regina-carter\" target=\"_blank\" rel=\"noopener\">Regina Carter\u003c/a>, among many others. (Belgrave would go on to appear on Allen’s albums \u003cem>The Nurturer\u003c/em> and \u003cem>Maroons\u003c/em> in the early 1990s.) From another mentor, the late drummer Roy Brooks, Allen developed a deep love for \u003ca href=\"http://www.npr.org/artists/15130415/thelonious-monk\" target=\"_blank\" rel=\"noopener\">Thelonious Monk\u003c/a>, whose compositions she masterfully interpreted.\u003c/p>\n\u003cp>Allen graduated from Howard University in 1979, as one of the first students to complete a jazz studies degree there. She earned an M.A. in ethnomusicology from the University of Pittsburgh in 1982. For part of a year she sustained herself touring with former Supreme Mary Wilson. In 1984 she debuted with \u003cem>The Printmakers\u003c/em>, a tight, imaginative trio session with bassist Anthony Cox and drummer Andrew Cyrille.\u003c/p>\n\u003cp>Soon afterward, Allen made a series of statements with the vanguardist M-Base Collective, spearheaded by Steve Coleman. She appeared on his debut album, \u003cem>Motherland Pulse\u003c/em>, in 1985, and on several subsequent releases by his flagship band, Five Elements. Her own album \u003cem>Open On All Sides In The Middle\u003c/em>, from 1986, featured Coleman in a bustling electro-acoustic ensemble, alongside other players including Belgrave and trombonist Robin Eubanks.\u003c/p>\n\u003cp>Trio summits followed with \u003ca href=\"http://www.npr.org/artists/15032659/ron-carter\" target=\"_blank\" rel=\"noopener\">Ron Carter\u003c/a>, a fellow Cass Tech alum, and \u003ca href=\"http://www.npr.org/artists/16073856/tony-williams\" target=\"_blank\" rel=\"noopener\">Tony Williams\u003c/a> (\u003cem>Twenty One\u003c/em>); with Haden and Motian (\u003cem>Etudes\u003c/em>, \u003cem>Live at the Village Vanguard\u003c/em>); and with \u003ca href=\"http://www.npr.org/artists/15404006/dave-holland\" target=\"_blank\" rel=\"noopener\">Dave Holland\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15124740/jack-dejohnette\" target=\"_blank\" rel=\"noopener\">Jack DeJohnette\u003c/a> (\u003cem>The Life of a Song\u003c/em>). In each setting, Allen proved more than a virtuoso able to marshal the greatest rhythm sections; she was a musical partner with prodigious ears, motivated by the percussive energy of the avant-garde, the elusive unified spark of straight-ahead swing and the expressive truth of piano balladry.\u003c/p>\n\u003cp>Allen’s 1996 encounter with Ornette Coleman, documented on the albums \u003cem>Sound Museum: Hidden Man\u003c/em> and \u003cem>Sound Museum: Three Women,\u003c/em> stands out in part for its historical significance: this was the first time since Walter Norris on \u003cem>Somethin’ Else!!!!\u003c/em> in 1958 that an acoustic pianist had recorded with Coleman.\u003c/p>\n\u003cp>The piano had little use in his free-floating music because it tended to impose a conventional chordal fixity. Not with Allen on the bandstand. She played a multifaceted textural and contrapuntal role, her ocean-deep harmonic knowledge guiding but never limiting her, from gorgeous and evocative rubato episodes to urgent free blowing. Her melodic voice, too, sometimes moving in unison with Coleman, brought a clarion intensity that remains unique in his output.\u003c/p>\n\u003cp>Along with her rare qualities as a player, Allen had significant impact as an educator for 10 years at the University of Michigan. She began as director of jazz studies at the University of Pittsburgh, her alma mater, in 2013, succeeding one of her mentors, Nathan Davis. Three years later she became artistic director of the Carr Center — characterized by Mark Stryker, author of the forthcoming book \u003cem>Made In Detroit: Jazz From The Motor City\u003c/em>, as “a downtown Detroit arts organization that primarily champions African-American culture and has a strong arts education program.”\u003c/p>\n\u003cp>In both her institutional work and her musical projects, Allen engaged in a serious way with jazz as part of a larger African-American continuum in the arts. Her 2013 album \u003cem>Grand River Crossings: Motown & Motor City Inspirations\u003c/em> was a hometown homage, but also a reflection on the porous boundaries of black music. Last year the artist Carrie Mae Weems welcomed Allen and her trio to the Guggenheim Museum for part of a performance series called “Past Tense/Future Perfect.