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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": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Have you ever done anything for 24 hours straight other than binge-watch \u003cem>Game Of Thrones\u003c/em> before a new season starts? This guy \u003ca href=\"https://www.youtube.com/watch?v=tM7dlqKL9XU\" target=\"_blank\" rel=\"noopener\">spun a fidget spinner\u003c/a> for a full day, so you know, the sky’s the limit. Endurance tests now just seem like excuses to sit on your butt and get praise for it.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/artists/329770596/asgeir\">Ásgeir\u003c/a>, the Icelandic artist with the crystalline falsetto, wants to elevate the 24-hour challenge. Starting at 1 p.m. ET today, he will record stripped-down versions of his songs (and some covers) directly to 7″ vinyl via Icelandic national television and a YouTube live stream. Fans can request songs using the hashtag #asgeirstraighttovinyl and by commenting on YouTube. An “international scavenger hunt” for physical copies of the music has been promised, to be announced at some later point.\u003c/p>\n\u003cp>Now the real question is: What sort of studio madness will occur once sleep deprivation kicks in? Will Ásgeir turn songs from \u003cem>\u003ca href=\"http://www.npr.org/2017/05/01/526314280/first-listen-sgeir-afterglow\">Afterglow\u003c/a>\u003c/em> into a nightmarish jigsaw puzzle, à la Captain Beefheart’s \u003cem>Trout Mask Replica\u003c/em>? Tune in to find out! \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=For+24+Hours+Straight%2C+%C3%81sgeir+Is+Taking+Requests+And+Pressing+Them+To+Vinyl&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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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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"title": "'The Big Sick' Is A Tonic For What Ails You",
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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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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"title": "Geri Allen, Pianist, Composer and Educator, Dies at 60",
"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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"excerpt": "The jazz pianist defied classification while steadfastly affirming her roots in the hard-bop tradition of her native Detroit. She died Tuesday in Philadelphia.",
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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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"content": "\u003cp>Tim Westergren, the co-founder of Pandora who returned to the company’s chief executive seat last year after the \u003ca href=\"http://www.billboard.com/articles/business/7317933/pandora-tim-westergren-brian-mcandrews-executive-shakeup-behind-the-scenes\" target=\"_blank\" rel=\"noopener\">exit of Brian McAndrews\u003c/a>, is leaving the company he started over 17 years ago, it was announced this morning. He will resign his position as chief executive and exit the company’s board of directors.\u003c/p>\n\u003cp>“I believe Pandora is perfectly poised for its next chapter,” Westergren says in a statement regarding the move. Chief financial officer Naveen Chopra will assume the vacated seat until a replacement is found. The company also announced that chief marketing officer Nick Bartle and president Mike Herring will be leaving Pandora as well, and that Jason Hirschhorn, founder of the media aggregation company ReDEF and a former co-president of Myspace, would be appointed a director, and receive $40,000 and equity for his trouble.\u003c/p>\n\u003cp>Pandora has had a tumultuous few months in the boardroom; after securing $150 million in funding from private equity group KKR — and adding former AEG CEO Tim Leiweke as an independent director and advisor — it dropped that deal for a \u003ca href=\"http://www.npr.org/sections/therecord/2017/06/09/532255970/siriusxm-invests-480-million-in-pandora\" target=\"_blank\" rel=\"noopener\">$480 million investment\u003c/a> from satellite broadcaster SiriusXM. SiriusXM also gained three seats on the company’s board in the deal.\u003c/p>\n\u003cp>The company’s stock has steadily declined over the past few years — from a high of $37.42 a share to $8.32 today — as Spotify and Apple Music have gained dominance in the digital listening market. Pandora offers two subscriptions: the cheaper Pandora Plus, which augments its radio service and removes ads, and Pandora Premium, its competitor to the on-demand services. However, it spent much of 2016 building Premium from the pieces of Rdio, which it acquired at the end of 2015 — losing precious time as the streaming market became ever more mainstream.\u003c/p>\n\u003cp>Westergren often shared his backstory as a musician \u003ca href=\"https://www.youtube.com/watch?v=Rb58FvEz2zo\" target=\"_blank\" rel=\"noopener\">“living out of a van”\u003c/a> before launching Pandora in 2000. (Once initial funding ran out, the company infamously asked its employees to work for free \u003ca href=\"https://thehustle.co/pandora-speech\" target=\"_blank\" rel=\"noopener\">for two years\u003c/a>.) From there, he helped direct the development of the Music Genome Project, a unique hybrid recommendation engine that utilized musicologists’ analyses of recordings in order to better recommend music to the service’s users. Before too long, Pandora became relatively synonymous with “radio on the internet.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pandora’s competitor Spotify had no comment on Westergren’s departure; Warner Music Group, Universal Music Group and Sony Music — companies which Westergren spent much of 2016 repairing relationships with — did not immediately respond to a request for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Updated\u003c/strong>, 10:58am, June 27: This article was updated with information from a financial filing released subsequent to the announcement of Westergren’s departure.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pandora+Co-Founder+And+CEO+Tim+Westergren+To+Step+Down&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Tim Westergren, the co-founder of Pandora who returned to the company’s chief executive seat last year after the \u003ca href=\"http://www.billboard.com/articles/business/7317933/pandora-tim-westergren-brian-mcandrews-executive-shakeup-behind-the-scenes\" target=\"_blank\" rel=\"noopener\">exit of Brian McAndrews\u003c/a>, is leaving the company he started over 17 years ago, it was announced this morning. He will resign his position as chief executive and exit the company’s board of directors.\u003c/p>\n\u003cp>“I believe Pandora is perfectly poised for its next chapter,” Westergren says in a statement regarding the move. Chief financial officer Naveen Chopra will assume the vacated seat until a replacement is found. The company also announced that chief marketing officer Nick Bartle and president Mike Herring will be leaving Pandora as well, and that Jason Hirschhorn, founder of the media aggregation company ReDEF and a former co-president of Myspace, would be appointed a director, and receive $40,000 and equity for his trouble.\u003c/p>\n\u003cp>Pandora has had a tumultuous few months in the boardroom; after securing $150 million in funding from private equity group KKR — and adding former AEG CEO Tim Leiweke as an independent director and advisor — it dropped that deal for a \u003ca href=\"http://www.npr.org/sections/therecord/2017/06/09/532255970/siriusxm-invests-480-million-in-pandora\" target=\"_blank\" rel=\"noopener\">$480 million investment\u003c/a> from satellite broadcaster SiriusXM. SiriusXM also gained three seats on the company’s board in the deal.