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"title": "The Slants Win Supreme Court Battle Over Band's Name in Trademark Dispute",
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"content": "\u003cp>Members of the Asian-American rock band The Slants have the right to call themselves by a disparaging name, the Supreme Court says, in a ruling that could have broad impact on how the First Amendment is applied in other trademark cases.\u003c/p>\n\u003cp>The Slants’ frontman, Simon Tam, filed a lawsuit after the U.S. Patent and Trademark Office kept the band from registering its name and rejected its appeal, citing the Lanham Act, which prohibits any trademark that could “disparage … or bring … into contemp[t] or disrepute” any “persons, living or dead,” as the court states.\u003c/p>\n\u003cp>After a federal court agreed with Tam and his band, the Patent and Trademark Office sued to avoid being compelled to register its name as a trademark. On Monday, the Supreme Court sided with The Slants.\u003c/p>\n\u003cp>“The disparagement clause violates the First Amendment’s Free Speech Clause,” Justice Samuel Alito wrote in his opinion for the court. Contrary to the Government’s contention, trademarks are private, not government speech.”\u003c/p>\n\u003cp>The band has said it wanted to reclaim what is often seen as a slur.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We grew up and the notion of having slanted eyes was always considered a negative thing,” \u003ca href=\"http://www.npr.org/sections/codeswitch/2017/01/19/510467679/the-slants-fighting-for-the-right-to-rock-a-racial-slur\">Tam said in January\u003c/a>. “Kids would pull their eyes back in a slant-eyed gesture to make fun of us. … I wanted to change it to something that was powerful, something that was considered beautiful or a point of pride instead.”\u003c/p>\n\u003cp>Attorney Lee Rowland of the American Civil Liberties Union welcomed the Supreme Court’s decision:\u003c/p>\n\u003cblockquote>\n\u003cp>“The government’s misguided effort to protect minorities from disparagement instead hurt members of that very community by hindering their right to compete in the marketplace of ideas. Fortunately, today’s opinion prevents the kind of absurd outcome that results when the government plays speech police.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The case could inform arguments over other, much larger entities than The Slants.\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2017/01/18/510310945/in-battle-over-band-name-supreme-court-considers-free-speech-and-trademarks\">NPR’s Nina Totenberg has reported\u003c/a>, “the trademark office has denied registration to a group calling itself “Abort the Republicans,” and another called “Democrats Shouldn’t Breed.” It \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/06/18/323205099/u-s-patent-office-cancels-washington-redskins-trademark-registration\">canceled the registration\u003c/a> for the Washington Redskins in 2014 at the behest of some Native Americans who considered the name offensive.”\u003c/p>\n\u003cp>In his opinion about another facet of the case, Alito wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“There is also a deeper problem with the argument that commercial speech may be cleansed of any expression likely to cause offense. The commercial market is well stocked with merchandise that disparages prominent figures and groups, and the line between commercial and non-commercial speech is not always clear, as this case illustrates. If affixing the commercial label permits the suppression of any speech that may lead to political or social ‘volatility,’ free speech would be endangered.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The judgment was unanimous — with two asterisks: Justice Neil Gorsuch, who wasn’t yet on the court when the case was argued in January, did not take part. And with different parts of the case drawing differing legal explanations, four opinions were written. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Slants+Win+Supreme+Court+Battle+Over+Band%27s+Name+In+Trademark+Dispute&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Members of the Asian-American rock band The Slants have the right to call themselves by a disparaging name, the Supreme Court says, in a ruling that could have broad impact on how the First Amendment is applied in other trademark cases.\u003c/p>\n\u003cp>The Slants’ frontman, Simon Tam, filed a lawsuit after the U.S. Patent and Trademark Office kept the band from registering its name and rejected its appeal, citing the Lanham Act, which prohibits any trademark that could “disparage … or bring … into contemp[t] or disrepute” any “persons, living or dead,” as the court states.\u003c/p>\n\u003cp>After a federal court agreed with Tam and his band, the Patent and Trademark Office sued to avoid being compelled to register its name as a trademark. On Monday, the Supreme Court sided with The Slants.\u003c/p>\n\u003cp>“The disparagement clause violates the First Amendment’s Free Speech Clause,” Justice Samuel Alito wrote in his opinion for the court. Contrary to the Government’s contention, trademarks are private, not government speech.”\u003c/p>\n\u003cp>The band has said it wanted to reclaim what is often seen as a slur.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We grew up and the notion of having slanted eyes was always considered a negative thing,” \u003ca href=\"http://www.npr.org/sections/codeswitch/2017/01/19/510467679/the-slants-fighting-for-the-right-to-rock-a-racial-slur\">Tam said in January\u003c/a>. “Kids would pull their eyes back in a slant-eyed gesture to make fun of us. … I wanted to change it to something that was powerful, something that was considered beautiful or a point of pride instead.”\u003c/p>\n\u003cp>Attorney Lee Rowland of the American Civil Liberties Union welcomed the Supreme Court’s decision:\u003c/p>\n\u003cblockquote>\n\u003cp>“The government’s misguided effort to protect minorities from disparagement instead hurt members of that very community by hindering their right to compete in the marketplace of ideas. Fortunately, today’s opinion prevents the kind of absurd outcome that results when the government plays speech police.”\u003c/p>\n\u003c/blockquote>\n\u003cp>The case could inform arguments over other, much larger entities than The Slants.\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2017/01/18/510310945/in-battle-over-band-name-supreme-court-considers-free-speech-and-trademarks\">NPR’s Nina Totenberg has reported\u003c/a>, “the trademark office has denied registration to a group calling itself “Abort the Republicans,” and another called “Democrats Shouldn’t Breed.” It \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/06/18/323205099/u-s-patent-office-cancels-washington-redskins-trademark-registration\">canceled the registration\u003c/a> for the Washington Redskins in 2014 at the behest of some Native Americans who considered the name offensive.”\u003c/p>\n\u003cp>In his opinion about another facet of the case, Alito wrote:\u003c/p>\n\u003cblockquote>\n\u003cp>“There is also a deeper problem with the argument that commercial speech may be cleansed of any expression likely to cause offense. The commercial market is well stocked with merchandise that disparages prominent figures and groups, and the line between commercial and non-commercial speech is not always clear, as this case illustrates. If affixing the commercial label permits the suppression of any speech that may lead to political or social ‘volatility,’ free speech would be endangered.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The judgment was unanimous — with two asterisks: Justice Neil Gorsuch, who wasn’t yet on the court when the case was argued in January, did not take part. And with different parts of the case drawing differing legal explanations, four opinions were written. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Slants+Win+Supreme+Court+Battle+Over+Band%27s+Name+In+Trademark+Dispute&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ignorance is Strength, War is Peace, Freedom is Slavery, Big Brother is Watching: \u003cem>1984 \u003c/em>has come to Broadway. George Orwell’s dystopian novel tells the story of a man who works at the Ministry of Truth creating fake news for a totalitarian regime. The stage adaptation opens in New York on Friday.\u003c/p>\n\u003cp>After a recent performance of \u003cem>1984\u003c/em>, Dorit Friedman, a doctor from Great Neck, N.Y., says she was stuck by how contemporary the story feels. “Big Brother is watching us, that’s for sure …” she says. “Little did we know that that was going to be reality.”\u003c/p>\n\u003cp>Facebook and Amazon know what you like. Orwell wrote his novel in reaction to the fascism and totalitarianism that had engulfed the globe during and after World War II. The novel has always been a steady seller, but since the election e-book sales spiked.\u003c/p>\n\u003cp>“So far this year we sold over 200,000 copies, just in five months and I don’t think that’s going to slow down,” says Bruce Nichols, the book’s current publisher at Houghton Mifflin Harcourt. “\u003cem>1984\u003c/em> holds up because Orwell’s political incisiveness, when he talks about newspeak, it applies to all kinds of spin which we see every day. And it seems to only ever get worse.”\u003c/p>\n\u003cp>Two days after Donald Trump’s inauguration, Kellyanne Conway coined the phrase “alternative facts” on \u003cem>Meet the Press. \u003c/em>Around that same time, \u003cem>1984\u003c/em> shot up to No. 1 on Amazon.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s quite something to bring it to New York now, in this political climate,” says Duncan Macmillan, who co-authored and co-directed the Broadway adaptation. He points to one moment in the book when protagonist Winston Smith says, “Freedom is the freedom to say that two plus two makes four.”\u003c/p>\n\u003cp>The audience reaction changes nightly, depending on the current news cycle.\u003c/p>\n\u003cp>“Last night was like a sort of volatile town hall meeting,” Macmillan says, of a preview performance that took place the same day that Trump announced the U.S. withdrawal from the Paris Climate Accords. “People were shouting out ‘resist!’ People were arguing with characters and applauding certain sentiments. And it wasn’t just, you know, a liberal audience. It was little pockets around the room sort of debating with each other. And that felt really live and exciting.”\u003c/p>\n\u003cp>The actors feel it, too.\u003cem> \u003c/em>\u003c/p>\n\u003cp>“We’re all in this room together, we’re all experiencing this together,” says Tom Sturridge, who plays Winston Smith. “We influence each other. The way you react, shout out in this play, which is extraordinary, makes you enormously complicit in the evening that we have together.\u003c/p>\n\u003cp>Olivia Wilde, who plays Winston’s lover, Julia (people have a tendency to forget there’s a love story at the center of \u003cem>1984)\u003c/em> says the stage adaptation messes with the audience’s heads, much like reading the book. Winston Smith is willing to do anything to bring down the government for which he works, even when pressed by a duplicitous character.\u003cem>\u003c/em>\u003c/p>\n\u003cp>“We can feel the audience slowly falling into line behind Winston; they embrace him as their hero,” she says. “They root for him and then [when the antagonist,] O’Brien says, ‘If it would help the party, would you throw acid in a small child’s face?’ And we can hear this gasp from the audience. And he says, ‘Yes.’ And suddenly we question, ‘Well, hang on a minute. Am I Winston? I thought I was Winston. Am I willing to go that far? I don’t think I am.’ ”\u003c/p>\n\u003cp>The adaptation forthrightly deals with the novel’s concepts — who controls information and language to assert power, living in a perpetual present, the concept of doublethink — keeping two opposing thoughts in one’s mind, while genuinely believing both. But it’s the visceral nature of the production, with graphic images of torture, which has made some audience members walk out.\u003c/p>\n\u003cp>“It’s not an easy evening, I should warn people,” Macmillan says. “It doesn’t give you any conclusions, actually. And it leaves you with something, I hope, if it works properly, to resolve in yourself and with each other to try and work out what the hell it is you’ve just been exposed to, as it is with the novel.”