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=gkCHb5R43XI\u003c/p>\n\u003cp>In her own work, Allen often sought to broaden her reference points and sonic palette, featuring the Atlanta Jazz Chorus on \u003cem>Timeless Portraits and Dreams\u003c/em> (2006); the electric and acoustic guitar of Living Colour’s Vernon Reid on \u003cem>The Gathering\u003c/em> (1998); and tap dancers Lloyd Storey, on \u003cem>Open On All Sides In The Middle\u003c/em>, and Maurice Chestnut, on \u003cem>Geri Allen & Time Line Live\u003c/em> (2010). She shed light on the legacy of the still underappreciated pianist and composer Mary Lou Williams on \u003cem>Zodiac Suite: Revisited\u003c/em>, credited to the Mary Lou Williams Collective, with bassist Buster Williams and drummers Billy Hart and Andrew Cyrille.\u003c/p>\n\u003cp>Allen is survived by her father; her brother, Mount Allen III; and three children, Laila Deen, Wallace Vernell and Barbara Ann. Her marriage to the trumpeter \u003ca href=\"http://www.npr.org/artists/15401658/wallace-roney\" target=\"_blank\" rel=\"noopener\">Wallace Roney\u003c/a> ended in divorce.\u003c/p>\n\u003cp>Along with a Guggenheim Fellowship, in 2008, Allen received the African American Classical Music Award from Spelman College, and a Distinguished Alumni Award from Howard. In 1995 she became the first recipient of Soul Train’s Lady of Soul Award for jazz album of the year, for \u003cem>Twenty-One\u003c/em>. The following year she became the first woman to win the Jazzpar Prize, a highly prestigious Danish honor.\u003c/p>\n\u003cp>Over years of seeing Allen live, it’s striking to recall her at Caramoor in 1994, when she shared a solo piano bill with the great \u003ca href=\"http://www.npr.org/artists/16114983/kenny-barron\" target=\"_blank\" rel=\"noopener\">Kenny Barron\u003c/a>. She parsed Monk and other material, including her own, and encored in a riotous two-piano showdown with Barron on “Tea For Two,” dealing impressively with a tune of older vintage. Years later, at the Village Vanguard, she led an engrossing quartet with Hart, bassist (and Cass Tech alum) Robert Hurst and percussionist Mino Cinelu.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In terms of the unexpected, however, don’t for a moment discount Allen’s 2011 Christmas album, \u003ca href=\"https://youtu.be/jj81T6Ytm0o\">\u003cem>A Child Is Born\u003c/em>\u003c/a>. She plays not just piano but also Farfisa organ, celeste, clavinet and Fender Rhodes, taking “Angels We Have Heard On High” and “O Come, O Come, Emmanuel” to harmonic places they’ve likely never been. Even at its most searching, complex and sonically novel, there’s a contemplative quality in the music that makes this a worthy listen as we mourn Allen’s untimely passing. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Geri+Allen%2C+Pianist%2C+Composer+And+Educator%2C+Dies+At+60&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/15131132/geri-allen\" target=\"_blank\" rel=\"noopener\">Geri Allen\u003c/a>, a widely influential jazz pianist, composer and educator who defied classification while steadfastly affirming her roots in the hard-bop tradition of her native Detroit, died Tuesday in Philadelphia. She was 60, and had lived for the last four years in Pittsburgh.\u003c/p>\n\u003cp>The cause was cancer, said Ora Harris, her manager of 30 years. The news shocked Allen’s devoted listeners, as well as her peers and the many pianists she directly influenced.