\u003c/p>\n\u003cp>The company’s stock has steadily declined over the past few years — from a high of $37.42 a share to $8.32 today — as Spotify and Apple Music have gained dominance in the digital listening market. Pandora offers two subscriptions: the cheaper Pandora Plus, which augments its radio service and removes ads, and Pandora Premium, its competitor to the on-demand services. However, it spent much of 2016 building Premium from the pieces of Rdio, which it acquired at the end of 2015 — losing precious time as the streaming market became ever more mainstream.\u003c/p>\n\u003cp>Westergren often shared his backstory as a musician \u003ca href=\"https://www.youtube.com/watch?v=Rb58FvEz2zo\" target=\"_blank\" rel=\"noopener\">“living out of a van”\u003c/a> before launching Pandora in 2000. (Once initial funding ran out, the company infamously asked its employees to work for free \u003ca href=\"https://thehustle.co/pandora-speech\" target=\"_blank\" rel=\"noopener\">for two years\u003c/a>.) From there, he helped direct the development of the Music Genome Project, a unique hybrid recommendation engine that utilized musicologists’ analyses of recordings in order to better recommend music to the service’s users. Before too long, Pandora became relatively synonymous with “radio on the internet.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pandora’s competitor Spotify had no comment on Westergren’s departure; Warner Music Group, Universal Music Group and Sony Music — companies which Westergren spent much of 2016 repairing relationships with — did not immediately respond to a request for comment.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003cstrong>Updated\u003c/strong>, 10:58am, June 27: This article was updated with information from a financial filing released subsequent to the announcement of Westergren’s departure.\u003c/em> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Pandora+Co-Founder+And+CEO+Tim+Westergren+To+Step+Down&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Tupac Shakur Biopic 'All Eyez On Me' Hit With Copyright Infringement Lawsuit",
"headTitle": "Tupac Shakur Biopic ‘All Eyez On Me’ Hit With Copyright Infringement Lawsuit | KQED",
"content": "\u003cp>A week after opening to a \u003ca href=\"https://www.rottentomatoes.com/m/all_eyez_on_me_2017/\">tepid\u003c/a> critical response and \u003ca href=\"http://www.complex.com/pop-culture/2017/06/jada-pinkett-smith-says-all-eyez-on-me-deeply-hurtful\" target=\"_blank\" rel=\"noopener\">accusations\u003c/a> of historical inaccuracies from actress Jada Pinkett Smith — as well as a \u003ca href=\"http://news.hiphopearly.com/all-eyez-on-me-gets-roasted-because-of-alleged-iphone-appearance/\" target=\"_blank\" rel=\"noopener\">misinterpreted Internet joke\u003c/a> that had many searching in vain for the appearance of an iPhone in the film — the Tupac Shakur biopic \u003cem>All Eyez On Me\u003c/em> has now been hit with a copyright infringement lawsuit.\u003c/p>\n\u003cp>The suit — filed today by Kevin Powell, a longtime pop culture writer, author, activist — accuses the film’s executive producers, screenwriters and distributors of cribbing from three cover stories on Shakur that Powell wrote for \u003cem>Vibe\u003c/em> during the height of Shakur’s career. \u003cem>[Disclosure: NPR Music published an article by Powell, a remembrance of the recently deceased rapper Prodigy, earlier today.]\u003c/em>\u003c/p>\n\u003cp>Powell addressed the suit \u003ca href=\"https://www.facebook.com/kevinpowellinbrooklyn/posts/10213323542862488?comment_id=10213323677825862¬if_t=comment_mention¬if_id=1498238887678816\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a>, writing:\u003c/p>\n\u003cblockquote>\n\u003cp>“After viewing the movie twice in the past few days, it is clear that my exclusive \u003cem>Vibe\u003c/em> cover stories on Tupac Shakur (when he was alive), were lifted, without proper credit or compensation of any kind to me.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The list of defendants includes executive producers James G. Robinson, L.T. Hutton, screenwriters Steven Bagatourian, Jeremy Haft and Eddie Gonzales, as well as Morgan Creek Productions, Lions Gate and Program Pictures. Director Benny Boom was not named in the suit. Powell is seeking a series of damages, including $180,000 for each “broadcast” of the film.\u003c/p>\n\u003cp>Lions Gate and Morgan Creek were not immediately available for comment on the allegations.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The three \u003cem>Vibe \u003c/em>articles in question — “Exclusive: Is Tupac Crazy or Just Misunderstood”, “Tupac Shakur Jailhouse Exclusive”, “Live from Deathrow” — were published in February 1994, April 1995 and February 1996, and offer a striking view into Shakur’s famously nuanced thinking during the most critical time of his career.\u003c/p>\n\u003cp>Notably, the suit’s allegations rest, in part, on creations and embellishments that Powell placed in his \u003cem>Vibe\u003c/em> articles. “While some of the content in these articles was factual,” the complaint reads, “some portions of the article were changed or embellished by Plaintiff … In fact, the name and character of ‘Nigel’ in [the \u003cem>Vibe \u003c/em>articles] was specifically created by the Plaintiff without the authority or encouragement of Tupac Shakur. This made up character of Nigel was the embellishment of a real life character that was central to the narrative in [Powell’s] articles.” It also claims as infringing the use in the film of “metaphorical slang and strong language, including but limited to the liberal use of the f-word, indicative of the way rappers in the 1990’s talk.” As \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/all-eyez-me-prompts-journalist-admit-having-embellished-tupac-articles-1016372\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hollywood Reporter \u003c/em>points out\u003c/a>, these admissions could be interpreted as a legal tactic that allows Powell to claim ownership over biographical facts.\u003c/p>\n\u003cp>Powell’s attorney, Keith White, may have been pre-empting criticism of Powell on these points in a statement today, writing that “Kevin took creative license to protect the complex human being that was Tupac Shakur. This included fact-specific narrative changes and character creation in an effort to protect the legacy that Tupac was still building. Kevin’s exclusive and intimate access to Tupac Shakur came as a result of the trust established over the years. The narrative that Kevin developed from many intense and exclusive moments with Tupac should not have been used in any film without Kevin’s approval and consultation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Powell’s lawsuit caps a week of controversy for Benny Boom’s film, which grossed $31 million domestically in its opening weekend. \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=Tupac+Shakur+Biopic+%27All+Eyez+On+Me%27+Hit+With+Copyright+Infringement+Lawsuit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A week after opening to a \u003ca href=\"https://www.rottentomatoes.com/m/all_eyez_on_me_2017/\">tepid\u003c/a> critical response and \u003ca href=\"http://www.complex.com/pop-culture/2017/06/jada-pinkett-smith-says-all-eyez-on-me-deeply-hurtful\" target=\"_blank\" rel=\"noopener\">accusations\u003c/a> of historical inaccuracies from actress Jada Pinkett Smith — as well as a \u003ca href=\"http://news.hiphopearly.com/all-eyez-on-me-gets-roasted-because-of-alleged-iphone-appearance/\" target=\"_blank\" rel=\"noopener\">misinterpreted Internet joke\u003c/a> that had many searching in vain for the appearance of an iPhone in the film — the Tupac Shakur biopic \u003cem>All Eyez On Me\u003c/em> has now been hit with a copyright infringement lawsuit.