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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Visitors found a noose Wednesday at an exhibition on segregation at the National Museum of African American History and Culture in Washington, D.C. — the second time in less than a week that a noose was found on Smithsonian grounds.\u003c/p>\n\u003cp>The incident “is a painful reminder of the challenges that African-Americans continue to face,” the museum’s founding director, Lonnie Bunch, said in a \u003ca href=\"https://twitter.com/NMAAHC/status/870044676967084033\">statement\u003c/a>. “The noose has long represented a deplorable act of cowardice and depravity — a symbol of extreme violence for African-Americans.”\u003c/p>\n\u003cp>David Skorton, secretary of the Smithsonian Institution, condemned what he called an “act of hatred and intolerance, especially repugnant in a museum that affirms and celebrates the American values of inclusion and diversity.” In the institutionwide email reported by \u003cem>Smithsonian\u003c/em> magazine, Skorton \u003ca href=\"http://www.smithsonianmag.com/smithsonian-institution/noose-found-national-museum-african-american-history-and-culture-180963519/\" target=\"_blank\" rel=\"noopener\">added\u003c/a>, “We will not be intimidated.”\u003c/p>\n\u003cp>After U.S. Park Police came to investigate the incident, they removed the noose and the exhibition reopened within a few hours, the\u003cem> \u003c/em>magazine reports.\u003c/p>\n\u003cp>The police did not respond to NPR’s request for comment about the ongoing investigation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Five days earlier, police found a noose hanging from a tree near the Hirshhorn Museum, less than a mile away.\u003c/p>\n\u003cp>The Southern Poverty Law Center tracks hate incidents and says they’re on the rise.\u003c/p>\n\u003cp>In mid-May, two 19-year-old men were arrested and charged in connection with a noose found hanging in front of a middle school in Crofton, Md., \u003ca href=\"https://www.washingtonpost.com/local/public-safety/two-md-men-charged-charges-after-noose-found-at-md-middle-school/2017/05/12/d501888e-3765-11e7-b4ee-434b6d506b37_story.html?utm_term=.bcd04660f6b8\" target=\"_blank\" rel=\"noopener\">reports The Washington Post\u003c/a>.\u003c/p>\n\u003cp>And \u003ca href=\"http://sanfrancisco.cbslocal.com/2017/05/25/port-oakland-longshoremen-walkout-over-nooses/\" target=\"_blank\" rel=\"noopener\">KPIX News\u003c/a> says longshoremen walked off the job for a few hours on May 25 at the Port of Oakland in California, after nooses were found there a few weeks earlier.\u003c/p>\n\u003cp>“We’ve never had reports like this ever,” says Southern Poverty Law Center Spokesman Ryan Lenz. He tells NPR that hate incidents — including bomb threats to religious institutions, racist graffiti and white nationalist flyers — have spiked in the aftermath of the 2016 presidential election.\u003c/p>\n\u003cp>“We never counted them before because they were so staggered,” says Lenz.\u003c/p>\n\u003cp>In the three months between Election Day and first week of February, the center has \u003ca href=\"https://www.splcenter.org/hatewatch/2017/02/10/post-election-bias-incidents-1372-new-collaboration-propublica\">tracked\u003c/a> more than 1,300 reports of bias incidents.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We are in a moment where hate and extremism have been legitimized in the public sphere,” says Lenz. “During times like this, it is more important than ever for individual citizens across the country to voice their opposition to the acceptance of this behavior as standard operating procedure.” \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=2nd+Noose+Found+In+D.C.%2C+This+Time+At+African-American+History+Museum+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "For a Few Hours, a Sculpted Dog was Urinating on the 'Fearless Girl'",
"headTitle": "For a Few Hours, a Sculpted Dog was Urinating on the ‘Fearless Girl’ | KQED",