\u003c/p>\n\u003cp>Amanda Bias, a high school English teacher from New Jersey who came with a group of co-workers, teaches the book to her seniors.\u003c/p>\n\u003cp>“I don’t think kids necessarily know what they’re always getting as a source, in the information they’re getting,” she says. “And we have to teach them what’s right and what’s wrong and, at least, what’s credible. And I think that’s a pretty good message.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Especially, she says, in the world we live in now, where two plus two can sometimes equal five. \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=%271984%27+Comes+To+Broadway+And+%27It%27s+Not+An+Easy+Evening%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s quite something to bring it to New York now, in this political climate,” says Duncan Macmillan, who co-authored and co-directed the Broadway adaptation. He points to one moment in the book when protagonist Winston Smith says, “Freedom is the freedom to say that two plus two makes four.”\u003c/p>\n\u003cp>The audience reaction changes nightly, depending on the current news cycle.\u003c/p>\n\u003cp>“Last night was like a sort of volatile town hall meeting,” Macmillan says, of a preview performance that took place the same day that Trump announced the U.S. withdrawal from the Paris Climate Accords. “People were shouting out ‘resist!’ People were arguing with characters and applauding certain sentiments. And it wasn’t just, you know, a liberal audience. It was little pockets around the room sort of debating with each other. And that felt really live and exciting.”\u003c/p>\n\u003cp>The actors feel it, too.\u003cem> \u003c/em>\u003c/p>\n\u003cp>“We’re all in this room together, we’re all experiencing this together,” says Tom Sturridge, who plays Winston Smith. “We influence each other. The way you react, shout out in this play, which is extraordinary, makes you enormously complicit in the evening that we have together.\u003c/p>\n\u003cp>Olivia Wilde, who plays Winston’s lover, Julia (people have a tendency to forget there’s a love story at the center of \u003cem>1984)\u003c/em> says the stage adaptation messes with the audience’s heads, much like reading the book. Winston Smith is willing to do anything to bring down the government for which he works, even when pressed by a duplicitous character.\u003cem>\u003c/em>\u003c/p>\n\u003cp>“We can feel the audience slowly falling into line behind Winston; they embrace him as their hero,” she says. “They root for him and then [when the antagonist,] O’Brien says, ‘If it would help the party, would you throw acid in a small child’s face?’ And we can hear this gasp from the audience. And he says, ‘Yes.’ And suddenly we question, ‘Well, hang on a minute. Am I Winston? I thought I was Winston. Am I willing to go that far? I don’t think I am.’ ”\u003c/p>\n\u003cp>The adaptation forthrightly deals with the novel’s concepts — who controls information and language to assert power, living in a perpetual present, the concept of doublethink — keeping two opposing thoughts in one’s mind, while genuinely believing both. But it’s the visceral nature of the production, with graphic images of torture, which has made some audience members walk out.\u003c/p>\n\u003cp>“It’s not an easy evening, I should warn people,” Macmillan says. “It doesn’t give you any conclusions, actually. And it leaves you with something, I hope, if it works properly, to resolve in yourself and with each other to try and work out what the hell it is you’ve just been exposed to, as it is with the novel.”\u003c/p>\n\u003cp>Amanda Bias, a high school English teacher from New Jersey who came with a group of co-workers, teaches the book to her seniors.\u003c/p>\n\u003cp>“I don’t think kids necessarily know what they’re always getting as a source, in the information they’re getting,” she says. “And we have to teach them what’s right and what’s wrong and, at least, what’s credible. And I think that’s a pretty good message.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Especially, she says, in the world we live in now, where two plus two can sometimes equal five. \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=%271984%27+Comes+To+Broadway+And+%27It%27s+Not+An+Easy+Evening%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Nate Kramer was a tall, quiet college swimmer when he was diagnosed with leukemia. His dad, Vince, says it was the beginning of four difficult years.\u003c/p>\n\u003cp>Nate battled through chemotherapy, a fungal infection of the sinuses, 30 operations, bone marrow transplants, a lung infection and the removal of his spleen. Vince says his son kept rallying back.\u003c/p>\n\u003cp>During these ups and downs, although his health was precarious, \u003ca href=\"http://www.wbur.org/kindworld/2016/09/06/kind-world-29-the-heartbeat\" target=\"_blank\" rel=\"noopener\">Nate started working with a music therapist\u003c/a> from Cincinnati Children’s Hospital named Brian Schreck.\u003c/p>\n\u003cp>“Brian would come over to the house,” says Nate’s mom, De Ann. “They would play music, they would record music. Brian was really teaching him to play his guitar.”\u003c/p>\n\u003cp>Brian says Nate loved to play riffs by The Rolling Stones and Jimi Hendrix — but for the most part, Nate’s parents didn’t really know what Nate and Brian were recording.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As the years passed, Nate and Brian grew close. “I think Nate could talk to Brian about things that he didn’t want to talk to us about because it would hurt us,” De Ann says.\u003c/p>\n\u003cp>One day, Nate asked Brian about a project Brian had been working on. As part of his work as a music therapist, Brian had been recording the heartbeats of babies and children near the end of their lives, then layering the rhythmic pulses over melodies.\u003c/p>\n\u003cp>Brian asked Nate if he would like to record one, and Nate agreed. But Nate’s father wasn’t too keen on the idea of the heartbeat project.\u003c/p>\n\u003cp>“It was like, ‘OK, is that the only heartbeat I’m going to have left of him?’ ” Vince says. “Um, no thank you.”\u003c/p>\n\u003cp>To Vince, it felt like giving up, and he wasn’t ready for that — even a couple weeks later when Nate, then 26, was back in the hospital.\u003c/p>\n\u003cp>“He was doing very poorly, and I just actually asked … ‘Nate, do you still want to fight?’ ” Vince says. “And he said to me, ‘Wanna fight.’ That was the last words he said to me.”\u003c/p>\n\u003cp>Nate couldn’t talk after that. Five days later, his mom was up early with him.\u003c/p>\n\u003cp>“It was just the two of us, and I was laying basically on his chest and listening to him,” De Ann says.\u003c/p>\n\u003cp>“[I] could still hear his heartbeat then; that afternoon he had passed.”\u003c/p>\n\u003cp>After Nate died, Brian gave Vince and De Ann a couple CDs from Nate, but Nate’s death was still too raw for them to press play. They sold their house with its painful memories, packed up their belongings and moved.\u003c/p>\n\u003cp>Just over a year later, Vince was at home. It happened to be Father’s Day.\u003c/p>\n\u003cp>“I was rearranging my office, and I came across CDs that had a very unique — some sort of custom cover,” Vince says.\u003c/p>\n\u003cp>When he plugged it into the computer, the first thing he heard was, “Happy Father’s Day, old man. Love ya.”\u003c/p>\n\u003cp>“It was Nate’s voice,” Vince says. “And I was like, ‘What?’ So then I listened to the next song, which was the heartbeat song.”\u003c/p>\n\u003cp>Nate had made a CD for his mom, too.\u003c/p>\n\u003cp>“Hearing the heartbeat for me is very bittersweet because of the morning of the day that he passed,” De Ann says. “But I would never give it up. How strong it sounds.”\u003c/p>\n\u003cp>Vince says the CD will probably never leave his CD player. He has made about half a dozen spare copies of the CD.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Nate had a very powerful, smooth, slow, rhythmic heartbeat,” Vince says. “It’s Nate. It’s life. I\u003cem> \u003c/em>cannot explain why it just sort of calms me down.” \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=Heartbeat+Music%3A+Parents+Remember+Their+Son+Through+His+Song+Of+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Nate Kramer was a tall, quiet college swimmer when he was diagnosed with leukemia. His dad, Vince, says it was the beginning of four difficult years.\u003c/p>\n\u003cp>Nate battled through chemotherapy, a fungal infection of the sinuses, 30 operations, bone marrow transplants, a lung infection and the removal of his spleen. Vince says his son kept rallying back.\u003c/p>\n\u003cp>During these ups and downs, although his health was precarious, \u003ca href=\"http://www.wbur.org/kindworld/2016/09/06/kind-world-29-the-heartbeat\" target=\"_blank\" rel=\"noopener\">Nate started working with a music therapist\u003c/a> from Cincinnati Children’s Hospital named Brian Schreck.\u003c/p>\n\u003cp>“Brian would come over to the house,” says Nate’s mom, De Ann. “They would play music, they would record music. Brian was really teaching him to play his guitar.”\u003c/p>\n\u003cp>Brian says Nate loved to play riffs by The Rolling Stones and Jimi Hendrix — but for the most part, Nate’s parents didn’t really know what Nate and Brian were recording.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As the years passed, Nate and Brian grew close. “I think Nate could talk to Brian about things that he didn’t want to talk to us about because it would hurt us,” De Ann says.\u003c/p>\n\u003cp>One day, Nate asked Brian about a project Brian had been working on. As part of his work as a music therapist, Brian had been recording the heartbeats of babies and children near the end of their lives, then layering the rhythmic pulses over melodies.\u003c/p>\n\u003cp>Brian asked Nate if he would like to record one, and Nate agreed. But Nate’s father wasn’t too keen on the idea of the heartbeat project.\u003c/p>\n\u003cp>“It was like, ‘OK, is that the only heartbeat I’m going to have left of him?’ ” Vince says. “Um, no thank you.”\u003c/p>\n\u003cp>To Vince, it felt like giving up, and he wasn’t ready for that — even a couple weeks later when Nate, then 26, was back in the hospital.\u003c/p>\n\u003cp>“He was doing very poorly, and I just actually asked … ‘Nate, do you still want to fight?’ ” Vince says. “And he said to me, ‘Wanna fight.’ That was the last words he said to me.”\u003c/p>\n\u003cp>Nate couldn’t talk after that. Five days later, his mom was up early with him.\u003c/p>\n\u003cp>“It was just the two of us, and I was laying basically on his chest and listening to him,” De Ann says.\u003c/p>\n\u003cp>“[I] could still hear his heartbeat then; that afternoon he had passed.”\u003c/p>\n\u003cp>After Nate died, Brian gave Vince and De Ann a couple CDs from Nate, but Nate’s death was still too raw for them to press play. They sold their house with its painful memories, packed up their belongings and moved.\u003c/p>\n\u003cp>Just over a year later, Vince was at home. It happened to be Father’s Day.\u003c/p>\n\u003cp>“I was rearranging my office, and I came across CDs that had a very unique — some sort of custom cover,” Vince says.\u003c/p>\n\u003cp>When he plugged it into the computer, the first thing he heard was, “Happy Father’s Day, old man. Love ya.”\u003c/p>\n\u003cp>“It was Nate’s voice,” Vince says. “And I was like, ‘What?’ So then I listened to the next song, which was the heartbeat song.”\u003c/p>\n\u003cp>Nate had made a CD for his mom, too.\u003c/p>\n\u003cp>“Hearing the heartbeat for me is very bittersweet because of the morning of the day that he passed,” De Ann says. “But I would never give it up. How strong it sounds.”\u003c/p>\n\u003cp>Vince says the CD will probably never leave his CD player. He has made about half a dozen spare copies of the CD.