\u003c/p>\n\u003cp>The suit — filed today by Kevin Powell, a longtime pop culture writer, author, activist — accuses the film’s executive producers, screenwriters and distributors of cribbing from three cover stories on Shakur that Powell wrote for \u003cem>Vibe\u003c/em> during the height of Shakur’s career. \u003cem>[Disclosure: NPR Music published an article by Powell, a remembrance of the recently deceased rapper Prodigy, earlier today.]\u003c/em>\u003c/p>\n\u003cp>Powell addressed the suit \u003ca href=\"https://www.facebook.com/kevinpowellinbrooklyn/posts/10213323542862488?comment_id=10213323677825862¬if_t=comment_mention¬if_id=1498238887678816\" target=\"_blank\" rel=\"noopener\">on Facebook\u003c/a>, writing:\u003c/p>\n\u003cblockquote>\n\u003cp>“After viewing the movie twice in the past few days, it is clear that my exclusive \u003cem>Vibe\u003c/em> cover stories on Tupac Shakur (when he was alive), were lifted, without proper credit or compensation of any kind to me.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The list of defendants includes executive producers James G. Robinson, L.T. Hutton, screenwriters Steven Bagatourian, Jeremy Haft and Eddie Gonzales, as well as Morgan Creek Productions, Lions Gate and Program Pictures. Director Benny Boom was not named in the suit. Powell is seeking a series of damages, including $180,000 for each “broadcast” of the film.\u003c/p>\n\u003cp>Lions Gate and Morgan Creek were not immediately available for comment on the allegations.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The three \u003cem>Vibe \u003c/em>articles in question — “Exclusive: Is Tupac Crazy or Just Misunderstood”, “Tupac Shakur Jailhouse Exclusive”, “Live from Deathrow” — were published in February 1994, April 1995 and February 1996, and offer a striking view into Shakur’s famously nuanced thinking during the most critical time of his career.\u003c/p>\n\u003cp>Notably, the suit’s allegations rest, in part, on creations and embellishments that Powell placed in his \u003cem>Vibe\u003c/em> articles. “While some of the content in these articles was factual,” the complaint reads, “some portions of the article were changed or embellished by Plaintiff … In fact, the name and character of ‘Nigel’ in [the \u003cem>Vibe \u003c/em>articles] was specifically created by the Plaintiff without the authority or encouragement of Tupac Shakur. This made up character of Nigel was the embellishment of a real life character that was central to the narrative in [Powell’s] articles.” It also claims as infringing the use in the film of “metaphorical slang and strong language, including but limited to the liberal use of the f-word, indicative of the way rappers in the 1990’s talk.” As \u003ca href=\"http://www.hollywoodreporter.com/thr-esq/all-eyez-me-prompts-journalist-admit-having-embellished-tupac-articles-1016372\" target=\"_blank\" rel=\"noopener\">\u003cem>The Hollywood Reporter \u003c/em>points out\u003c/a>, these admissions could be interpreted as a legal tactic that allows Powell to claim ownership over biographical facts.\u003c/p>\n\u003cp>Powell’s attorney, Keith White, may have been pre-empting criticism of Powell on these points in a statement today, writing that “Kevin took creative license to protect the complex human being that was Tupac Shakur. This included fact-specific narrative changes and character creation in an effort to protect the legacy that Tupac was still building. Kevin’s exclusive and intimate access to Tupac Shakur came as a result of the trust established over the years. The narrative that Kevin developed from many intense and exclusive moments with Tupac should not have been used in any film without Kevin’s approval and consultation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Powell’s lawsuit caps a week of controversy for Benny Boom’s film, which grossed $31 million domestically in its opening weekend. \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=Tupac+Shakur+Biopic+%27All+Eyez+On+Me%27+Hit+With+Copyright+Infringement+Lawsuit&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Peter Tosh's Son Beaten Into Coma in New Jersey Jail",
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"content": "\u003cp>The family of legendary reggae artist Peter Tosh is filing a civil rights lawsuit and seeking a U.S. Department of Justice investigation after Tosh’s son, 37-year-old Jawara McIntosh — himself a musician and marijuana legalization activist — was left in a coma after being beaten while in the custody of the Bergen County Jail in New Jersey four months ago.\u003c/p>\n\u003cp>According to McIntosh’s family, the beating occurred on Feb. 21; the resulting brain injuries were so severe that he has been comatose ever since. He was first hospitalized at New Jersey’s Hackensack Medical Center and has since been moved to a hospital in Massachusetts, where he resides.\u003c/p>\n\u003cp>McIntosh’s family says that they learned of the beating when his mother, Melody Cunningham, received a call from the Hackensack hospital saying McIntosh needed a “life-saving medical procedure” after being attacked at the jail. 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He is also a longtime advocate for the legalization of cannabis. Like his father, McIntosh is a practicing Rastafarian; within the religion, cannabis is considered sacred.\u003c/p>\n\u003cp>Peter Tosh, was, along with Bob Marley and Bunny Wailer, one of the founding members of The Wailers; Marley and Tosh co-wrote the anthemic “Get Up Stand Up.” As a solo artist, Tosh wrote and recorded 1976’s \u003ca href=\"https://www.youtube.com/watch?v=ABc8ciT5QLs\" target=\"_blank\" rel=\"noopener\">“Legalize It”\u003c/a> — a song that McIntosh also frequently performed.\u003c/p>\n\u003cp>At the time of the attack, McIntosh was about two months into serving a six-month sentence, after pleading guilty to marijuana possession. In a phone call today with NPR, Jasmine Rand said that before this arrest and sentencing, McIntosh had no prior criminal record.\u003c/p>\n\u003cp>Rand also asserts, “To me, it was completely egregious that Bergen County Jail had really not provided them any information how it had transpired. They were not forthcoming with evidence. They had not provided any video, any audio, any photographs, or really told the family exactly how it is that while in their custody, Jawara was so violently beaten to a point where he’s now been in a coma for four months.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>“We are also working with the family,” Rand says, “on a larger legalization effort. As we know, many states have decriminalized or legalized cannabis — and there are far too many people in this nation that are imprisoned on cannabis charges, resulting in mass incarceration, police brutality, murder and, in this case, has left Jawara in a coma. 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We can’t be bystanders any longer.” \u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/222620226\u003cbr>\n\u003c/aside>\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=Peter+Tosh%27s+Son+Beaten+Into+Coma+In+New+Jersey+Jail&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>They are also seeking the immediate release of additional information and evidence from the incident, and have sent a request to the federal Department of Justice asking for an impartial investigation into what transpired at the jail.