\u003c/p>\n\u003cp>In addition to her varied and commanding work as a leader, Allen made her mark as a venturesome improviser on notable albums with the saxophonist-composers \u003ca href=\"http://www.npr.org/artists/15393592/ornette-coleman\" target=\"_blank\" rel=\"noopener\">Ornette Coleman\u003c/a>, Oliver Lake, \u003ca href=\"http://www.npr.org/artists/129299340/steve-coleman\" target=\"_blank\" rel=\"noopener\">Steve Coleman\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15839986/charles-lloyd\" target=\"_blank\" rel=\"noopener\">Charles Lloyd\u003c/a>; drummer Ralph Peterson, Jr.; bassist \u003ca href=\"http://www.npr.org/artists/15393702/charlie-haden\" target=\"_blank\" rel=\"noopener\">Charlie Haden\u003c/a> and drummer \u003ca href=\"http://www.npr.org/artists/15401669/paul-motian\" target=\"_blank\" rel=\"noopener\">Paul Motian\u003c/a>; and many others. Her recent collaborations with drummer \u003ca href=\"http://www.npr.org/artists/101472592/terri-lyne-carrington\" target=\"_blank\" rel=\"noopener\">Terri Lyne Carrington\u003c/a>, in separate trios featuring bassist \u003ca href=\"http://www.npr.org/artists/90478159/esperanza-spalding\" target=\"_blank\" rel=\"noopener\">Esperanza Spalding\u003c/a> and tenor saxophonist David Murray, found her in a ceaselessly exploratory mode, probing new harmonic expanses and dynamic arcs.\u003c/p>\n\u003cp>Allen’s solo piano work, from \u003cem>Home Grown\u003c/em> in 1985 to \u003cem>Flying Toward the Sound\u003c/em> in 2010, reveals an uncommon technical prowess and kaleidoscopic tonal range. The subtitle of \u003cem>Flying Toward the Sound\u003c/em> claims inspiration from \u003ca href=\"http://www.npr.org/artists/15696501/cecil-taylor\" target=\"_blank\" rel=\"noopener\">Cecil Taylor\u003c/a>, \u003ca href=\"http://www.npr.org/artists/15678496/mccoy-tyner\" target=\"_blank\" rel=\"noopener\">McCoy Tyner\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15294441/herbie-hancock\" target=\"_blank\" rel=\"noopener\">Herbie Hancock\u003c/a> specifically, but on this and other recordings we hear Allen, unfailingly distinctive. From \u003cem>Home Grown\u003c/em>, the track “Black Man,” with its looping, interlocking pulses and forward momentum, points clearly toward a rhythmic sensibility heard today from such celebrated pianists as \u003ca href=\"http://www.npr.org/artists/127899386/craig-taborn\" target=\"_blank\" rel=\"noopener\">Craig Taborn\u003c/a> and \u003ca href=\"http://www.npr.org/artists/92749291/vijay-iyer\" target=\"_blank\" rel=\"noopener\">Vijay Iyer\u003c/a>.\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/z27W_1BcfR0'\n title='//www.youtube.com/embed/z27W_1BcfR0'\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>Geri Antoinette Allen was born June 12, 1957 in Pontiac, Mich., and raised in Detroit. Her father, Mount V. Allen, Jr., was a principal in the Detroit public school system, and her mother, Barbara Jean, was a defense contract administrator for the U.S. government.\u003c/p>\n\u003cp>Allen took up the piano at age 7 and went on to graduate from Cass Technical High School, the alma mater of jazz greats on the order of Paul Chambers, Wardell Gray, \u003ca href=\"http://www.npr.org/artists/15156346/gerald-wilson\" target=\"_blank\" rel=\"noopener\">Gerald Wilson\u003c/a> and Donald Byrd.\u003c/p>\n\u003cp>While in school Allen became a protégé of the late trumpeter Marcus Belgrave, who directed the Jazz Development Workshop and also mentored saxophonist \u003ca href=\"http://www.npr.org/artists/15398179/kenny-garrett\" target=\"_blank\" rel=\"noopener\">Kenny Garrett\u003c/a> and violinist \u003ca href=\"http://www.npr.org/artists/15237513/regina-carter\" target=\"_blank\" rel=\"noopener\">Regina Carter\u003c/a>, among many others. (Belgrave would go on to appear on Allen’s albums \u003cem>The Nurturer\u003c/em> and \u003cem>Maroons\u003c/em> in the early 1990s.) From another mentor, the late drummer Roy Brooks, Allen developed a deep love for \u003ca href=\"http://www.npr.org/artists/15130415/thelonious-monk\" target=\"_blank\" rel=\"noopener\">Thelonious Monk\u003c/a>, whose compositions she masterfully interpreted.\u003c/p>\n\u003cp>Allen graduated from Howard University in 1979, as one of the first students to complete a jazz studies degree there. She earned an M.A. in ethnomusicology from the University of Pittsburgh in 1982. For part of a year she sustained herself touring with former Supreme Mary Wilson. In 1984 she debuted with \u003cem>The Printmakers\u003c/em>, a tight, imaginative trio session with bassist Anthony Cox and drummer Andrew Cyrille.