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Nate had a very powerful, smooth, slow, rhythmic heartbeat,” Vince says. “It’s Nate. It’s life. I\u003cem> \u003c/em>cannot explain why it just sort of calms me down.” \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=Heartbeat+Music%3A+Parents+Remember+Their+Son+Through+His+Song+Of+Life&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The multi-billion-dollar success of Pixar’s \u003cem>Cars\u003c/em> series can be chalked up to a great many things, but don’t discount the little vroom-vroom frowns the cars make with their dashboard eyes when they want to go fast. When Lightning McQueen, the Owen Wilson-voiced stock car with the bright flames decal, guns for pole position, he squints so much that any human who might be driving him wouldn’t be able to see the road. But of course there are no humans in this world, unless you count the invisible giant kids who must be steering the racers with their hands and making the motor sounds themselves.\u003c/p>\n\u003cp>That enduring childhood (typically but by no means exclusively boyhood) fascination with moving vehicles has propped up this franchise for the backseat set, seeing it through three feature-length films, a spin-off \u003cem>Planes\u003c/em> series, and countless toy tie-ins. \u003cem>Cars \u003c/em>has helped secure Pixar’s financial dominance, even as the company’s recent over-reliance on easily marketable sequels has caused it to lose some trophies of its own. But after more than two decades of restless invention, followed by a recent round of “places” (\u003ca href=\"http://www.npr.org/2015/11/25/457132713/a-great-looking-if-underpowered-adventure-with-a-good-dinosaur\">\u003cem>The Good Dinosaur\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"http://www.npr.org/2016/06/16/482000492/finding-dory-but-losing-the-thread\">\u003cem>Finding Dory\u003c/em>\u003c/a>) instead of the “wins” of yore, perhaps John Lasseter and Co. have started to pause and reflect on their limitations in the limelight.\u003c/p>\n\u003cp>Thankfully, \u003cem>Cars 3\u003c/em>, the first in the series to be made without Lasseter writing or directing, is not the sign of a slow death—even if its story may suggest as much. The film toys with a certain degree of “auto”-biography. Here, McQueen finds his ol’ motor isn’t running like it used to, as younger, more technologically savvy upstarts led by Armie Hammer’s sleek, sneering Jackson Storm start squeezing him out of the winner’s circle. His longtime sponsor, Rust-Eze, gets bought out by a giant conglomerate whose CEO, a shiny coupe voiced by Nathan Fillion, pushes his star to slap his grinning metal hood on every product he can find—shades of Disney purchasing Pixar in 2006. Plus, his buddy Mater (Larry the Cable Guy), the gap-toothed tow truck who “dad-gum”‘ed his way to the starring role in \u003cem>Cars 2\u003c/em>, is barely around. Strangely, no one seems too broken up about it.\u003c/p>\n\u003cp>McQueen’s efforts to rebuild himself on the racing circuit give him a chance to pause and reflect on the lessons he learned in the first \u003cem>Cars\u003c/em>, when Paul Newman’s sage Doc Hudson and the laid-back residents of forgotten Route 66 town Radiator Springs taught him there was more to life than going full-throttle. In accordance, this time around McQueen becomes the father figure Hudson was to him. He gets assigned to a trainer, the perky yellow Cruz Ramirez (Cristela Alonzo), who once harbored racing aspirations of her own but lacked “confidence” (a codeword in this male-dominated gearhead sport). Only gradually does McQueen realize that, in fact, he’s training her.\u003c/p>\n\u003cp>The best parts of \u003cem>Cars 3\u003c/em> are the ones that embrace the passage of time and the joys of mentorship, as they are the bits most likely to remind you how Pixar can deliver meaningful messages of aging and acceptance—when it wants to. Helmer Brian Fee, making his directing debut after working as a storyboard artist on past studio greats like \u003cem>WALL-E\u003c/em> and \u003cem>Ratatouille\u003c/em>, effectively keeps us thinking about these themes throughout McQueen’s journey. He also delivers some sequences that are among the most stunning animations the company has ever produced: a breathtaking beach race at dusk; a demolition derby in which it’s only a matter of time before everything is caked with mud; and a weathered filmstrip of Doc’s old races that makes you wonder how hard it must be for next-gen tech to make something look convincingly “old”. Yet Fee is clearly getting instructions radioed in from the Disney pit crew, so while the third \u003cem>Cars\u003c/em> lap is an improvement over the zero-depth spy spoofery of the second film, it’s not very convincing when it tries to peddle the sense of an ending. Of course, in retrospect, \u003cem>Toy Story 3\u003c/em> feels less profound now that we know there’s a fourth outing on the way.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Meanwhile, we have our best scientists still puzzling out the logistics of the \u003cem>Cars \u003c/em>universe. In this film the four-wheeled ones put on headsets and use duct tape, and at one point, Mack the Mack truck (John Ratzenberger) somehow knocks on the inside of himself. And then there are the larger social problems creeping in, like the fact that gender- and race-based discrimination still exists even without any physical signs that the cars are different genders or races. Perhaps it’s a metaphor for the small flickers of human error that persist in a land ruled by post-human vehicles. Or maybe all will be revealed once we’re racing each other with our own sets of \u003cem>Cars\u003c/em> cars. Vroom-vroom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A NOTE ON THE PRESHOW: \u003c/strong>In “Lou,” a playground lost-and-found box comes alive and teaches a lesson to a school bully who likes to mess with other kids’ things. It’s sweet and silly, if a bit reminiscent of the famous scene in \u003cem>Toy Story\u003c/em> where the toys confront Sid. Among the modern crop of Pixar shorts, “Lou” rests closer to the splendid “Sanjay’s Super Team” and “Piper” than to the obnoxious earworm “Lava.” \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=%27Cars+3%27+Comes+Roaring+Back+With+A+Swapped-Out+%28Story%29+Engine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The multi-billion-dollar success of Pixar’s \u003cem>Cars\u003c/em> series can be chalked up to a great many things, but don’t discount the little vroom-vroom frowns the cars make with their dashboard eyes when they want to go fast. When Lightning McQueen, the Owen Wilson-voiced stock car with the bright flames decal, guns for pole position, he squints so much that any human who might be driving him wouldn’t be able to see the road. But of course there are no humans in this world, unless you count the invisible giant kids who must be steering the racers with their hands and making the motor sounds themselves.\u003c/p>\n\u003cp>That enduring childhood (typically but by no means exclusively boyhood) fascination with moving vehicles has propped up this franchise for the backseat set, seeing it through three feature-length films, a spin-off \u003cem>Planes\u003c/em> series, and countless toy tie-ins. \u003cem>Cars \u003c/em>has helped secure Pixar’s financial dominance, even as the company’s recent over-reliance on easily marketable sequels has caused it to lose some trophies of its own. But after more than two decades of restless invention, followed by a recent round of “places” (\u003ca href=\"http://www.npr.org/2015/11/25/457132713/a-great-looking-if-underpowered-adventure-with-a-good-dinosaur\">\u003cem>The Good Dinosaur\u003c/em>\u003c/a>\u003cem>, \u003c/em>\u003ca href=\"http://www.npr.org/2016/06/16/482000492/finding-dory-but-losing-the-thread\">\u003cem>Finding Dory\u003c/em>\u003c/a>) instead of the “wins” of yore, perhaps John Lasseter and Co. have started to pause and reflect on their limitations in the limelight.\u003c/p>\n\u003cp>Thankfully, \u003cem>Cars 3\u003c/em>, the first in the series to be made without Lasseter writing or directing, is not the sign of a slow death—even if its story may suggest as much. The film toys with a certain degree of “auto”-biography. Here, McQueen finds his ol’ motor isn’t running like it used to, as younger, more technologically savvy upstarts led by Armie Hammer’s sleek, sneering Jackson Storm start squeezing him out of the winner’s circle. His longtime sponsor, Rust-Eze, gets bought out by a giant conglomerate whose CEO, a shiny coupe voiced by Nathan Fillion, pushes his star to slap his grinning metal hood on every product he can find—shades of Disney purchasing Pixar in 2006. Plus, his buddy Mater (Larry the Cable Guy), the gap-toothed tow truck who “dad-gum”‘ed his way to the starring role in \u003cem>Cars 2\u003c/em>, is barely around. Strangely, no one seems too broken up about it.\u003c/p>\n\u003cp>McQueen’s efforts to rebuild himself on the racing circuit give him a chance to pause and reflect on the lessons he learned in the first \u003cem>Cars\u003c/em>, when Paul Newman’s sage Doc Hudson and the laid-back residents of forgotten Route 66 town Radiator Springs taught him there was more to life than going full-throttle. In accordance, this time around McQueen becomes the father figure Hudson was to him. He gets assigned to a trainer, the perky yellow Cruz Ramirez (Cristela Alonzo), who once harbored racing aspirations of her own but lacked “confidence” (a codeword in this male-dominated gearhead sport). Only gradually does McQueen realize that, in fact, he’s training her.\u003c/p>\n\u003cp>The best parts of \u003cem>Cars 3\u003c/em> are the ones that embrace the passage of time and the joys of mentorship, as they are the bits most likely to remind you how Pixar can deliver meaningful messages of aging and acceptance—when it wants to. Helmer Brian Fee, making his directing debut after working as a storyboard artist on past studio greats like \u003cem>WALL-E\u003c/em> and \u003cem>Ratatouille\u003c/em>, effectively keeps us thinking about these themes throughout McQueen’s journey. He also delivers some sequences that are among the most stunning animations the company has ever produced: a breathtaking beach race at dusk; a demolition derby in which it’s only a matter of time before everything is caked with mud; and a weathered filmstrip of Doc’s old races that makes you wonder how hard it must be for next-gen tech to make something look convincingly “old”. Yet Fee is clearly getting instructions radioed in from the Disney pit crew, so while the third \u003cem>Cars\u003c/em> lap is an improvement over the zero-depth spy spoofery of the second film, it’s not very convincing when it tries to peddle the sense of an ending. Of course, in retrospect, \u003cem>Toy Story 3\u003c/em> feels less profound now that we know there’s a fourth outing on the way.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Meanwhile, we have our best scientists still puzzling out the logistics of the \u003cem>Cars \u003c/em>universe. In this film the four-wheeled ones put on headsets and use duct tape, and at one point, Mack the Mack truck (John Ratzenberger) somehow knocks on the inside of himself. And then there are the larger social problems creeping in, like the fact that gender- and race-based discrimination still exists even without any physical signs that the cars are different genders or races. Perhaps it’s a metaphor for the small flickers of human error that persist in a land ruled by post-human vehicles. Or maybe all will be revealed once we’re racing each other with our own sets of \u003cem>Cars\u003c/em> cars. Vroom-vroom.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A NOTE ON THE PRESHOW: \u003c/strong>In “Lou,” a playground lost-and-found box comes alive and teaches a lesson to a school bully who likes to mess with other kids’ things. It’s sweet and silly, if a bit reminiscent of the famous scene in \u003cem>Toy Story\u003c/em> where the toys confront Sid. Among the modern crop of Pixar shorts, “Lou” rests closer to the splendid “Sanjay’s Super Team” and “Piper” than to the obnoxious earworm “Lava.” \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=%27Cars+3%27+Comes+Roaring+Back+With+A+Swapped-Out+%28Story%29+Engine&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Kate McKinnon plays an Australian in \u003cem>Rough Night\u003c/em>, a shrewd gender-reversal of sloppy-drunk bro comedies like \u003cem>Bachelor Party\u003c/em>, \u003cem>Very Bad Things\u003c/em>, and \u003cem>The Hangover\u003c/em>. There’s no particular reason for her to play an Australian, beyond a thin running joke about cultural insensitivity of failing to distinguish between Aussies and Kiwis. And yet it’s funny. McKinnon merrily swishes her dialogue around the accent and makes her character’s jet lag and fish-out-of-water misunderstanding to keep her a beat behind the action, like the caboose of the comedy train. It seems highly unlikely the part was written for an Australian, but her instincts — and the instincts of her co-writer/director, Lucia Aniello –prevailed and the film is funnier because of it.