\u003c/p>\n\u003cp>A spokesman for the Bergen County sheriff’s office told NPR this afternoon that there was no statement immediately forthcoming, but there “may” be one issued later.\u003c/p>\n\u003cp>A statement from the family \u003ca href=\"http://petertosh.com/justice-for-jawara/\" target=\"_blank\" rel=\"noopener\">asserts\u003c/a> that Jawara McIntosh is “presently unable to speak or use any form of communication; nor is he able to move with intent.”\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/zkp7Q70hXtg'\n title='//www.youtube.com/embed/zkp7Q70hXtg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>McIntosh is the father of four children, ranging in age from 6 to 11, and as an artist performs under the name Tosh1. He is also a longtime advocate for the legalization of cannabis. Like his father, McIntosh is a practicing Rastafarian; within the religion, cannabis is considered sacred.\u003c/p>\n\u003cp>Peter Tosh, was, along with Bob Marley and Bunny Wailer, one of the founding members of The Wailers; Marley and Tosh co-wrote the anthemic “Get Up Stand Up.” As a solo artist, Tosh wrote and recorded 1976’s \u003ca href=\"https://www.youtube.com/watch?v=ABc8ciT5QLs\" target=\"_blank\" rel=\"noopener\">“Legalize It”\u003c/a> — a song that McIntosh also frequently performed.\u003c/p>\n\u003cp>At the time of the attack, McIntosh was about two months into serving a six-month sentence, after pleading guilty to marijuana possession. In a phone call today with NPR, Jasmine Rand said that before this arrest and sentencing, McIntosh had no prior criminal record.\u003c/p>\n\u003cp>Rand also asserts, “To me, it was completely egregious that Bergen County Jail had really not provided them any information how it had transpired. They were not forthcoming with evidence. They had not provided any video, any audio, any photographs, or really told the family exactly how it is that while in their custody, Jawara was so violently beaten to a point where he’s now been in a coma for four months.”\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>“We are also working with the family,” Rand says, “on a larger legalization effort. As we know, many states have decriminalized or legalized cannabis — and there are far too many people in this nation that are imprisoned on cannabis charges, resulting in mass incarceration, police brutality, murder and, in this case, has left Jawara in a coma. So the issue that the Tosh family is facing is not an isolated issue. It’s an issue that are nation is facing.”\u003c/p>\n\u003cp>“And as we continue to decriminalize cannabis,” Rand continues, “we need to look at what happens with prisoners. We need to look at record expungement, restoration of voting rights. The family of Peter Tosh, Jawara’s family, are very committed to protecting not just Jawara’s rights, but rights of other people throughout this nation.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In a video posted yesterday, the family wrote: “40 years ago, our father began the fight to legalize cannabis and despite its medicinal value and many states completely legalizing it, some states are still clinging to antiquated laws and a broken criminal justice system to deal with it. This is criminal. We can’t be bystanders any longer.” \u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://vimeo.com/222620226\u003cbr>\n\u003c/aside>\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=Peter+Tosh%27s+Son+Beaten+Into+Coma+In+New+Jersey+Jail&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Every so often, brightly lit Hollywood comedies set in West Coast mansions will slip in five minutes of light-relief banter between a Latina housekeeper and her wealthy white liberal boss. Mild joshing ensues about the cluelessness or prejudice of the employer, perhaps with a good-natured roll of the maid’s eyes thrown in. That done, everyone slips back into their assigned slots in the social pecking order. Point taken, but not really.\u003c/p>\n\u003cp>\u003cem>Beatriz at Dinner\u003c/em>, a new collaboration between director Miguel Arteta and screenwriter Mike White (\u003cem>The Good Girl\u003c/em>, \u003cem>Chuck & Buck\u003c/em>, among others), is not that banter or that movie. The Mexican-born Beatriz, played with restraint by a deglamorized and slyly tamped down Salma Hayek, is not a housekeeper. She’s a healer with her own business and a gentle, spiritual soul. An apparent ingénue in sensible jeans and adolescent bangs, Beatriz keeps goats in her Altadena apartment and wonders why the neighbors complain. She’s funny and anachronistic in context, but she’s not being laughed at, at least not by the filmmakers, who bring Beatriz front and center in a black comedy of manners with an earnest undertow that places ethnic and class inequality on an audacious continuum with wanton environmental destruction.\u003c/p>\n\u003cp>Invited to dinner when her car breaks down at the Newport Beach McMansion of her client, Kathy (a very good Connie Britton), Beatriz takes it on trust when Kathy introduces her as “my dearest friend” to a small group of well-heeled guests assembled to celebrate a commercial takeover of protected land they’re about to turn into millions in hard cash. Despite barely suppressed sneering from the visitors, played by Chloe Sevigny along with \u003cem>Transparent\u003c/em>‘s Amy Landecker, Jay Duplass and John Lithgow, Beatriz and Kathy begin the evening believing in their friendship. The train wreck that follows — hilarious with a growing edge of sinister — will strip away everyone’s illusions on that score, and a few others.\u003c/p>\n\u003cp>With hardly a raised voice, the air soon fills with poison. Arteta directs with irreverent brio mixed with a somber touch, but \u003cem>Beatriz at Dinner\u003c/em> is (almost) all talk, and dependent on the crisply funny dialogue that keeps taking left turns into the unexpected. White is always on the side of the marginal and the dispossessed, but he likes to throw us off our game a bit so we don’t just go home smugly confident that we’ve done our bit for justice and empathy. Beatriz, like the others, walks a purposefully confounding line between naturalism and caricature. She hugs everyone on sight, offers free treatments all around, and asks Kathy’s incredulous husband to bring her a glass of wine. But though she’s getting drunker by the minute, Beatriz is also an astute observer whose reflexive desire to please wanes visibly as she mixes it up with the wonderfully named Doug Strutt, a cocksure, Trump-like developer played with delicious glee by Lithgow, whom she thinks she recognizes from her childhood in Mexico, when her family, community, and habitat were destroyed by a corporate predator.\u003c/p>\n\u003cp>War is declared, and Doug and Beatriz perform a rivetingly complicated \u003cem>pas de deux\u003c/em> that pitches his boorish charm against the coiled ferocity that grows within the unwanted guest. Is Doug, who knows what he is and is frank about fiddling while Rome burns, the enemy here? Perhaps, but the target at the bullseye’s center is the liberal elite itself, nice enough self-deceivers like Kathy who commit daily hypocrisies while persuading themselves they’ve conquered prejudice, yet who flee in terror when confronted with contradiction and pushback. It’s Kathy’s abrupt withdrawal from her “friend” and her panicked attempt to revert to patroness that really cuts, and carries the action from wicked comedy into potent melodrama. In the movie’s several startling endings you may see a horror story or a Greek tragedy unfolding. \u003cem>Beatriz at Dinner\u003c/em> is also a love story that restores agency to a woman who has lost all, and asks us to take a hard look at our own. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>In 1959, the peak of his playing years, \u003ca href=\"http://www.npr.org/artists/15130415/thelonious-monk\" target=\"_blank\" rel=\"noopener\">Thelonious Monk\u003c/a> did something he’d never done before: record music for a film. Released in the U.S. as \u003cem>Dangerous Liaisons\u003c/em>, the French film \u003cem>Les Liaisons Dangereuses\u003c/em> featured nearly 30 minutes of Monk’s music, none of which ever made it to a record. But the master tapes resurfaced last year, and were first released as a vinyl exclusive on Record Store Day this April. The music collected in \u003cem>Les Liaisons Dangereuses 1960 \u003c/em>is a discovery that offers fresh perspective on the jazz visionary’s heyday.\u003c/p>\n\u003cp>Monk — as well as \u003ca href=\"http://www.npr.org/artists/14996546/art-blakey\" target=\"_blank\" rel=\"noopener\">Art Blakey\u003c/a>‘s Jazz Messengers — came on board \u003cem>Dangerous Liaisons\u003c/em> in 1959 thanks to music supervisor Marcel Romano. Romano had also hired \u003ca href=\"http://www.npr.org/artists/15368370/miles-davis\" target=\"_blank\" rel=\"noopener\">Miles Davis\u003c/a> the year before to improvise the shadowy soundtrack to \u003cem>Elevator To The Gallows\u003c/em>, thus driving jazz’s brief but torrid fling with French cinema in the late 1950s. An adaptation of an 18th-century French novel, \u003cem>Dangerous Liaisons\u003c/em> was a hit in Europe, but proved controversial in the U.S. because of its twisted love plot. Monk’s angular, questioning music helped supply an undercurrent of tension.\u003c/p>\n\u003cp>Monk laid down the music for the film on July 27, 1959. Romano had prepared a list of cues — they only had a day to record, and the pressure was on. But those plans went out of the window almost immediately, as Monk and his crew ripped through some of his well-known compositions. The playing throughout \u003cem>Les Liaisons Dangereuses 1960 \u003c/em>is lively and spirited — Monk scampers around the piano, finding delight in every register, jabbing at chords in ways that jolt his rhythm section. And occasionally, he takes a few left turns, among them a tender rendition of the hymn “We’ll Understand It Better By And By.”\u003c/p>\n\u003cp>There’s no clear explanation for why this music wasn’t released at the time, though contractual glitches might have something to do with it. This soundtrack doesn’t rewrite history — few vault discoveries do. But as a crisp studio recording of Monk playing both high-wire solos and small-group pieces, \u003cem>Les Liaisons Dangereuses 1960 \u003c/em>is a rare find. It also allows listeners to better appreciate Monk’s creative genius at a time when his idiosyncratic notions about sound and improvisation were expanding the discourse of jazz. Though \u003cem>Les Liaisons Dangereuses 1960 \u003c/em>was in some ways a departure for Monk, he was still doing what he had always done: chasing brilliance like it was nothing. \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=Newly+Uncovered+Recordings+Find+Thelonious+Monk+In+His+Prime&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>In 1959, the peak of his playing years, \u003ca href=\"http://www.npr.org/artists/15130415/thelonious-monk\" target=\"_blank\" rel=\"noopener\">Thelonious Monk\u003c/a> did something he’d never done before: record music for a film. Released in the U.S. as \u003cem>Dangerous Liaisons\u003c/em>, the French film \u003cem>Les Liaisons Dangereuses\u003c/em> featured nearly 30 minutes of Monk’s music, none of which ever made it to a record. But the master tapes resurfaced last year, and were first released as a vinyl exclusive on Record Store Day this April. The music collected in \u003cem>Les Liaisons Dangereuses 1960 \u003c/em>is a discovery that offers fresh perspective on the jazz visionary’s heyday.\u003c/p>\n\u003cp>Monk — as well as \u003ca href=\"http://www.npr.org/artists/14996546/art-blakey\" target=\"_blank\" rel=\"noopener\">Art Blakey\u003c/a>‘s Jazz Messengers — came on board \u003cem>Dangerous Liaisons\u003c/em> in 1959 thanks to music supervisor Marcel Romano. Romano had also hired \u003ca href=\"http://www.npr.org/artists/15368370/miles-davis\" target=\"_blank\" rel=\"noopener\">Miles Davis\u003c/a> the year before to improvise the shadowy soundtrack to \u003cem>Elevator To The Gallows\u003c/em>, thus driving jazz’s brief but torrid fling with French cinema in the late 1950s. An adaptation of an 18th-century French novel, \u003cem>Dangerous Liaisons\u003c/em> was a hit in Europe, but proved controversial in the U.S. because of its twisted love plot. Monk’s angular, questioning music helped supply an undercurrent of tension.\u003c/p>\n\u003cp>Monk laid down the music for the film on July 27, 1959. Romano had prepared a list of cues — they only had a day to record, and the pressure was on. But those plans went out of the window almost immediately, as Monk and his crew ripped through some of his well-known compositions. The playing throughout \u003cem>Les Liaisons Dangereuses 1960 \u003c/em>is lively and spirited — Monk scampers around the piano, finding delight in every register, jabbing at chords in ways that jolt his rhythm section. And occasionally, he takes a few left turns, among them a tender rendition of the hymn “We’ll Understand It Better By And By.”\u003c/p>\n\u003cp>There’s no clear explanation for why this music wasn’t released at the time, though contractual glitches might have something to do with it. This soundtrack doesn’t rewrite history — few vault discoveries do. But as a crisp studio recording of Monk playing both high-wire solos and small-group pieces, \u003cem>Les Liaisons Dangereuses 1960 \u003c/em>is a rare find. It also allows listeners to better appreciate Monk’s creative genius at a time when his idiosyncratic notions about sound and improvisation were expanding the discourse of jazz. Though \u003cem>Les Liaisons Dangereuses 1960 \u003c/em>was in some ways a departure for Monk, he was still doing what he had always done: chasing brilliance like it was nothing. \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=Newly+Uncovered+Recordings+Find+Thelonious+Monk+In+His+Prime&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>There is a certain kind of look I get when I tell people how much I love video games.\u003c/p>\n\u003cp>It lies somewhere between “You’re not serious” and “Oh my God, you are serious.” And by “people” giving me these looks, I mean adults of a certain age and outlook. Of course, given that I’m a 54-year-old tenured professor, these “people” are pretty much everyone I know (including my now adult children).\u003c/p>\n\u003cp>So today, I want to speak to all of you “look-givers” and attempt to explain why you, too, should become a gamer.\u003c/p>\n\u003cp>Basically, it comes down to robot dinosaurs.\u003c/p>\n\u003cp>I am just about to finish an amazing game called Horizon: Zero Dawn. I’ve been in its world, working my way through its story, for the last six months. In this experience, I’ve encountered all the great things a great game has to offer. This includes, but is not exhausted by, fighting robot dinosaurs.