"content": "\u003cp>For a few hours Monday, the bitter face-off between a bull and a girl in New York City got a curious, four-legged interloper: a tiny pug, with one of those legs suggestively raised beside the girl’s leg. There was no urine, no caustic caption, but it was clear where the dog’s disdain was directed.\u003c/p>\n\u003cp>The statue’s placement by sculptor Alex Gardega marks an odd, if brief, digression in a contentious chapter that’s been unfolding off Wall Street for months. It was there that the financial district’s nearly three-decade-old \u003cem>Charging Bull\u003c/em> confronted a new arrival earlier this year: the statue of a defiant girl, hands placed firmly on hips and chin thrust forward against the bull’s implied threat.\u003c/p>\n\u003cp>The artist behind the bull, Arturo Di Modico, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/04/12/523592057/sculptor-of-wall-street-bull-says-fearless-girl-horns-in-on-his-work\" target=\"_blank\" rel=\"noopener\">has not appreciated\u003c/a> the installation of \u003cem>Fearless Girl\u003c/em>, a work designed by Kristen Visbal and commissioned by an international investment firm State Street Global Advisors.\u003c/p>\n\u003cp>The firm says it intended the girl as a means to “to \u003ca href=\"https://www.ssga.com/global/en/our-insights/viewpoints/enhancing-gender-diversity-on-boards-emea.html\" target=\"_blank\" rel=\"noopener\">raise awareness and drive a conversation\u003c/a> around the need to improve gender diversity in corporate leadership roles.” Di Modico, however, feels the new statue mutates his long-celebrated bull into a villain for the sake of \u003ca href=\"http://www.marketwatch.com/story/wall-street-bull-artist-calls-bs-on-fearless-girl-statue-2017-03-20\" target=\"_blank\" rel=\"noopener\">“an advertising trick.”\u003c/a>\u003c/p>\n\u003cp>If his disdainful pug wasn’t indication enough, Gardega made clear to \u003ca href=\"http://www.nbcnewyork.com/news/local/Peeing-Dog-Statue-Takes-Aim-at-Fearless-Girl-Report-425226224.html\" target=\"_blank\" rel=\"noopener\">NBC News’ affiliate in New York\u003c/a> which side of the dispute he is on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I have a lot of empathy for the creator of the bull, Arturo,” Gardega told NBC on Tuesday. “I’m a pretty happy person, not seething or angry and certainly not anti-feminist. My piece is not without a sense of humor. There is plenty of room for \u003cem>Fearless Girl\u003c/em>; it just interferes with another artists work/vision.”\u003c/p>\n\u003cp>In an \u003ca href=\"http://nypost.com/2017/05/29/pissed-off-artist-adds-statue-of-urinating-dog-next-to-fearless-girl/\" target=\"_blank\" rel=\"noopener\">interview with the New York Post\u003c/a>, he called \u003cem>Fearless Girl\u003c/em> — which recently had its temporary permit renewed by the city through 2018 — “corporate nonsense.”\u003c/p>\n\u003cp>“It has nothing to do with feminism, and it is disrespect to the artist that made the bull,” he said.\u003c/p>\n\u003cp>Visbal did not immediately make a public comment about the dog’s placement.\u003c/p>\n\u003cp>If nothing else, Gardena’s pug joins a tradition of imposition established by the two statues it briefly came between: \u003cem>Fearless Girl\u003c/em> was set up overnight opposite the \u003cem>Charging Bull\u003c/em> against the wishes of Di Modico — who, in turn, initially set up his own bull overnight outside the New York Stock Exchange in the late 1980s, also against that institution’s wishes.\u003c/p>\n\u003cp>As one might imagine, though, the dog did little to ease the dispute. A quick glance at Twitter confirms the inflamed frustrations on either side.\u003c/p>\n\u003cp>At any rate, the little dog is gone now, picked up after several hours by Gardega since, as he tells NBC, he “certainly had no rights to bolt it to the ground.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The bitter face-off between Di Modica and the \u003cem>Fearless Girl\u003c/em>‘s many defenders, though — that remains standing as firmly as the two statues themselves. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=For+A+Few+Hours%2C+A+Sculpted+Dog+Was+Urinating+On+The+%27Fearless+Girl%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The statue of a defiant girl has confronted Wall Street's 'Charging Bull' for months, much to the chagrin of the bull's sculptor. Briefly Monday, another sculptor made clear which side he's on.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For a few hours Monday, the bitter face-off between a bull and a girl in New York City got a curious, four-legged interloper: a tiny pug, with one of those legs suggestively raised beside the girl’s leg. There was no urine, no caustic caption, but it was clear where the dog’s disdain was directed.