\u003c/p>\n\u003cp>There are some twists and turns of the plot in \u003cem>Rough Night — \u003c/em>twists and turns lifted from all of its predecessors, especially the accidental-killing-of-a-stripper gambit of \u003cem>Very Bad Things — \u003c/em>but it’s mostly a frantic accumulation of jokes, staked on group chemistry and seat-of-the-pants audacity. In that, it mirrors the crazy, spontaneous progression of the bachelorette party itself, which aims for nonstop euphoria but occasionally strays into regrettable moments when it goes too far or stumbles into awkward patches. Casting a non-Australian to be Australian for no essential reason is the first clue that \u003cem>Rough Night\u003c/em> will be going after laughs at whatever random place it can find them. “Fasten your seatbelts,” as Bette Davis would say.\u003c/p>\n\u003cp>Getting the night started turns out to be the toughest part. After an extended prologue establishes the bond between four hard-partying college friends a decade earlier, \u003cem>Rough Night\u003c/em> has the laborious task of yadda-yadda-ing through their individual lives before bringing them together for a bachelorette weekend in Miami Beach. A game Scarlett Johansson stars as Jess, a neophyte State Senate candidate who’s seen as too uptight to connect with voters, despite an opponent whose behavior is Anthony Weiner-esque. Her buttoned-down life has put some distance between herself and Alice (Jillian Bell), her crass college dorm-mate; her other friends, Frankie (Ilana Glazer) and Blair (Zoe Kravitz), have their own problems, like a former romance that didn’t end gracefully.\u003c/p>\n\u003cp>The strained chemistry among the four friends threatens to sour the film before it even gets started, particularly because Bell is such a dominant presence that the others are deprived of oxygen. But when they get to Miami for Jess’ bachelorette party and her newish friend Pippa (McKinnon) enters the mix, the ensemble starts to gain some balance, right in time for a little cocaine bump and involuntary manslaughter to take the evening to another level. When an overzealous Alice accidentally kills a stripper (Colton Haynes), the women decide to cover it up rather than explain the out-of-control coke party that’s been raging in their beachside rental home. Meanwhile, Jess’ concerned fiancé Peter (Paul W. Downs, who co-wrote the script) is convinced by his buddies to drive nonstop through Florida in adult diapers, kept alert by Red Bull and expired Russian Adderall.\u003c/p>\n\u003cp>This last detail, which Peter’s friend dubs “the sad astronaut,” takes its inspiration from the bizarre true story of a former NASA astronaut who drove hundreds of miles in adult diapers to attack her rival in a love triangle. It’s also another example of \u003cem>Rough Night\u003c/em> committing to an off-the-wall comic idea and going all the way with it. Though Aniello and Downs’ script feels like a patchwork of other bachelor-night comedies, with scenes from \u003cem>Weekend At Bernie’s\u003c/em> tacked on for good measure, they’re smart enough to allow for silly digressions to keep the action from getting stale and predictable.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Rough Night\u003c/em> isn’t satisfied with being the latest in ladies-can-be-raunchy-too comedies, though it does pull a fun role reversal by making Peter’s bachelor party a staid affair, with the guys comparing notes at a wine tasting. The setbacks that befall Jess and her friends are not marked as punishment for their sinful behavior, but obstacles for them to improvise their way around, so they can go back to partying some more. \u003cem>Rough Night\u003c/em> may be a shameless comedy, but it’s also a comedy without shame. There’s something liberating in that. \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=%27Rough+Night%27+Is+Shamelessly+Derivative+%E2%80%94+And+Shamelessly+Funny&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Kate McKinnon plays an Australian in \u003cem>Rough Night\u003c/em>, a shrewd gender-reversal of sloppy-drunk bro comedies like \u003cem>Bachelor Party\u003c/em>, \u003cem>Very Bad Things\u003c/em>, and \u003cem>The Hangover\u003c/em>. There’s no particular reason for her to play an Australian, beyond a thin running joke about cultural insensitivity of failing to distinguish between Aussies and Kiwis. And yet it’s funny. McKinnon merrily swishes her dialogue around the accent and makes her character’s jet lag and fish-out-of-water misunderstanding to keep her a beat behind the action, like the caboose of the comedy train. It seems highly unlikely the part was written for an Australian, but her instincts — and the instincts of her co-writer/director, Lucia Aniello –prevailed and the film is funnier because of it.\u003c/p>\n\u003cp>There are some twists and turns of the plot in \u003cem>Rough Night — \u003c/em>twists and turns lifted from all of its predecessors, especially the accidental-killing-of-a-stripper gambit of \u003cem>Very Bad Things — \u003c/em>but it’s mostly a frantic accumulation of jokes, staked on group chemistry and seat-of-the-pants audacity. In that, it mirrors the crazy, spontaneous progression of the bachelorette party itself, which aims for nonstop euphoria but occasionally strays into regrettable moments when it goes too far or stumbles into awkward patches. Casting a non-Australian to be Australian for no essential reason is the first clue that \u003cem>Rough Night\u003c/em> will be going after laughs at whatever random place it can find them. “Fasten your seatbelts,” as Bette Davis would say.\u003c/p>\n\u003cp>Getting the night started turns out to be the toughest part. After an extended prologue establishes the bond between four hard-partying college friends a decade earlier, \u003cem>Rough Night\u003c/em> has the laborious task of yadda-yadda-ing through their individual lives before bringing them together for a bachelorette weekend in Miami Beach. A game Scarlett Johansson stars as Jess, a neophyte State Senate candidate who’s seen as too uptight to connect with voters, despite an opponent whose behavior is Anthony Weiner-esque. Her buttoned-down life has put some distance between herself and Alice (Jillian Bell), her crass college dorm-mate; her other friends, Frankie (Ilana Glazer) and Blair (Zoe Kravitz), have their own problems, like a former romance that didn’t end gracefully.\u003c/p>\n\u003cp>The strained chemistry among the four friends threatens to sour the film before it even gets started, particularly because Bell is such a dominant presence that the others are deprived of oxygen. But when they get to Miami for Jess’ bachelorette party and her newish friend Pippa (McKinnon) enters the mix, the ensemble starts to gain some balance, right in time for a little cocaine bump and involuntary manslaughter to take the evening to another level. When an overzealous Alice accidentally kills a stripper (Colton Haynes), the women decide to cover it up rather than explain the out-of-control coke party that’s been raging in their beachside rental home. Meanwhile, Jess’ concerned fiancé Peter (Paul W. Downs, who co-wrote the script) is convinced by his buddies to drive nonstop through Florida in adult diapers, kept alert by Red Bull and expired Russian Adderall.\u003c/p>\n\u003cp>This last detail, which Peter’s friend dubs “the sad astronaut,” takes its inspiration from the bizarre true story of a former NASA astronaut who drove hundreds of miles in adult diapers to attack her rival in a love triangle. It’s also another example of \u003cem>Rough Night\u003c/em> committing to an off-the-wall comic idea and going all the way with it. Though Aniello and Downs’ script feels like a patchwork of other bachelor-night comedies, with scenes from \u003cem>Weekend At Bernie’s\u003c/em> tacked on for good measure, they’re smart enough to allow for silly digressions to keep the action from getting stale and predictable.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>After more than 30 hours of jury deliberations, there is still no conclusion to the sexual assault trial of comedian Bill Cosby.\u003c/p>\n\u003cp>The members of the jury say they are deadlocked and “cannot come to a unanimous consensus on any of these counts.” The judge has ordered jurors to return to deliberations and try — again — to reach a decision.\u003c/p>\n\u003cp>Cosby has been charged with multiple felony counts of aggravated indecent assault, over allegations that he drugged and molested Andrea Constand, then a Temple University employee, in 2004.\u003c/p>\n\u003cp>The prosecution spent a week presenting its case, and the defense less than a day. Cosby did not testify.\u003c/p>\n\u003cp>The jury deliberations have stretched across four days. Seven times, the jury returned to the judge with questions, asking to rehear portions of the testimony or asking for clarification on the language in a charge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On Thursday morning, the jurors told the judge they were deadlocked. Judge Steven O’Neill gave them instructions to try again, issuing a “dynamite charge” or “Allen charge,” intended to motivate an uncertain jury to reach a decision.\u003c/p>\n\u003cp>If convicted, Cosby, 79, could spend the rest of his life in prison: He has been charged with three second-degree felony counts, and each carries a minimum sentence of five years in prison.\u003c/p>\n\u003cp>Constand is not the only woman who says Cosby raped or sexually assaulted her. Dozens of women have come forward over the past several years, with stories that echo one another. But in most of those cases, the statute of limitations had expired by the time the women came forward. Constand’s case was the exception.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cosby’s defense team argues that the encounter was consensual and “romantic,” while prosecutors say it was one assault within a larger pattern of drugging and sexually assaulting women. \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=Cosby+Jury+Deadlocks%3B+Judge+Orders+Further+Deliberations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>After more than 30 hours of jury deliberations, there is still no conclusion to the sexual assault trial of comedian Bill Cosby.\u003c/p>\n\u003cp>The members of the jury say they are deadlocked and “cannot come to a unanimous consensus on any of these counts.” The judge has ordered jurors to return to deliberations and try — again — to reach a decision.\u003c/p>\n\u003cp>Cosby has been charged with multiple felony counts of aggravated indecent assault, over allegations that he drugged and molested Andrea Constand, then a Temple University employee, in 2004.\u003c/p>\n\u003cp>The prosecution spent a week presenting its case, and the defense less than a day. Cosby did not testify.\u003c/p>\n\u003cp>The jury deliberations have stretched across four days. Seven times, the jury returned to the judge with questions, asking to rehear portions of the testimony or asking for clarification on the language in a charge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On Thursday morning, the jurors told the judge they were deadlocked. Judge Steven O’Neill gave them instructions to try again, issuing a “dynamite charge” or “Allen charge,” intended to motivate an uncertain jury to reach a decision.\u003c/p>\n\u003cp>If convicted, Cosby, 79, could spend the rest of his life in prison: He has been charged with three second-degree felony counts, and each carries a minimum sentence of five years in prison.\u003c/p>\n\u003cp>Constand is not the only woman who says Cosby raped or sexually assaulted her. Dozens of women have come forward over the past several years, with stories that echo one another. But in most of those cases, the statute of limitations had expired by the time the women came forward. Constand’s case was the exception.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cosby’s defense team argues that the encounter was consensual and “romantic,” while prosecutors say it was one assault within a larger pattern of drugging and sexually assaulting women. \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=Cosby+Jury+Deadlocks%3B+Judge+Orders+Further+Deliberations&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Yoko Ono to Receive Songwriting Credit on 'Imagine,' 48 Years Later",