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now wait. Just wait before you click away to that in-depth analysis of President Trump’s most recent tweet. Give me a minute to explain.\u003c/p>\n\u003cp>First of all, there are lots of different meanings for the term “video game,” and many of these hold no interest for me. There are the “\u003ca href=\"https://www.youtube.com/watch?v=rLl9XBg7wSs\">platformers\u003c/a>” like Mario Brothers, which are really \u003cem>just\u003c/em> games. Their concept is simple and you basically do the same thing over and over again, which is fun if you’re into it. But I’m not.\u003c/p>\n\u003cp>There are also the multiplayer first person shooter (FPS) kinds of games, where you “spawn” into the game’s terrain (a “map”), and then you fight against other real people playing the game. These are mostly, probably 13-year-olds in Korea or Kansas who are much, much better than you. That means you’ll probably spend a lot of time just dying. This is not the kind of game I want you to try either.\u003c/p>\n\u003cp>See, the kind of game I want you to try is the one with a story — a good, long, intricate story. And that story should be set in a wide-ranging and intricately imagined world. And just as important, that world should be brought to life through the eyes of an artist. That may mean a visual hyper-realism that leaves your jaw permanently dropped, or it can be an impressionism that serves the story at subtler levels.\u003c/p>\n\u003cp>And, yes, it will also be cool if there are robot dinosaurs.\u003c/p>\n\u003cp>So \u003ca href=\"https://www.youtube.com/watch?v=T5Xx3MdqdgM\" target=\"_blank\" rel=\"noopener\">Horizon: Zero Dawn\u003c/a> is what’s called an RPG (role playing game). An RPG basically means you play as the central character in the game’s story. For Horizon: Zero Dawn, the story is a hybrid, lying somewhere between science fiction, post-apocalypse tale and sword and sandal drama. It takes place 1,000 years after our civilization has fallen. This new world has been reclaimed by nature in the most beautiful, verdant way imaginable, except for one addition: robot dinosaurs (which, OK, might not really be robot dinosaurs but robot animals.) These machines, until recently, had been pretty docile.\u003c/p>\n\u003cp>The main character — a young woman named Aloy — begins the story as an outcast in a primitive tribe but is given the task of venturing out into the world to find why “the machines” (as they are called) have suddenly become dangerous.\u003c/p>\n\u003cp>To answer that question, you have to follow Aloy’s journey by literally taking it on yourself. You will have decisions to make, battles to fight and discoveries to unveil. This is a lot like a great escapist novel you read on a long, lazy summer vacation — except in the game you get to be the protagonist.\u003c/p>\n\u003cp>Now, ultimately, it’s this story that makes Horizon: Zero Dawn a great game. It’s always the story that matters most. Technology alone can’t leap over that hurdle. The story in Horizon: Zero Dawn is well-crafted with engaging characters you like or hate, and it slowly peals itself away in a manner that is both surprising and satisfying.\u003c/p>\n\u003cp>But, on the other hand, if that were all there was to the game then it would be just a hyped-up novel. What makes this kind of video game worth your time is the immersion. That’s what makes it a new kind of experience reaching above the older narrative forms humanity has come up with.\u003c/p>\n\u003cp>Horizon: Zero Dawn is what’s called an “open world” game. That means that you can go pretty much anywhere in its extensive map. While you work your way through the story of Aloy and her fallen world, you can just stop and go off to explore anywhere you want. See those beautifully rendered mountains over there? Yeah, go climb them. There’s probably a giant robot bird-thing that will attack you. How about those islands on the other side of the lake? Wonder what’s over there?\u003c/p>\n\u003cp>And did I mention the art? The world of Horizon: Zero Dawn is so beautiful to look at that sometimes you have to just stop climbing or running or fighting and just look. The game artists managed to take the most beautiful aspects of a rainy meadow or a mountain pass and turn them up to 12. RPGs may demand a good story to start, but the world you inhabit derives its felt quality from that world’s art and design.\u003c/p>\n\u003cp>Now, I get it that you may not be interested in a game that includes fighting robot dinosaurs. That’s fine (sort of, I guess). There are other games with other kinds of stories. Some are heavy on investigation; others have more fighting. Choose what you like. The point is this: I spent six months slowly working my way around Aloy’s world and her story and, in the end, the whole experience was delightful and exciting and engaging.\u003c/p>\n\u003cp>But more than anything, it was a waste of time.\u003c/p>\n\u003cp>That might seem like a strange recommendation, but what I really mean is that it was a delicious waste of time. We live in a world of endless pressing concerns with so many competing avenues of being productive. A good game makes no demands other than the age-old pleasures of great story combined with the very modern possibilities of immersion. And none of it matters except the enjoyment of the doing.\u003c/p>\n\u003cp>That, I would argue, has real value.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Adam Frank is a co-founder of the 13.7 blog, an astrophysics professor at the University of Rochester, a book author and a self-described “evangelist of science.” You can keep up with more of what Adam is thinking on \u003c/em>\u003ca href=\"https://www.facebook.com/AdamFrankAuthor\">Facebook\u003c/a> \u003cem>and Twitter: \u003c/em>\u003ca href=\"https://twitter.com/adamfrank4\">@adamfrank4\u003c/a> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+You+Should+Play+Video+Games&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Now wait. Just wait before you click away to that in-depth analysis of President Trump’s most recent tweet. Give me a minute to explain.\u003c/p>\n\u003cp>First of all, there are lots of different meanings for the term “video game,” and many of these hold no interest for me. There are the “\u003ca href=\"https://www.youtube.com/watch?v=rLl9XBg7wSs\">platformers\u003c/a>” like Mario Brothers, which are really \u003cem>just\u003c/em> games. Their concept is simple and you basically do the same thing over and over again, which is fun if you’re into it. But I’m not.\u003c/p>\n\u003cp>There are also the multiplayer first person shooter (FPS) kinds of games, where you “spawn” into the game’s terrain (a “map”), and then you fight against other real people playing the game. These are mostly, probably 13-year-olds in Korea or Kansas who are much, much better than you. That means you’ll probably spend a lot of time just dying. This is not the kind of game I want you to try either.\u003c/p>\n\u003cp>See, the kind of game I want you to try is the one with a story — a good, long, intricate story. And that story should be set in a wide-ranging and intricately imagined world. And just as important, that world should be brought to life through the eyes of an artist. That may mean a visual hyper-realism that leaves your jaw permanently dropped, or it can be an impressionism that serves the story at subtler levels.\u003c/p>\n\u003cp>And, yes, it will also be cool if there are robot dinosaurs.