\u003c/p>\n\u003cp>The statue’s placement by sculptor Alex Gardega marks an odd, if brief, digression in a contentious chapter that’s been unfolding off Wall Street for months. It was there that the financial district’s nearly three-decade-old \u003cem>Charging Bull\u003c/em> confronted a new arrival earlier this year: the statue of a defiant girl, hands placed firmly on hips and chin thrust forward against the bull’s implied threat.\u003c/p>\n\u003cp>The artist behind the bull, Arturo Di Modico, \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/04/12/523592057/sculptor-of-wall-street-bull-says-fearless-girl-horns-in-on-his-work\" target=\"_blank\" rel=\"noopener\">has not appreciated\u003c/a> the installation of \u003cem>Fearless Girl\u003c/em>, a work designed by Kristen Visbal and commissioned by an international investment firm State Street Global Advisors.\u003c/p>\n\u003cp>The firm says it intended the girl as a means to “to \u003ca href=\"https://www.ssga.com/global/en/our-insights/viewpoints/enhancing-gender-diversity-on-boards-emea.html\" target=\"_blank\" rel=\"noopener\">raise awareness and drive a conversation\u003c/a> around the need to improve gender diversity in corporate leadership roles.” Di Modico, however, feels the new statue mutates his long-celebrated bull into a villain for the sake of \u003ca href=\"http://www.marketwatch.com/story/wall-street-bull-artist-calls-bs-on-fearless-girl-statue-2017-03-20\" target=\"_blank\" rel=\"noopener\">“an advertising trick.”\u003c/a>\u003c/p>\n\u003cp>If his disdainful pug wasn’t indication enough, Gardega made clear to \u003ca href=\"http://www.nbcnewyork.com/news/local/Peeing-Dog-Statue-Takes-Aim-at-Fearless-Girl-Report-425226224.html\" target=\"_blank\" rel=\"noopener\">NBC News’ affiliate in New York\u003c/a> which side of the dispute he is on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I have a lot of empathy for the creator of the bull, Arturo,” Gardega told NBC on Tuesday. “I’m a pretty happy person, not seething or angry and certainly not anti-feminist. My piece is not without a sense of humor. There is plenty of room for \u003cem>Fearless Girl\u003c/em>; it just interferes with another artists work/vision.”\u003c/p>\n\u003cp>In an \u003ca href=\"http://nypost.com/2017/05/29/pissed-off-artist-adds-statue-of-urinating-dog-next-to-fearless-girl/\" target=\"_blank\" rel=\"noopener\">interview with the New York Post\u003c/a>, he called \u003cem>Fearless Girl\u003c/em> — which recently had its temporary permit renewed by the city through 2018 — “corporate nonsense.”\u003c/p>\n\u003cp>“It has nothing to do with feminism, and it is disrespect to the artist that made the bull,” he said.\u003c/p>\n\u003cp>Visbal did not immediately make a public comment about the dog’s placement.\u003c/p>\n\u003cp>If nothing else, Gardena’s pug joins a tradition of imposition established by the two statues it briefly came between: \u003cem>Fearless Girl\u003c/em> was set up overnight opposite the \u003cem>Charging Bull\u003c/em> against the wishes of Di Modico — who, in turn, initially set up his own bull overnight outside the New York Stock Exchange in the late 1980s, also against that institution’s wishes.\u003c/p>\n\u003cp>As one might imagine, though, the dog did little to ease the dispute. A quick glance at Twitter confirms the inflamed frustrations on either side.\u003c/p>\n\u003cp>At any rate, the little dog is gone now, picked up after several hours by Gardega since, as he tells NBC, he “certainly had no rights to bolt it to the ground.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The bitter face-off between Di Modica and the \u003cem>Fearless Girl\u003c/em>‘s many defenders, though — that remains standing as firmly as the two statues themselves. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=For+A+Few+Hours%2C+A+Sculpted+Dog+Was+Urinating+On+The+%27Fearless+Girl%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "How the U.S. Military Used Guns N' Roses to Make a Dictator Give Up",
"headTitle": "How the U.S. Military Used Guns N’ Roses to Make a Dictator Give Up | KQED",