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"content": "\u003cp>Yoko Ono will, legalities willing, be added as a songwriter to one of the most famous pop songs in the world — and John Lennon’s biggest solo hit — “Imagine.”\u003c/p>\n\u003cp>“Tonight, it is my distinct honor to correct the record some 48 years later,” David Israelite, president and CEO of the National Music Publishers’ Association, said Wednesday night in New York at his organization’s annual event.\u003c/p>\n\u003cp>Just before announcing Ono’s addition, a clip from a BBC interview with John Lennon was played in which he admits her centrality to its creation and his “macho” omission of her from its credits:\u003c/p>\n\u003cblockquote>\n\u003cp>” ‘Actually that should be credited as a Lennon-Ono song because a lot of it — the lyric and the concept — came from Yoko. But those days I was a bit more selfish, a bit more macho, and I sort of omitted to mention her contribution. But it was right out of \u003cem>Grapefruit\u003c/em>, her book.\u003c/p>\n\u003cp>” ‘There’s a whole pile of pieces about “Imagine this” and “Imagine that.” … But if it had been Bowie, I would have put “Lennon-Bowie,” you see. If it had been a male, you know. … Harry Nilsson — “Old Dirt Road,” it’s “Lennon-Nilsson.” But when we did [“Imagine”] I just put “Lennon” because, you know, she’s just the wife and you don’t put her name on, right?’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Ono’s and Lennon’s son Sean, who accompanied his wheelchair-bound mother to the ceremony, wrote afterward \u003ca href=\"https://www.facebook.com/seanlennon/photos/a.10151257927369431.485138.5438624430/10155383445214431/?type=3&theater\">in a Facebook post\u003c/a> that it was the proudest day of his life, describing tears welling in his mother’s eyes before Patti Smith sang the song.\u003c/p>\n\u003cp>Of course, as with most things on the business side of music, it’s not as simple as just adding Ono’s name to record sleeves. \u003ca href=\"http://variety.com/2017/biz/news/yoko-ono-to-receive-songwriting-credit-on-john-lennon-imagine-1202466645/\">Variety caught up\u003c/a> with Israelite after his speech, where he “noted there may be some opposition to the move at some point along the way,” in part due to the ripple effect the move would have on distributing payments for “Imagine.” Israelite also said the change had not been finalized at the time of the organization’s ceremony.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ono’s prolific solo output — some, with no trace of irony, featuring a songwriting credit to John Lennon, as the anagrammatic “Joel Nohnn” — records are in the midst of a reissue campaign by the label Secretly Canadian. Last year, the label re-released 1968’s \u003cem>Unfinished Music No. 1: Two Virgins\u003c/em>, \u003cem>Unfinished Music No. 2: Life with the Lions \u003c/em>from 1969, and \u003cem>Plastic Ono Band\u003c/em>. On July 14,\u003cem> Fly\u003c/em>, the rock opera\u003cem> Approximately Infinite Universe\u003c/em> and \u003cem>Feeling The Space\u003c/em> from 1973 are slated for re-release.\u003c/p>\n\u003cp>Watch below to see Lennon, in an interview alongside Ono, describing the melody and lyrics of “Imagine” just ahead of its release in 1971. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=EL4to_3p260\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=Yoko+Ono+To+Receive+Songwriting+Credit+On+%27Imagine%2C%27+48+Years+Later&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Yoko Ono will, legalities willing, be added as a songwriter to one of the most famous pop songs in the world — and John Lennon’s biggest solo hit — “Imagine.”\u003c/p>\n\u003cp>“Tonight, it is my distinct honor to correct the record some 48 years later,” David Israelite, president and CEO of the National Music Publishers’ Association, said Wednesday night in New York at his organization’s annual event.\u003c/p>\n\u003cp>Just before announcing Ono’s addition, a clip from a BBC interview with John Lennon was played in which he admits her centrality to its creation and his “macho” omission of her from its credits:\u003c/p>\n\u003cblockquote>\n\u003cp>” ‘Actually that should be credited as a Lennon-Ono song because a lot of it — the lyric and the concept — came from Yoko. But those days I was a bit more selfish, a bit more macho, and I sort of omitted to mention her contribution. But it was right out of \u003cem>Grapefruit\u003c/em>, her book.\u003c/p>\n\u003cp>” ‘There’s a whole pile of pieces about “Imagine this” and “Imagine that.” … But if it had been Bowie, I would have put “Lennon-Bowie,” you see. If it had been a male, you know. … Harry Nilsson — “Old Dirt Road,” it’s “Lennon-Nilsson.” But when we did [“Imagine”] I just put “Lennon” because, you know, she’s just the wife and you don’t put her name on, right?’ ”\u003c/p>\n\u003c/blockquote>\n\u003cp>Ono’s and Lennon’s son Sean, who accompanied his wheelchair-bound mother to the ceremony, wrote afterward \u003ca href=\"https://www.facebook.com/seanlennon/photos/a.10151257927369431.485138.5438624430/10155383445214431/?type=3&theater\">in a Facebook post\u003c/a> that it was the proudest day of his life, describing tears welling in his mother’s eyes before Patti Smith sang the song.\u003c/p>\n\u003cp>Of course, as with most things on the business side of music, it’s not as simple as just adding Ono’s name to record sleeves. \u003ca href=\"http://variety.com/2017/biz/news/yoko-ono-to-receive-songwriting-credit-on-john-lennon-imagine-1202466645/\">Variety caught up\u003c/a> with Israelite after his speech, where he “noted there may be some opposition to the move at some point along the way,” in part due to the ripple effect the move would have on distributing payments for “Imagine.” Israelite also said the change had not been finalized at the time of the organization’s ceremony.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ono’s prolific solo output — some, with no trace of irony, featuring a songwriting credit to John Lennon, as the anagrammatic “Joel Nohnn” — records are in the midst of a reissue campaign by the label Secretly Canadian. Last year, the label re-released 1968’s \u003cem>Unfinished Music No. 1: Two Virgins\u003c/em>, \u003cem>Unfinished Music No. 2: Life with the Lions \u003c/em>from 1969, and \u003cem>Plastic Ono Band\u003c/em>. On July 14,\u003cem> Fly\u003c/em>, the rock opera\u003cem> Approximately Infinite Universe\u003c/em> and \u003cem>Feeling The Space\u003c/em> from 1973 are slated for re-release.\u003c/p>\n\u003cp>Watch below to see Lennon, in an interview alongside Ono, describing the melody and lyrics of “Imagine” just ahead of its release in 1971. \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/EL4to_3p260'\n title='//www.youtube.com/embed/EL4to_3p260'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Yoko+Ono+To+Receive+Songwriting+Credit+On+%27Imagine%2C%27+48+Years+Later&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Art Collector Sells a Lichtenstein to Fund Criminal Justice Reform",
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"content": "\u003cp>A noted art collector and philanthropist has sold a major painting for an eye-popping $165 million to raise money for criminal justice reform.\u003c/p>\n\u003cp>Agnes Gund sold Roy Lichtenstein’s 1962 work \u003cem>Masterpiece\u003c/em>, reportedly to billionaire hedge fund manager and art collector Steve Cohen. The sale apparently took place months ago; an \u003ca href=\"http://www.baerfaxt.com/about-\" target=\"_blank\" rel=\"noopener\">art industry newsletter\u003c/a> reported on the transaction \u003ca href=\"http://www.artmarketmonitor.com/2017/01/12/has-roy-lichtensteins-masterpiece-sold/\">in January\u003c/a>, but Gund would not confirm it.\u003c/p>\n\u003cp>On Monday, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/06/11/arts/design/agnes-gund-sells-a-lichtenstein-to-start-criminal-justice-fund.html\" target=\"_blank\" rel=\"noopener\">confirmed\u003c/a> that the sale was real, noting that the painting becomes one of the 15 most expensive pieces of art known to have been sold. And the newspaper \u003ca href=\"https://www.nytimes.com/2017/06/11/arts/design/agnes-gund-sells-a-lichtenstein-to-start-criminal-justice-fund.html\" target=\"_blank\" rel=\"noopener\">revealed\u003c/a> that Gund sold the piece “for a specific purpose: to create a fund that supports criminal justice reform and seeks to reduce mass incarceration in the United States.”\u003c/p>\n\u003cp>Gund is urging other wealthy art collectors to sell prized pieces to support the effort, NPR’s Elizabeth Blair reports.\u003c/p>\n\u003cp>“Gund says $100 million from that sale will go to the new Art For Justice Fund, described as a ‘movement to end mass incarceration,’ ” Elizabeth says. “Other collectors have also promised gifts of art or donations to the fund, which is being managed by Rockefeller Philanthropy Partners and the Ford Foundation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“According to a statement, the fund will support efforts to cut the prison population and strengthen programs to help people when they leave prison,” Elizabeth reports.\u003c/p>\n\u003cp>The\u003cem> Times,\u003c/em> which interviewed Gund, described what inspired the collector to start the initiative:\u003c/p>\n\u003cblockquote>\n\u003cp>“Six of Ms. Gund’s 12 grandchildren are African-American, and she has worried about their future as they’ve matured, particularly in light of shootings of black teenagers like Trayvon Martin in Florida.\u003c/p>\n\u003cp>” ‘I have always had an extreme sensitivity to inequality,’ Ms. Gund said.\u003c/p>\n\u003cp data-para-count=\"253\" data-total-count=\"3943\">“She added that she was also deeply affected by Michelle Alexander’s 2010 book, ‘\u003ca href=\"http://www.nytimes.com/2012/03/07/books/michelle-alexanders-new-jim-crow-raises-drug-law-debates.html\" target=\"_blank\" rel=\"noopener\">The New Jim Crow: Mass Incarceration in the Age of Colorblindness,\u003c/a>‘ and by Ava DuVernay’s 2016 documentary, \u003ca href=\"https://www.nytimes.com/2016/10/06/movies/ava-duvernay-13th-on-modern-slavery-in-america.html?_r=0\" target=\"_blank\" rel=\"noopener\">’13th,’ about African-Americans in the prison system.\u003c/a>”\u003c/p>\n\u003c/blockquote>\n\u003cp data-para-count=\"253\" data-total-count=\"3943\">“The criminal justice system in its current state — particularly in its treatment of people of color — is unfair and unjust,” Gund said in a statement from the Ford Foundation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp data-para-count=\"253\" data-total-count=\"3943\">The fund will issue grants to groups and individuals working on issues of criminal justice reform. \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=Art+Collector+Sells+A+Lichtenstein+For+%24165+Million+To+Fund+Criminal+Justice+Reform&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A noted art collector and philanthropist has sold a major painting for an eye-popping $165 million to raise money for criminal justice reform.\u003c/p>\n\u003cp>Agnes Gund sold Roy Lichtenstein’s 1962 work \u003cem>Masterpiece\u003c/em>, reportedly to billionaire hedge fund manager and art collector Steve Cohen. The sale apparently took place months ago; an \u003ca href=\"http://www.baerfaxt.com/about-\" target=\"_blank\" rel=\"noopener\">art industry newsletter\u003c/a> reported on the transaction \u003ca href=\"http://www.artmarketmonitor.com/2017/01/12/has-roy-lichtensteins-masterpiece-sold/\">in January\u003c/a>, but Gund would not confirm it.\u003c/p>\n\u003cp>On Monday, \u003cem>The New York Times\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/06/11/arts/design/agnes-gund-sells-a-lichtenstein-to-start-criminal-justice-fund.html\" target=\"_blank\" rel=\"noopener\">confirmed\u003c/a> that the sale was real, noting that the painting becomes one of the 15 most expensive pieces of art known to have been sold. And the newspaper \u003ca href=\"https://www.nytimes.com/2017/06/11/arts/design/agnes-gund-sells-a-lichtenstein-to-start-criminal-justice-fund.html\" target=\"_blank\" rel=\"noopener\">revealed\u003c/a> that Gund sold the piece “for a specific purpose: to create a fund that supports criminal justice reform and seeks to reduce mass incarceration in the United States.”