\u003c/p>\n\u003cp>Soon afterward, Allen made a series of statements with the vanguardist M-Base Collective, spearheaded by Steve Coleman. She appeared on his debut album, \u003cem>Motherland Pulse\u003c/em>, in 1985, and on several subsequent releases by his flagship band, Five Elements. Her own album \u003cem>Open On All Sides In The Middle\u003c/em>, from 1986, featured Coleman in a bustling electro-acoustic ensemble, alongside other players including Belgrave and trombonist Robin Eubanks.\u003c/p>\n\u003cp>Trio summits followed with \u003ca href=\"http://www.npr.org/artists/15032659/ron-carter\" target=\"_blank\" rel=\"noopener\">Ron Carter\u003c/a>, a fellow Cass Tech alum, and \u003ca href=\"http://www.npr.org/artists/16073856/tony-williams\" target=\"_blank\" rel=\"noopener\">Tony Williams\u003c/a> (\u003cem>Twenty One\u003c/em>); with Haden and Motian (\u003cem>Etudes\u003c/em>, \u003cem>Live at the Village Vanguard\u003c/em>); and with \u003ca href=\"http://www.npr.org/artists/15404006/dave-holland\" target=\"_blank\" rel=\"noopener\">Dave Holland\u003c/a> and \u003ca href=\"http://www.npr.org/artists/15124740/jack-dejohnette\" target=\"_blank\" rel=\"noopener\">Jack DeJohnette\u003c/a> (\u003cem>The Life of a Song\u003c/em>). In each setting, Allen proved more than a virtuoso able to marshal the greatest rhythm sections; she was a musical partner with prodigious ears, motivated by the percussive energy of the avant-garde, the elusive unified spark of straight-ahead swing and the expressive truth of piano balladry.\u003c/p>\n\u003cp>Allen’s 1996 encounter with Ornette Coleman, documented on the albums \u003cem>Sound Museum: Hidden Man\u003c/em> and \u003cem>Sound Museum: Three Women,\u003c/em> stands out in part for its historical significance: this was the first time since Walter Norris on \u003cem>Somethin’ Else!!!!\u003c/em> in 1958 that an acoustic pianist had recorded with Coleman.\u003c/p>\n\u003cp>The piano had little use in his free-floating music because it tended to impose a conventional chordal fixity. Not with Allen on the bandstand. She played a multifaceted textural and contrapuntal role, her ocean-deep harmonic knowledge guiding but never limiting her, from gorgeous and evocative rubato episodes to urgent free blowing. Her melodic voice, too, sometimes moving in unison with Coleman, brought a clarion intensity that remains unique in his output.\u003c/p>\n\u003cp>Along with her rare qualities as a player, Allen had significant impact as an educator for 10 years at the University of Michigan. She began as director of jazz studies at the University of Pittsburgh, her alma mater, in 2013, succeeding one of her mentors, Nathan Davis. Three years later she became artistic director of the Carr Center — characterized by Mark Stryker, author of the forthcoming book \u003cem>Made In Detroit: Jazz From The Motor City\u003c/em>, as “a downtown Detroit arts organization that primarily champions African-American culture and has a strong arts education program.”\u003c/p>\n\u003cp>In both her institutional work and her musical projects, Allen engaged in a serious way with jazz as part of a larger African-American continuum in the arts. Her 2013 album \u003cem>Grand River Crossings: Motown & Motor City Inspirations\u003c/em> was a hometown homage, but also a reflection on the porous boundaries of black music. Last year the artist Carrie Mae Weems welcomed Allen and her trio to the Guggenheim Museum for part of a performance series called “Past Tense/Future Perfect.”\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/gkCHb5R43XI'\n title='//www.youtube.com/embed/gkCHb5R43XI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In her own work, Allen often sought to broaden her reference points and sonic palette, featuring the Atlanta Jazz Chorus on \u003cem>Timeless Portraits and Dreams\u003c/em> (2006); the electric and acoustic guitar of Living Colour’s Vernon Reid on \u003cem>The Gathering\u003c/em> (1998); and tap dancers Lloyd Storey, on \u003cem>Open On All Sides In The Middle\u003c/em>, and Maurice Chestnut, on \u003cem>Geri Allen & Time Line Live\u003c/em> (2010). She shed light on the legacy of the still underappreciated pianist and composer Mary Lou Williams on \u003cem>Zodiac Suite: Revisited\u003c/em>, credited to the Mary Lou Williams Collective, with bassist Buster Williams and drummers Billy Hart and Andrew Cyrille.