"content": "\u003cp>The U.S. military invaded Panama in hot pursuit of the country’s dictator, Manuel Noriega, in December 1989. As he rapidly ran out of options, Noriega took refuge at the Vatican Embassy in Panama City.\u003c/p>\n\u003cp>In deference to diplomatic protocol, U.S. forces did not enter the embassy. But they did concoct a plan to smoke out Noriega, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/30/530666952/former-panamanian-dictator-manuel-noriega-dies-at-83\" target=\"_blank\" rel=\"noopener\">died Monday\u003c/a> at the age of 83. The plan involved music, mostly heavy metal and rock, with a few ballads thrown in. It was blasted on loud speakers, at deafening volumes, around the clock.\u003c/p>\n\u003cp>Here’s a small sampling of \u003ca href=\"http://www.rsvlts.com/2015/01/02/noriega-playlist/\" target=\"_blank\" rel=\"noopener\">the playlist\u003c/a> designed to send Noriega a musical message:\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=IeqtAB1WgEw\" target=\"_blank\" rel=\"noopener\">“Give It Up,”\u003c/a> by K.C. And The Sunshine Band, \u003ca href=\"https://www.youtube.com/watch?v=QM5_T0eNPrQ\" target=\"_blank\" rel=\"noopener\">“No More Mister Nice Guy,”\u003c/a> by Alice Cooper, and \u003ca href=\"https://www.youtube.com/watch?v=hkXHsK4AQPs\" target=\"_blank\" rel=\"noopener\">“Paranoid”\u003c/a> by Black Sabbath.\u003c/p>\n\u003cp>You get the drift.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=IeqtAB1WgEw\u003c/p>\n\u003cp>The U.S. military launched the operation on Dec. 20, 1989, to seize Noriega, who had once been a U.S. ally but was by this point wanted on drug trafficking charges. The U.S. military radio for Central America, known as the Southern Command Network, initially did what it always did — play requests from the troops.\u003c/p>\n\u003cp>Many of those requests were directed at Noriega. As U.S. Southern Command later noted in an \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/950206.htm\" target=\"_blank\" rel=\"noopener\">after-action report\u003c/a>:\u003c/p>\n\u003cp>“When the troops started coming in from the field, the requests became quite imaginative,” \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/DOC-PIC/950206_4.gif\" target=\"_blank\" rel=\"noopener\">it said in dry, military-speak\u003c/a>.\u003c/p>\n\u003cp>The favorites included \u003ca href=\"https://www.youtube.com/watch?v=o1tj2zJ2Wvg\" target=\"_blank\" rel=\"noopener\">“Welcome to the Jungle,”\u003c/a> by Guns N’ Roses, \u003ca href=\"bon%20jovi%20wanted%20dead%20or%20alive\" target=\"_blank\" rel=\"noopener\">“Wanted Dead Or Alive,”\u003c/a> by Bon Jovi, and \u003ca href=\"https://www.youtube.com/watch?v=JSUIQgEVDM4\" target=\"_blank\" rel=\"noopener\">“The End”\u003c/a> by The Doors.\u003c/p>\n\u003cp>After several days on the run, Noriega was allowed to enter the Vatican Embassy on Christmas Eve. And on Christmas Day, the radio station broadcast only Christmas music.\u003c/p>\n\u003cp>But with requests streaming in, the U.S. effort ramped up after the holiday.\u003c/p>\n\u003cp>On Dec. 27, “someone who identified himself as a member of the PSYOPS [Psychological Operations] team from Fort Bragg [N.C.] called to tell us what they were doing with their loud speakers,” \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/DOC-PIC/950206_4.gif\" target=\"_blank\" rel=\"noopener\">the military report said\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.theguardian.com/world/shortcuts/2017/may/30/noriega-panama-music-playlist\" target=\"_blank\" rel=\"noopener\">U.S. Gen. Maxwell “Mad Max” Thurman\u003c/a> had ordered speakers placed as a “musical barrier” around the perimeter of the Vatican Embassy and turned to full volume.\u003c/p>\n\u003cp>Noriega was reportedly partial to opera. What he got was \u003ca href=\"https://www.youtube.com/watch?v=w-NshzYK9y0\" target=\"_blank\" rel=\"noopener\">“Panama,”\u003c/a> from Van Halen, \u003ca href=\"https://www.youtube.com/watch?v=siwpn14IE7E\" target=\"_blank\" rel=\"noopener\">“Danger Zone,”\u003c/a> from Kenny Loggins, and \u003ca href=\"https://www.youtube.com/watch?v=fFnOfpIJL0M\" target=\"_blank\" rel=\"noopener\">“Refugee,”\u003c/a> courtesy of Tom Petty.\u003c/p>\n\u003cp>And remember, this was the ’80s. So the strongman also got an earful of Rick Astley’s \u003ca href=\"https://www.youtube.com/watch?v=dQw4w9WgXcQ\" target=\"_blank\" rel=\"noopener\">“Never Gonna Give You Up,”\u003c/a> though that may have been intended more for Noriega’s hosts at the embassy.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=dQw4w9WgXcQ\u003c/p>\n\u003cp>As the standoff dragged on for days, the playlist became part of the story.\u003c/p>\n\u003cp>Not everyone was happy with the military’s approach, including the White House, and the \u003ca href=\"http://www.bbc.com/news/world-latin-america-40090809\" target=\"_blank\" rel=\"noopener\">music was stopped after several days.