\u003c/p>\n\u003cp>So \u003ca href=\"https://www.youtube.com/watch?v=T5Xx3MdqdgM\" target=\"_blank\" rel=\"noopener\">Horizon: Zero Dawn\u003c/a> is what’s called an RPG (role playing game). An RPG basically means you play as the central character in the game’s story. For Horizon: Zero Dawn, the story is a hybrid, lying somewhere between science fiction, post-apocalypse tale and sword and sandal drama. It takes place 1,000 years after our civilization has fallen. This new world has been reclaimed by nature in the most beautiful, verdant way imaginable, except for one addition: robot dinosaurs (which, OK, might not really be robot dinosaurs but robot animals.) These machines, until recently, had been pretty docile.\u003c/p>\n\u003cp>The main character — a young woman named Aloy — begins the story as an outcast in a primitive tribe but is given the task of venturing out into the world to find why “the machines” (as they are called) have suddenly become dangerous.\u003c/p>\n\u003cp>To answer that question, you have to follow Aloy’s journey by literally taking it on yourself. You will have decisions to make, battles to fight and discoveries to unveil. This is a lot like a great escapist novel you read on a long, lazy summer vacation — except in the game you get to be the protagonist.\u003c/p>\n\u003cp>Now, ultimately, it’s this story that makes Horizon: Zero Dawn a great game. It’s always the story that matters most. Technology alone can’t leap over that hurdle. The story in Horizon: Zero Dawn is well-crafted with engaging characters you like or hate, and it slowly peals itself away in a manner that is both surprising and satisfying.\u003c/p>\n\u003cp>But, on the other hand, if that were all there was to the game then it would be just a hyped-up novel. What makes this kind of video game worth your time is the immersion. That’s what makes it a new kind of experience reaching above the older narrative forms humanity has come up with.\u003c/p>\n\u003cp>Horizon: Zero Dawn is what’s called an “open world” game. That means that you can go pretty much anywhere in its extensive map. While you work your way through the story of Aloy and her fallen world, you can just stop and go off to explore anywhere you want. See those beautifully rendered mountains over there? Yeah, go climb them. There’s probably a giant robot bird-thing that will attack you. How about those islands on the other side of the lake? Wonder what’s over there?\u003c/p>\n\u003cp>And did I mention the art? The world of Horizon: Zero Dawn is so beautiful to look at that sometimes you have to just stop climbing or running or fighting and just look. The game artists managed to take the most beautiful aspects of a rainy meadow or a mountain pass and turn them up to 12. RPGs may demand a good story to start, but the world you inhabit derives its felt quality from that world’s art and design.\u003c/p>\n\u003cp>Now, I get it that you may not be interested in a game that includes fighting robot dinosaurs. That’s fine (sort of, I guess). There are other games with other kinds of stories. Some are heavy on investigation; others have more fighting. Choose what you like. The point is this: I spent six months slowly working my way around Aloy’s world and her story and, in the end, the whole experience was delightful and exciting and engaging.\u003c/p>\n\u003cp>But more than anything, it was a waste of time.\u003c/p>\n\u003cp>That might seem like a strange recommendation, but what I really mean is that it was a delicious waste of time. We live in a world of endless pressing concerns with so many competing avenues of being productive. A good game makes no demands other than the age-old pleasures of great story combined with the very modern possibilities of immersion. And none of it matters except the enjoyment of the doing.\u003c/p>\n\u003cp>That, I would argue, has real value.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Adam Frank is a co-founder of the 13.7 blog, an astrophysics professor at the University of Rochester, a book author and a self-described “evangelist of science.” You can keep up with more of what Adam is thinking on \u003c/em>\u003ca href=\"https://www.facebook.com/AdamFrankAuthor\">Facebook\u003c/a> \u003cem>and Twitter: \u003c/em>\u003ca href=\"https://twitter.com/adamfrank4\">@adamfrank4\u003c/a> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Why+You+Should+Play+Video+Games&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Anita Pallenberg Was No Simple Muse | KQED",
"content": "\u003cp>Arguably, no single rock musician has had a greater ripple effect on both men’s and women’s fashion than Keith Richards. Things that shouldn’t have made sense — from Nudie suits and scarves as belts, to cheetah-prints and graphic striped trousers mixed with polka dots — always looked effortless on him. Unbeknownst to many at the time, it was Anita Pallenberg’s closet from which Richard was pulling.\u003c/p>\n\u003cp>“As a kid I wanted to dress like Keith Richards, I wasn’t at all interested in women’s fashion, it was guys in bands I wanted to emulate,” British designer Pamela Hogg tells NPR Music. “But it was a long time before I realized Anita was behind all these great looks, they couldn’t help but be influenced by her amazing sense of style, it was contagious.” She and Pallenberg would eventually connect in a coffee shop in Paris in the 1980’s, and their friendship would result in Pallenberg walking Hogg’s runway during London Fashion Week in 2016.\u003c/p>\n\u003cp>When Pallenberg, a German-Italian actress and model, died last week at 73 she was remembered foremost, if headlines are any guide, as The Rolling Stones’ “muse and rock-star girlfriend of Keith Richards. She was, clearly, much more than that — an icon and creator in her own right, the baddest of the bad girls, an incendiary force who helped the Stones \u003cem>become \u003c/em>the Stones. Pallenberg was the one who shook the shy, awkward schoolboys out of the band’s system and helped extricate their inner outlaws. The truth is, it’s hard to imagine what the Rolling Stones would have would have looked like had Pallenberg never made her way backstage at a show in 1965.\u003c/p>\n\u003cfigure id=\"attachment_13478982\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-800x1066.jpg\" alt=\"Keith Richards with Anita Pallenberg in 1970.\" width=\"800\" height=\"1066\" class=\"size-medium wp-image-13478982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Richards with Anita Pallenberg in 1970. \u003ccite>(Mark and Colleen Hayward/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time she moved into an apartment with then-guitarist Brian Jones in 1966, The Rolling Stones had ditched its matching houndstooth coats for a mix of tailored blazers, skinny ties, slacks and polo shirts, in an attempt to out-fab the Fab Four. “The Beatles are all over the place, like a bag of f****** fleas, right? And you’ve got another good band. The thing is not to try and regurgitate the Beatles. So we’re going to have to be the anti-Beatles,” Richards wrote in his 2010 memoir, \u003cem>Life\u003c/em>.\u003c/p>\n\u003cp>From feathered boas, furs, satins and velvets, Pallenberg’s extravagant and imaginative style quickly became the band’s own. “[Anita and Brian] were both dauntless shoppers and excessively vain. Hours and hours were spent putting on clothes and taking them off again. Heaps of scarves, hats, shirts and boots flew out of drawers and trunks. Unending trying on of outfits, primping and sashaying,” Marianne Faithfull, a close friend of Pallenberg’s, wrote in her 2010 autobiography, \u003cem>Faithfull\u003c/em>. “I would sit mesmerized for hours, watching them preening in the mirror, trying on each other’s clothes. All roles and gender would evaporate in these narcissistic performances where Anita would turn Brian into the Sun King, Francoise Hardy or the mirror image of herself.