\u003c/p>\n\u003cp>Allen is survived by her father; her brother, Mount Allen III; and three children, Laila Deen, Wallace Vernell and Barbara Ann. Her marriage to the trumpeter \u003ca href=\"http://www.npr.org/artists/15401658/wallace-roney\" target=\"_blank\" rel=\"noopener\">Wallace Roney\u003c/a> ended in divorce.\u003c/p>\n\u003cp>Along with a Guggenheim Fellowship, in 2008, Allen received the African American Classical Music Award from Spelman College, and a Distinguished Alumni Award from Howard. In 1995 she became the first recipient of Soul Train’s Lady of Soul Award for jazz album of the year, for \u003cem>Twenty-One\u003c/em>. The following year she became the first woman to win the Jazzpar Prize, a highly prestigious Danish honor.\u003c/p>\n\u003cp>Over years of seeing Allen live, it’s striking to recall her at Caramoor in 1994, when she shared a solo piano bill with the great \u003ca href=\"http://www.npr.org/artists/16114983/kenny-barron\" target=\"_blank\" rel=\"noopener\">Kenny Barron\u003c/a>. She parsed Monk and other material, including her own, and encored in a riotous two-piano showdown with Barron on “Tea For Two,” dealing impressively with a tune of older vintage. Years later, at the Village Vanguard, she led an engrossing quartet with Hart, bassist (and Cass Tech alum) Robert Hurst and percussionist Mino Cinelu.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In terms of the unexpected, however, don’t for a moment discount Allen’s 2011 Christmas album, \u003ca href=\"https://youtu.be/jj81T6Ytm0o\">\u003cem>A Child Is Born\u003c/em>\u003c/a>. She plays not just piano but also Farfisa organ, celeste, clavinet and Fender Rhodes, taking “Angels We Have Heard On High” and “O Come, O Come, Emmanuel” to harmonic places they’ve likely never been. Even at its most searching, complex and sonically novel, there’s a contemplative quality in the music that makes this a worthy listen as we mourn Allen’s untimely passing. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 WBGO. To see more, visit \u003ca href=\"http://www.wbgo.org\">WBGO\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Geri+Allen%2C+Pianist%2C+Composer+And+Educator%2C+Dies+At+60&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
"airtime": "SUN 9pm-10pm",
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"meta": {
"site": "radio",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.commonwealthclub.org/podcasts",
"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"id": "here-and-now",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
"site": "news",
"source": "NPR"
},
"link": "/radio/program/hidden-brain",
"subscribe": {
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"tuneIn": "https://tunein.com/podcasts/Science-Podcasts/Hidden-Brain-p787503/",
"rss": "https://feeds.npr.org/510308/podcast.xml"
}
},
"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"rss": "https://feeds.npr.org/510313/podcast.xml"
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},
"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
"imageAlt": "KQED Hyphenación",
"officialWebsiteLink": "/podcasts/hyphenacion",
"meta": {
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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"amazon": "https://music.amazon.com/podcasts/6c3dd23c-93fb-4aab-97ba-1725fa6315f1/hyphenaci%C3%B3n",
"rss": "https://feeds.megaphone.fm/KQINC2275451163"
}
},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED The Political Mind of Jerry Brown",
"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/latino-usa",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/xtTd",
"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
"site": "news",
"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Political Breakdown",
"officialWebsiteLink": "/podcasts/politicalbreakdown",
"meta": {
"site": "radio",
"source": "kqed",
"order": 5
},
"link": "/podcasts/politicalbreakdown",
"subscribe": {
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
"npr": "https://www.npr.org/podcasts/572155894/political-breakdown",
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