\u003c/p>\n\u003cp>Gund is urging other wealthy art collectors to sell prized pieces to support the effort, NPR’s Elizabeth Blair reports.\u003c/p>\n\u003cp>“Gund says $100 million from that sale will go to the new Art For Justice Fund, described as a ‘movement to end mass incarceration,’ ” Elizabeth says. “Other collectors have also promised gifts of art or donations to the fund, which is being managed by Rockefeller Philanthropy Partners and the Ford Foundation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“According to a statement, the fund will support efforts to cut the prison population and strengthen programs to help people when they leave prison,” Elizabeth reports.\u003c/p>\n\u003cp>The\u003cem> Times,\u003c/em> which interviewed Gund, described what inspired the collector to start the initiative:\u003c/p>\n\u003cblockquote>\n\u003cp>“Six of Ms. Gund’s 12 grandchildren are African-American, and she has worried about their future as they’ve matured, particularly in light of shootings of black teenagers like Trayvon Martin in Florida.\u003c/p>\n\u003cp>” ‘I have always had an extreme sensitivity to inequality,’ Ms. Gund said.\u003c/p>\n\u003cp data-para-count=\"253\" data-total-count=\"3943\">“She added that she was also deeply affected by Michelle Alexander’s 2010 book, ‘\u003ca href=\"http://www.nytimes.com/2012/03/07/books/michelle-alexanders-new-jim-crow-raises-drug-law-debates.html\" target=\"_blank\" rel=\"noopener\">The New Jim Crow: Mass Incarceration in the Age of Colorblindness,\u003c/a>‘ and by Ava DuVernay’s 2016 documentary, \u003ca href=\"https://www.nytimes.com/2016/10/06/movies/ava-duvernay-13th-on-modern-slavery-in-america.html?_r=0\" target=\"_blank\" rel=\"noopener\">’13th,’ about African-Americans in the prison system.\u003c/a>”\u003c/p>\n\u003c/blockquote>\n\u003cp data-para-count=\"253\" data-total-count=\"3943\">“The criminal justice system in its current state — particularly in its treatment of people of color — is unfair and unjust,” Gund said in a statement from the Ford Foundation.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp data-para-count=\"253\" data-total-count=\"3943\">The fund will issue grants to groups and individuals working on issues of criminal justice reform. \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=Art+Collector+Sells+A+Lichtenstein+For+%24165+Million+To+Fund+Criminal+Justice+Reform&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Delta, BofA Drop Support For 'Julius Caesar' That Looks Too Much Like Trump",
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"content": "\u003cp>Two major corporate sponsors have pulled their support for a New York City production of \u003cem>Julius Caesar. \u003c/em>At issue: The titular role has an unmistakably Trumpian air. And, um, spoiler alert: He gets assassinated.\u003c/p>\n\u003cp>The Julius Caesar in the The Public Theater’s production “has blond hair, a fondness for long ties and a fashionable wife who speaks with a Slavic accent,” as NPR’s Jeff Lunden reports. Conspirators stab him to death on stage, making for some \u003ca href=\"http://www.npr.org/2017/05/31/530799564/kathy-griffin-apologizes-for-disturbing-depiction-of-trumps-head\">Kathy Griffin-like gore\u003c/a>.\u003c/p>\n\u003cp>In the funeral scene, according to a review in the \u003cem>\u003ca href=\"https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwimv66r67jUAhVGKWMKHfsjC00QFggoMAA&url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F06%2F09%2Ftheater%2Freview-julius-caesar-delacorte-theater-donald-trump.html&usg=AFQjCNEzdtUkt6ymWQQjCYbZ8pzPfRu96A&sig2=rJ51KPuoTF5tWmC2b6a_2w\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em>, “Marc Antony exposes not just Caesar’s sliced-up garment, as Shakespeare indicates, but also his bare, wound-ripped flesh.”\u003c/p>\n\u003cp>Delta and Bank of America both pulled their sponsorship over the production, which has been the target of criticism in recent days from right-leaning outlets such as \u003ca href=\"http://www.breitbart.com/big-hollywood/2017/06/06/trump-stabbed-death-central-park-performance-julius-caesar/\">Breitbart\u003c/a> and \u003ca href=\"http://insider.foxnews.com/2017/06/11/donald-trump-julius-caesar-stabbed-death-women-minorities-shakespeare-central-park\">Fox News\u003c/a>, as well as from President Trump’s son Donald Trump Jr.\u003c/p>\n\u003cp>https://twitter.com/DonaldJTrumpJr/status/873916847191724033\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“No matter what your political stance may be, the graphic staging of \u003cem>Julius Caesar\u003c/em> at this summer’s Free Shakespeare in the Park does not reflect Delta Air Lines’ values,” Delta \u003ca href=\"http://deadline.com/2017/06/delta-airlines-ends-sponsorship-of-public-theater-over-trump-like-julius-caesar-assassination-in-central-park-report-1202111395/\">said in a statement\u003c/a> to Deadline Hollywood.\u003c/p>\n\u003cp>“Their artistic and creative direction crossed the line on the standards of good taste. We have notified them of our decision to end our sponsorship as the official airline of The Public Theater effective immediately.”\u003c/p>\n\u003cp>Bank of America also terminated support for the production, though it will continue its relationship with the theater. “The Public Theater chose to present \u003cem>Julius Caesar\u003c/em> in a way that was intended to provoke and offend,” the bank said in a statement to Deadline. “Had this intention been made known to us, we would have decided not to sponsor it.”\u003c/p>\n\u003cp>\u003cem>The New York Times’\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/06/09/theater/review-julius-caesar-delacorte-theater-donald-trump.html\">review\u003c/a> says the play “takes onstage Trump-trolling to a startling new level.”\u003c/p>\n\u003cp>On Sunday, Donald Trump Jr. \u003ca href=\"https://twitter.com/DonaldJTrumpJr/status/873916847191724033?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F06%2F11%2Farts%2Fdelta-airline-trump-public-theater-julius-ceasar.html\">tweeted\u003c/a> a link to a Fox News story that described the production this way: “A New York City play appears to depict President Trump being brutally stabbed to death by women and minorities.”\u003c/p>\n\u003cp>Pointing to the play’s complex characters and consequences, the production’s director, Oskar Eustis, \u003ca href=\"https://www.publictheater.org/Tickets/Calendar/PlayDetailsCollection/SITP/Julius-Caesar/\">wrote\u003c/a> on the theater’s website, “Julius Caesar can be read as a warning parable to those who try to fight for democracy by undemocratic means. To fight the tyrant does not mean imitating him.”\u003c/p>\n\u003cp>It’s not unusual for productions of very old plays to use modern dress and current political references. A 2012 New York production of \u003cem>Julius Caesar\u003c/em> by The Acting Company was set “at our precise historical moment, in Obama’s Washington, D.C. The capital is rocked by ‘Occupy Rome’ protests,” \u003ca href=\"http://www.theamericanconservative.com/shakesblog/obamas-ides-of-march/\">wrote\u003c/a> Noah Hillman in \u003cem>The American Conservative\u003c/em>, noting that this Caesar was “a tall, charismatic African-American politician; he doesn’t look or sound much like Obama (he more closely recalls Michael Jordan), but the audience is unquestionably going to read him as an Obama stand-in nonetheless.”\u003c/p>\n\u003cp>Gregg Henry, who plays Caesar in the Public Theatre production, made the Trump connection overt. “I have great costumes and wigs that show you that this could be Trump. But I’m also trying to bring in the larger knowledge of tyrants,” he \u003ca href=\"https://www.backstage.com/interview/shakespeare-parks-gregg-henry-playing-very-trumpian-julius-caesar/\">told\u003c/a> \u003cem>Backstage\u003c/em>. “Hopefully, I’m able to sort of show what’s happening with this president, tweak this president for kind of what he is in a lot of ways and also show the dangers of dealing with a tyrant or possible tyrant in our country.”\u003c/p>\n\u003cp>As anyone who knows the play can attest, the killing of Caesar is complicated, and the tragedy has no clear protagonist.\u003c/p>\n\u003cp>“This puts the moral burden where I imagine Mr. Eustis wants it: on the audience,” the \u003cem>Times\u003c/em> wrote in its review. “We are asked to consider how far citizens may go in removing a destructive leader, and we are warned about unforeseen consequences. Dressing Caesar as Trump gives that agenda its juice but leaves the production a bit desiccated and incoherent thereafter. To be fair, this is a problem built into the play, which like all of Shakespeare’s tragedies begins with astonishing rhetoric and ends as an abattoir.”\u003c/p>\n\u003cp>But for Eustis, \u003cem>Caesar\u003c/em>’s ambiguity is a defining factor:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Julius Caesar\u003c/em> is about how fragile democracy is. The institutions that we have grown up with, that we have inherited from the struggle of many generations of our ancestors, can be swept away in no time at all. The difficulty in determining the protagonist of \u003cem>Julius Caesar\u003c/em> — there are at least four credible candidates – is not a formal weakness of the play, but rather essential to its structure. When history is happening, when the ground is slipping away under us and all that is solid melts into air, leadership is as transitory and flawed as the times.”\u003c/p>\n\u003cp>…\u003c/p>\n\u003cp>“And in case you were wondering: no, we didn’t write any new lines. It’s all Shakespeare.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The production, which has been in previews since May 23, opens Monday night. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>\u003c/em>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Delta%2C+BofA+Drop+Support+For+%27Julius+Caesar%27+That+Looks+Too+Much+Like+Trump&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Two major corporate sponsors have pulled their support for a New York City production of \u003cem>Julius Caesar. \u003c/em>At issue: The titular role has an unmistakably Trumpian air. And, um, spoiler alert: He gets assassinated.\u003c/p>\n\u003cp>The Julius Caesar in the The Public Theater’s production “has blond hair, a fondness for long ties and a fashionable wife who speaks with a Slavic accent,” as NPR’s Jeff Lunden reports. Conspirators stab him to death on stage, making for some \u003ca href=\"http://www.npr.org/2017/05/31/530799564/kathy-griffin-apologizes-for-disturbing-depiction-of-trumps-head\">Kathy Griffin-like gore\u003c/a>.\u003c/p>\n\u003cp>In the funeral scene, according to a review in the \u003cem>\u003ca href=\"https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=1&cad=rja&uact=8&ved=0ahUKEwimv66r67jUAhVGKWMKHfsjC00QFggoMAA&url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F06%2F09%2Ftheater%2Freview-julius-caesar-delacorte-theater-donald-trump.html&usg=AFQjCNEzdtUkt6ymWQQjCYbZ8pzPfRu96A&sig2=rJ51KPuoTF5tWmC2b6a_2w\" target=\"_blank\" rel=\"noopener\">New York Times\u003c/a>\u003c/em>, “Marc Antony exposes not just Caesar’s sliced-up garment, as Shakespeare indicates, but also his bare, wound-ripped flesh.”\u003c/p>\n\u003cp>Delta and Bank of America both pulled their sponsorship over the production, which has been the target of criticism in recent days from right-leaning outlets such as \u003ca href=\"http://www.breitbart.com/big-hollywood/2017/06/06/trump-stabbed-death-central-park-performance-julius-caesar/\">Breitbart\u003c/a> and \u003ca href=\"http://insider.foxnews.com/2017/06/11/donald-trump-julius-caesar-stabbed-death-women-minorities-shakespeare-central-park\">Fox News\u003c/a>, as well as from President Trump’s son Donald Trump Jr.\u003c/p>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“No matter what your political stance may be, the graphic staging of \u003cem>Julius Caesar\u003c/em> at this summer’s Free Shakespeare in the Park does not reflect Delta Air Lines’ values,” Delta \u003ca href=\"http://deadline.com/2017/06/delta-airlines-ends-sponsorship-of-public-theater-over-trump-like-julius-caesar-assassination-in-central-park-report-1202111395/\">said in a statement\u003c/a> to Deadline Hollywood.