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The contrast of the Stones’ raw, blues-inflected sound with the decadence of their appearance would transform the band into cultural icons, not just pop stars. And unlike artists who come up with new looks for different album cycles, once the Stones began following Pallenberg’s lead, they continued cultivating that singular look for the decades to come. Within the band’s style entity, individual members had nuances — shimmying Mick Jagger, for example, was the more flamboyant of the bunch, while Charlie Watts opted for a more tailored look.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like Faithfull, who wrote that Pallenberg was “dazzling, beautiful, hypnotic and unsettling” and that “other women evaporated next to her,” Hogg concedes that, more than the clothes themselves, it was Pallenberg’s spirit that made her such a phenomenon. “Her personality made her style work, she was a free spirit with only her rules to follow or break. She had natural style, you can’t buy that. You instantly knew you were in the company of a caliber woman.” \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=Anita+Pallenberg+Was+No+Simple+Muse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arguably, no single rock musician has had a greater ripple effect on both men’s and women’s fashion than Keith Richards. Things that shouldn’t have made sense — from Nudie suits and scarves as belts, to cheetah-prints and graphic striped trousers mixed with polka dots — always looked effortless on him. Unbeknownst to many at the time, it was Anita Pallenberg’s closet from which Richard was pulling.\u003c/p>\n\u003cp>“As a kid I wanted to dress like Keith Richards, I wasn’t at all interested in women’s fashion, it was guys in bands I wanted to emulate,” British designer Pamela Hogg tells NPR Music. “But it was a long time before I realized Anita was behind all these great looks, they couldn’t help but be influenced by her amazing sense of style, it was contagious.” She and Pallenberg would eventually connect in a coffee shop in Paris in the 1980’s, and their friendship would result in Pallenberg walking Hogg’s runway during London Fashion Week in 2016.\u003c/p>\n\u003cp>When Pallenberg, a German-Italian actress and model, died last week at 73 she was remembered foremost, if headlines are any guide, as The Rolling Stones’ “muse and rock-star girlfriend of Keith Richards. She was, clearly, much more than that — an icon and creator in her own right, the baddest of the bad girls, an incendiary force who helped the Stones \u003cem>become \u003c/em>the Stones. Pallenberg was the one who shook the shy, awkward schoolboys out of the band’s system and helped extricate their inner outlaws. The truth is, it’s hard to imagine what the Rolling Stones would have would have looked like had Pallenberg never made her way backstage at a show in 1965.\u003c/p>\n\u003cfigure id=\"attachment_13478982\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-800x1066.jpg\" alt=\"Keith Richards with Anita Pallenberg in 1970.\" width=\"800\" height=\"1066\" class=\"size-medium wp-image-13478982\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-800x1066.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-160x213.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-768x1024.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1020x1360.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1920x2560.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-1180x1573.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-960x1280.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-240x320.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-375x500.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/06/gettyimages-187170584_vert-2bd40e2e2879e6b440b982b91d29ea649e1a9608-520x693.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Keith Richards with Anita Pallenberg in 1970. \u003ccite>(Mark and Colleen Hayward/Redferns)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>By the time she moved into an apartment with then-guitarist Brian Jones in 1966, The Rolling Stones had ditched its matching houndstooth coats for a mix of tailored blazers, skinny ties, slacks and polo shirts, in an attempt to out-fab the Fab Four. “The Beatles are all over the place, like a bag of f****** fleas, right? And you’ve got another good band. The thing is not to try and regurgitate the Beatles. So we’re going to have to be the anti-Beatles,” Richards wrote in his 2010 memoir, \u003cem>Life\u003c/em>.\u003c/p>\n\u003cp>From feathered boas, furs, satins and velvets, Pallenberg’s extravagant and imaginative style quickly became the band’s own. “[Anita and Brian] were both dauntless shoppers and excessively vain. Hours and hours were spent putting on clothes and taking them off again. Heaps of scarves, hats, shirts and boots flew out of drawers and trunks. Unending trying on of outfits, primping and sashaying,” Marianne Faithfull, a close friend of Pallenberg’s, wrote in her 2010 autobiography, \u003cem>Faithfull\u003c/em>. “I would sit mesmerized for hours, watching them preening in the mirror, trying on each other’s clothes. All roles and gender would evaporate in these narcissistic performances where Anita would turn Brian into the Sun King, Francoise Hardy or the mirror image of herself.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The contrast of the Stones’ raw, blues-inflected sound with the decadence of their appearance would transform the band into cultural icons, not just pop stars. And unlike artists who come up with new looks for different album cycles, once the Stones began following Pallenberg’s lead, they continued cultivating that singular look for the decades to come. Within the band’s style entity, individual members had nuances — shimmying Mick Jagger, for example, was the more flamboyant of the bunch, while Charlie Watts opted for a more tailored look.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Like Faithfull, who wrote that Pallenberg was “dazzling, beautiful, hypnotic and unsettling” and that “other women evaporated next to her,” Hogg concedes that, more than the clothes themselves, it was Pallenberg’s spirit that made her such a phenomenon. “Her personality made her style work, she was a free spirit with only her rules to follow or break. She had natural style, you can’t buy that. You instantly knew you were in the company of a caliber woman.” \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=Anita+Pallenberg+Was+No+Simple+Muse&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
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"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"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.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"source": "kqed",
"order": 9
},
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"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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"id": "fresh-air",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
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"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"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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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"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",
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