\u003c/p>\n\u003cp>“Their artistic and creative direction crossed the line on the standards of good taste. We have notified them of our decision to end our sponsorship as the official airline of The Public Theater effective immediately.”\u003c/p>\n\u003cp>Bank of America also terminated support for the production, though it will continue its relationship with the theater. “The Public Theater chose to present \u003cem>Julius Caesar\u003c/em> in a way that was intended to provoke and offend,” the bank said in a statement to Deadline. “Had this intention been made known to us, we would have decided not to sponsor it.”\u003c/p>\n\u003cp>\u003cem>The New York Times’\u003c/em> \u003ca href=\"https://www.nytimes.com/2017/06/09/theater/review-julius-caesar-delacorte-theater-donald-trump.html\">review\u003c/a> says the play “takes onstage Trump-trolling to a startling new level.”\u003c/p>\n\u003cp>On Sunday, Donald Trump Jr. \u003ca href=\"https://twitter.com/DonaldJTrumpJr/status/873916847191724033?ref_src=twsrc%5Etfw&ref_url=https%3A%2F%2Fwww.nytimes.com%2F2017%2F06%2F11%2Farts%2Fdelta-airline-trump-public-theater-julius-ceasar.html\">tweeted\u003c/a> a link to a Fox News story that described the production this way: “A New York City play appears to depict President Trump being brutally stabbed to death by women and minorities.”\u003c/p>\n\u003cp>Pointing to the play’s complex characters and consequences, the production’s director, Oskar Eustis, \u003ca href=\"https://www.publictheater.org/Tickets/Calendar/PlayDetailsCollection/SITP/Julius-Caesar/\">wrote\u003c/a> on the theater’s website, “Julius Caesar can be read as a warning parable to those who try to fight for democracy by undemocratic means. To fight the tyrant does not mean imitating him.”\u003c/p>\n\u003cp>It’s not unusual for productions of very old plays to use modern dress and current political references. A 2012 New York production of \u003cem>Julius Caesar\u003c/em> by The Acting Company was set “at our precise historical moment, in Obama’s Washington, D.C. The capital is rocked by ‘Occupy Rome’ protests,” \u003ca href=\"http://www.theamericanconservative.com/shakesblog/obamas-ides-of-march/\">wrote\u003c/a> Noah Hillman in \u003cem>The American Conservative\u003c/em>, noting that this Caesar was “a tall, charismatic African-American politician; he doesn’t look or sound much like Obama (he more closely recalls Michael Jordan), but the audience is unquestionably going to read him as an Obama stand-in nonetheless.”\u003c/p>\n\u003cp>Gregg Henry, who plays Caesar in the Public Theatre production, made the Trump connection overt. “I have great costumes and wigs that show you that this could be Trump. But I’m also trying to bring in the larger knowledge of tyrants,” he \u003ca href=\"https://www.backstage.com/interview/shakespeare-parks-gregg-henry-playing-very-trumpian-julius-caesar/\">told\u003c/a> \u003cem>Backstage\u003c/em>. “Hopefully, I’m able to sort of show what’s happening with this president, tweak this president for kind of what he is in a lot of ways and also show the dangers of dealing with a tyrant or possible tyrant in our country.”\u003c/p>\n\u003cp>As anyone who knows the play can attest, the killing of Caesar is complicated, and the tragedy has no clear protagonist.\u003c/p>\n\u003cp>“This puts the moral burden where I imagine Mr. Eustis wants it: on the audience,” the \u003cem>Times\u003c/em> wrote in its review. “We are asked to consider how far citizens may go in removing a destructive leader, and we are warned about unforeseen consequences. Dressing Caesar as Trump gives that agenda its juice but leaves the production a bit desiccated and incoherent thereafter. To be fair, this is a problem built into the play, which like all of Shakespeare’s tragedies begins with astonishing rhetoric and ends as an abattoir.”\u003c/p>\n\u003cp>But for Eustis, \u003cem>Caesar\u003c/em>’s ambiguity is a defining factor:\u003c/p>\n\u003cblockquote>\n\u003cp>“\u003cem>Julius Caesar\u003c/em> is about how fragile democracy is. The institutions that we have grown up with, that we have inherited from the struggle of many generations of our ancestors, can be swept away in no time at all. The difficulty in determining the protagonist of \u003cem>Julius Caesar\u003c/em> — there are at least four credible candidates – is not a formal weakness of the play, but rather essential to its structure. When history is happening, when the ground is slipping away under us and all that is solid melts into air, leadership is as transitory and flawed as the times.”\u003c/p>\n\u003cp>…\u003c/p>\n\u003cp>“And in case you were wondering: no, we didn’t write any new lines. It’s all Shakespeare.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003c/p>\n\u003cp>The production, which has been in previews since May 23, opens Monday night. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2017 \u003ca href=\"http://www.npr.org/\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>\u003c/em>. \u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Delta%2C+BofA+Drop+Support+For+%27Julius+Caesar%27+That+Looks+Too+Much+Like+Trump&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Adam West, Who Played the Dark Knight at His Brightest, Dies at 88",
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"content": "\u003cp>Adam West, the actor behind one of the most beloved and enduring renditions of Batman, died Friday night at the age of 88. For much of the 1960s, West donned the black mask of the caped crusader, playing the role as a plucky, intrepid hero for television.\u003c/p>\n\u003cp>“Adam West passed away peacefully last night after a short but brave battle with leukemia,” his family writes \u003ca href=\"https://www.facebook.com/adamwest/photos/a.402121738023.180342.230082868023/10155457584468024/?type=3\">in a Facebook post\u003c/a>. “He was a beloved father, husband, grandfather, and great-grandfather. There are no words to describe how much we’ll miss him.”\u003c/p>\n\u003cp>\u003cem>This post will be updated.\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=Adam+West%2C+Who+Played+The+Dark+Knight+At+His+Brightest%2C+Dies+At+88&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>There’s a classic moment in the romantic thriller \u003cem>Charade\u003c/em>, when Audrey Hepburn says to Cary Grant in exasperation, “Do you know what’s the matter with you? … Nothing.”\u003c/p>\n\u003cp>For decades, the whole world felt the same. Grant’s unrivaled blend of charm, good looks and silliness — he hadn’t a shred of pomposity or elitism — made him a movie star everyone loved. Everyone, that is, except Archie Leach, the actor’s real-life self who wrote that he’d spent years cautiously peering from behind the face of a man known as Cary Grant.\u003c/p>\n\u003cp>The journey from Archie to Cary is the subject of Mark Kidel’s enjoyable documentary, \u003cem>Becoming Cary Grant\u003c/em>. Weaving together the actor’s private home movies, excerpts from his unpublished writings and terrific clips from his Hollywood work, this Showtime film tells the story of an arduous act of self-invention.\u003c/p>\n\u003cp>Archie was born in working-class Bristol, England to a dapper, unreliable father and a hyper-ambitious mother, Elsie, who was ravaged by inner demons. When Archie was 11, he came home one day to find his mother gone — he wouldn’t learn why for 20 years.\u003c/p>\n\u003cp>In short order, the poor kid was shunted off to live with his grandparents. Small wonder that, seeing a performance by a group of acrobats, he was smitten by their free and confident lives. At 14, he joined their troupe — hence his famous physical grace, even in pratfalls.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Archie traveled with the company to New York, and when they went home, this dashing 18 year old stayed behind to work in vaudeville and in musical theater.\u003c/p>\n\u003cp>Despite a disastrously hammy first screen test — which Kidel shows us — he eventually found his way to Hollywood. There, a second screen test proved successful enough that he was ordered to change his name. He then became Cary Grant.\u003c/p>\n\u003cp>Even so, it took him several years and 28 movies until, in a brilliant screwball comedy called \u003cem>The Awful Truth\u003c/em>, he discovered how to capture — and radiate — the \u003cem>ease\u003c/em> that we think of as Cary Grant-ness. Once he did, he starred in some of the greatest movies ever, including \u003cem>Holiday\u003c/em>, \u003cem>Only Angels Have Wings\u003c/em>, \u003cem>Bringing Up Baby\u003c/em>, \u003cem>His Girl Friday\u003c/em>, \u003cem>Notorious\u003c/em> and \u003cem>North by Northwest\u003c/em>. I wouldn’t swap those six for the whole careers of Marlon Brando \u003cem>and\u003c/em> James Dean.\u003c/p>\n\u003cp>On screen, Grant always knew how to talk — and listen — to women. Off-screen, he messed up several marriages. Beneath his debonair facade, he was lonely, insecure and haunted by fears of being abandoned. \u003cem>\u003c/em>\u003c/p>\n\u003cp>It wasn’t until his 50s that he began finding peace — when a doctor began giving him LSD. Taking a \u003cem>hundred\u003c/em> trips, Grant confronted his past and learned how his mother’s abandonment had tainted his relationships with all women. He also began glimpsing a road to inner happiness. All of which makes Grant a better advertisement for dropping acid than anything Timothy Leary ever did.\u003c/p>\n\u003cp>Now, it’s not surprising that Grant was torn by personal wounds and a yearning for love. That’s common with stars. Even John Wayne spent his whole life trying, and failing, to win his mother’s affection. But Grant’s story is striking by the breadth of the chasm between his wounded inner self and his seductive persona that was attentive, buoyant and up for anything.\u003c/p>\n\u003cp>The best moments of \u003cem>Becoming Cary Grant\u003c/em> show how the Archie-Cary duality gave him an enthralling elusiveness on-screen. He was a layered actor whose provenance was neither English nor American, whose light touch could veer into darkness and whose work, as critic David Thomson shrewdly tells Kidel, played with the ambiguities of gender. No male star of his stature ever donned so many women’s clothes.\u003c/p>\n\u003cp>In the end, Grant was and remains the supreme incarnation of what I always think of as “The Movies,” a vanished form of collective dream in which people went to the movie palace to sink into a world more glamorous and exciting than their own. In this world, artificial surfaces gave rise to genuine feelings, and stars taught you how to act with grace, style and high spirits.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Grant’s image was possibly the most glorious dream of them all, and as this documentary makes clear, he knew it. When an interviewer once told him, “\u003cem>Everyone\u003c/em> would like to be Cary Grant,” he replied, “\u003cem>I’d\u003c/em> like to be Cary Grant, too.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Becoming+Cary+Grant%27+Reveals+The+Self-Invention+Of+A+Hollywood+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There’s a classic moment in the romantic thriller \u003cem>Charade\u003c/em>, when Audrey Hepburn says to Cary Grant in exasperation, “Do you know what’s the matter with you? … Nothing.”\u003c/p>\n\u003cp>For decades, the whole world felt the same. Grant’s unrivaled blend of charm, good looks and silliness — he hadn’t a shred of pomposity or elitism — made him a movie star everyone loved. Everyone, that is, except Archie Leach, the actor’s real-life self who wrote that he’d spent years cautiously peering from behind the face of a man known as Cary Grant.\u003c/p>\n\u003cp>The journey from Archie to Cary is the subject of Mark Kidel’s enjoyable documentary, \u003cem>Becoming Cary Grant\u003c/em>. Weaving together the actor’s private home movies, excerpts from his unpublished writings and terrific clips from his Hollywood work, this Showtime film tells the story of an arduous act of self-invention.\u003c/p>\n\u003cp>Archie was born in working-class Bristol, England to a dapper, unreliable father and a hyper-ambitious mother, Elsie, who was ravaged by inner demons. When Archie was 11, he came home one day to find his mother gone — he wouldn’t learn why for 20 years.\u003c/p>\n\u003cp>In short order, the poor kid was shunted off to live with his grandparents. Small wonder that, seeing a performance by a group of acrobats, he was smitten by their free and confident lives. At 14, he joined their troupe — hence his famous physical grace, even in pratfalls.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Archie traveled with the company to New York, and when they went home, this dashing 18 year old stayed behind to work in vaudeville and in musical theater.\u003c/p>\n\u003cp>Despite a disastrously hammy first screen test — which Kidel shows us — he eventually found his way to Hollywood. There, a second screen test proved successful enough that he was ordered to change his name. He then became Cary Grant.\u003c/p>\n\u003cp>Even so, it took him several years and 28 movies until, in a brilliant screwball comedy called \u003cem>The Awful Truth\u003c/em>, he discovered how to capture — and radiate — the \u003cem>ease\u003c/em> that we think of as Cary Grant-ness. Once he did, he starred in some of the greatest movies ever, including \u003cem>Holiday\u003c/em>, \u003cem>Only Angels Have Wings\u003c/em>, \u003cem>Bringing Up Baby\u003c/em>, \u003cem>His Girl Friday\u003c/em>, \u003cem>Notorious\u003c/em> and \u003cem>North by Northwest\u003c/em>. I wouldn’t swap those six for the whole careers of Marlon Brando \u003cem>and\u003c/em> James Dean.\u003c/p>\n\u003cp>On screen, Grant always knew how to talk — and listen — to women. Off-screen, he messed up several marriages. Beneath his debonair facade, he was lonely, insecure and haunted by fears of being abandoned. \u003cem>\u003c/em>\u003c/p>\n\u003cp>It wasn’t until his 50s that he began finding peace — when a doctor began giving him LSD. Taking a \u003cem>hundred\u003c/em> trips, Grant confronted his past and learned how his mother’s abandonment had tainted his relationships with all women. He also began glimpsing a road to inner happiness. All of which makes Grant a better advertisement for dropping acid than anything Timothy Leary ever did.\u003c/p>\n\u003cp>Now, it’s not surprising that Grant was torn by personal wounds and a yearning for love. That’s common with stars. Even John Wayne spent his whole life trying, and failing, to win his mother’s affection. But Grant’s story is striking by the breadth of the chasm between his wounded inner self and his seductive persona that was attentive, buoyant and up for anything.\u003c/p>\n\u003cp>The best moments of \u003cem>Becoming Cary Grant\u003c/em> show how the Archie-Cary duality gave him an enthralling elusiveness on-screen. He was a layered actor whose provenance was neither English nor American, whose light touch could veer into darkness and whose work, as critic David Thomson shrewdly tells Kidel, played with the ambiguities of gender. No male star of his stature ever donned so many women’s clothes.\u003c/p>\n\u003cp>In the end, Grant was and remains the supreme incarnation of what I always think of as “The Movies,” a vanished form of collective dream in which people went to the movie palace to sink into a world more glamorous and exciting than their own. In this world, artificial surfaces gave rise to genuine feelings, and stars taught you how to act with grace, style and high spirits.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Grant’s image was possibly the most glorious dream of them all, and as this documentary makes clear, he knew it. When an interviewer once told him, “\u003cem>Everyone\u003c/em> would like to be Cary Grant,” he replied, “\u003cem>I’d\u003c/em> like to be Cary Grant, too.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Becoming+Cary+Grant%27+Reveals+The+Self-Invention+Of+A+Hollywood+Icon&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Site Of Woodstock Added To National Registry Of Historic Places",
"headTitle": "Site Of Woodstock Added To National Registry Of Historic Places | KQED",
"content": "\u003cp>The Bethel Woods Center for the Arts, the site of the Woodstock music festival in 1969, has been added to the National Register of Historic Places, according to an announcement on \u003ca href=\"http://www.bethelwoodscenter.org\" target=\"_blank\" rel=\"noopener\">its website\u003c/a>. The news was first reported \u003ca href=\"http://hosted.ap.org/dynamic/stories/U/US_WOODSTOCK_NATIONAL_REGISTER?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT&CTIME=2017-06-07-00-08-06\" target=\"_blank\" rel=\"noopener\">by the Associated Press\u003c/a>.\u003c/p>\n\u003cp>Bethel Woods, which was a farm when half a million people trekked to upstate New York for the festival that created its legend, includes an 800-acre “campus” with a museum, a 15,000-seat amphitheater, a smaller gallery space and arts conservatory which opened in June 2008 following a $100 million investment. The onetime “Aquarian Exposition” now takes as its mission educating people on the “issues and lessons” of that turbulent decade which was both culminated and dispatched by that mid-August, rain-flecked, three-day celebration of peace and love. (For what it’s worth, the next music event scheduled to take place there is \u003ca href=\"http://www.bethelwoodscenter.org/events/detail/trainoar\" target=\"_blank\" rel=\"noopener\">a show\u003c/a> from Train, O.A.R. and Natasha Bedingfield.)\u003c/p>\n\u003cp>Being placed on the National Register requires meeting a fairly predictable set of \u003ca href=\"https://www.nps.gov/nr/publications/bulletins/nrb15/nrb15_2.htm\" target=\"_blank\" rel=\"noopener\">criteria\u003c/a>, and confers on spaces tax breaks for rehabilitation and special consideration for federal preservation money as well as federal construction projects. (You have to \u003ca href=\"https://www.nps.gov/nr/faq.htm\" target=\"_blank\" rel=\"noopener\">buy your own plaque\u003c/a>, however.)\u003c/p>\n\u003cp>The certification by the National Register comes on the eve of the 50th anniversary of the Summer of Love, the confluence of the hippie movement in San Francisco which cemented the countercultural wave in the minds of more mainstream observers that took place two years prior to Woodstock. (The Summer of Love and Woodstock were both inspired and presaged by the Monterey Pop Festival, held in June 1967, which featured many of the same artists as Woodstock on its lineup: Jimi Hendrix, The Who, The Grateful Dead, Jefferson Airplane and many others.)\u003c/p>\n\u003cp>The Bethel Center’s museum, for its part, is hosting an exhibition, “Love For Sale,” which examines commercialization of that counterculture, already well underway by the time the first chord was played at Woodstock. “The counterculture was now everywhere,” the \u003ca href=\"http://www.bethelwoodscenter.org/events/detail/loveforsale\" target=\"_blank\" rel=\"noopener\">museum writes\u003c/a>, “and Madison Avenue embraced the slogans, motifs, and attitudes of the movement to sell cars, soft drinks, fashion, and lifestyles to Main Street.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That co-option may have been fully predictable, if history was taken as a guide. “What we kids didn’t understand was that we were living in a commercial, commodity culture,” the influential cartoonist R. Crumb, a quiet superstar of the ’60s and creator of many indelible illustrations from the time, wrote in his autobiographical work \u003cem>The R. Crumb Handbook\u003c/em>. “Everything in our environment had been bought and sold. As middle-class Americans, we basically grew up on a movie set. The conscious values that are pushed are only part of the picture. The medium itself plays a much bigger part than anyone realizes: the creation of illusion. We are living surrounded by illusion, by professionally created fairy tales. We barely have contact with the real world.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Site+Of+Woodstock+Added+To+National+Registry+Of+Historic+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Bethel Woods Center for the Arts, the site of the Woodstock music festival in 1969, has been added to the National Register of Historic Places, according to an announcement on \u003ca href=\"http://www.bethelwoodscenter.org\" target=\"_blank\" rel=\"noopener\">its website\u003c/a>. The news was first reported \u003ca href=\"http://hosted.ap.org/dynamic/stories/U/US_WOODSTOCK_NATIONAL_REGISTER?SITE=AP&SECTION=HOME&TEMPLATE=DEFAULT&CTIME=2017-06-07-00-08-06\" target=\"_blank\" rel=\"noopener\">by the Associated Press\u003c/a>.\u003c/p>\n\u003cp>Bethel Woods, which was a farm when half a million people trekked to upstate New York for the festival that created its legend, includes an 800-acre “campus” with a museum, a 15,000-seat amphitheater, a smaller gallery space and arts conservatory which opened in June 2008 following a $100 million investment. The onetime “Aquarian Exposition” now takes as its mission educating people on the “issues and lessons” of that turbulent decade which was both culminated and dispatched by that mid-August, rain-flecked, three-day celebration of peace and love. (For what it’s worth, the next music event scheduled to take place there is \u003ca href=\"http://www.bethelwoodscenter.org/events/detail/trainoar\" target=\"_blank\" rel=\"noopener\">a show\u003c/a> from Train, O.A.R. and Natasha Bedingfield.)\u003c/p>\n\u003cp>Being placed on the National Register requires meeting a fairly predictable set of \u003ca href=\"https://www.nps.gov/nr/publications/bulletins/nrb15/nrb15_2.htm\" target=\"_blank\" rel=\"noopener\">criteria\u003c/a>, and confers on spaces tax breaks for rehabilitation and special consideration for federal preservation money as well as federal construction projects. (You have to \u003ca href=\"https://www.nps.gov/nr/faq.htm\" target=\"_blank\" rel=\"noopener\">buy your own plaque\u003c/a>, however.)\u003c/p>\n\u003cp>The certification by the National Register comes on the eve of the 50th anniversary of the Summer of Love, the confluence of the hippie movement in San Francisco which cemented the countercultural wave in the minds of more mainstream observers that took place two years prior to Woodstock. (The Summer of Love and Woodstock were both inspired and presaged by the Monterey Pop Festival, held in June 1967, which featured many of the same artists as Woodstock on its lineup: Jimi Hendrix, The Who, The Grateful Dead, Jefferson Airplane and many others.)\u003c/p>\n\u003cp>The Bethel Center’s museum, for its part, is hosting an exhibition, “Love For Sale,” which examines commercialization of that counterculture, already well underway by the time the first chord was played at Woodstock. “The counterculture was now everywhere,” the \u003ca href=\"http://www.bethelwoodscenter.org/events/detail/loveforsale\" target=\"_blank\" rel=\"noopener\">museum writes\u003c/a>, “and Madison Avenue embraced the slogans, motifs, and attitudes of the movement to sell cars, soft drinks, fashion, and lifestyles to Main Street.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That co-option may have been fully predictable, if history was taken as a guide. “What we kids didn’t understand was that we were living in a commercial, commodity culture,” the influential cartoonist R. Crumb, a quiet superstar of the ’60s and creator of many indelible illustrations from the time, wrote in his autobiographical work \u003cem>The R. Crumb Handbook\u003c/em>. “Everything in our environment had been bought and sold. As middle-class Americans, we basically grew up on a movie set. The conscious values that are pushed are only part of the picture. The medium itself plays a much bigger part than anyone realizes: the creation of illusion. We are living surrounded by illusion, by professionally created fairy tales. We barely have contact with the real world.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Site+Of+Woodstock+Added+To+National+Registry+Of+Historic+Places&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"radiolab": {
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},
"rightnowish": {
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"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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"soldout": {
"id": "soldout",
"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
"info": "Sold Out: Rethinking Housing in America",
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