\u003c/a> President George H.W. Bush’s national security adviser, Brent Scowcroft, said afterward that he thought the use of high-volume music was “undignified.”\u003c/p>\n\u003cp>On Jan. 3, 1990, Noriega surrendered to the U.S. forces, though not until after he’d been treated to a version of “\u003ca href=\"https://www.youtube.com/watch?v=AL8chWFuM-s\" target=\"_blank\" rel=\"noopener\">I Fought The Law\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Noriega was flown to Miami, tried and convicted of drug trafficking, and spent nearly two decades in U.S. prisons. \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=How+The+U.S.+Military+Used+Guns+N%27+Roses+To+Make+A+Dictator+Give+Up&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Panama's dictator, Manuel Noriega, surrendered to the invading U.S. military in 1989. He holed up at the Vatican Embassy, and gave up after being subjected to days of deafening music.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The U.S. military invaded Panama in hot pursuit of the country’s dictator, Manuel Noriega, in December 1989. As he rapidly ran out of options, Noriega took refuge at the Vatican Embassy in Panama City.\u003c/p>\n\u003cp>In deference to diplomatic protocol, U.S. forces did not enter the embassy. But they did concoct a plan to smoke out Noriega, who \u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/05/30/530666952/former-panamanian-dictator-manuel-noriega-dies-at-83\" target=\"_blank\" rel=\"noopener\">died Monday\u003c/a> at the age of 83. The plan involved music, mostly heavy metal and rock, with a few ballads thrown in. It was blasted on loud speakers, at deafening volumes, around the clock.\u003c/p>\n\u003cp>Here’s a small sampling of \u003ca href=\"http://www.rsvlts.com/2015/01/02/noriega-playlist/\" target=\"_blank\" rel=\"noopener\">the playlist\u003c/a> designed to send Noriega a musical message:\u003c/p>\n\u003cp>\u003ca href=\"https://www.youtube.com/watch?v=IeqtAB1WgEw\" target=\"_blank\" rel=\"noopener\">“Give It Up,”\u003c/a> by K.C. And The Sunshine Band, \u003ca href=\"https://www.youtube.com/watch?v=QM5_T0eNPrQ\" target=\"_blank\" rel=\"noopener\">“No More Mister Nice Guy,”\u003c/a> by Alice Cooper, and \u003ca href=\"https://www.youtube.com/watch?v=hkXHsK4AQPs\" target=\"_blank\" rel=\"noopener\">“Paranoid”\u003c/a> by Black Sabbath.\u003c/p>\n\u003cp>You get the drift.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\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/IeqtAB1WgEw'\n title='//www.youtube.com/embed/IeqtAB1WgEw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The U.S. military launched the operation on Dec. 20, 1989, to seize Noriega, who had once been a U.S. ally but was by this point wanted on drug trafficking charges. The U.S. military radio for Central America, known as the Southern Command Network, initially did what it always did — play requests from the troops.\u003c/p>\n\u003cp>Many of those requests were directed at Noriega. As U.S. Southern Command later noted in an \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/950206.htm\" target=\"_blank\" rel=\"noopener\">after-action report\u003c/a>:\u003c/p>\n\u003cp>“When the troops started coming in from the field, the requests became quite imaginative,” \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/DOC-PIC/950206_4.gif\" target=\"_blank\" rel=\"noopener\">it said in dry, military-speak\u003c/a>.\u003c/p>\n\u003cp>The favorites included \u003ca href=\"https://www.youtube.com/watch?v=o1tj2zJ2Wvg\" target=\"_blank\" rel=\"noopener\">“Welcome to the Jungle,”\u003c/a> by Guns N’ Roses, \u003ca href=\"bon%20jovi%20wanted%20dead%20or%20alive\" target=\"_blank\" rel=\"noopener\">“Wanted Dead Or Alive,”\u003c/a> by Bon Jovi, and \u003ca href=\"https://www.youtube.com/watch?v=JSUIQgEVDM4\" target=\"_blank\" rel=\"noopener\">“The End”\u003c/a> by The Doors.\u003c/p>\n\u003cp>After several days on the run, Noriega was allowed to enter the Vatican Embassy on Christmas Eve. And on Christmas Day, the radio station broadcast only Christmas music.\u003c/p>\n\u003cp>But with requests streaming in, the U.S. effort ramped up after the holiday.\u003c/p>\n\u003cp>On Dec. 27, “someone who identified himself as a member of the PSYOPS [Psychological Operations] team from Fort Bragg [N.C.] called to tell us what they were doing with their loud speakers,” \u003ca href=\"http://nsarchive.gwu.edu/nsa/DOCUMENT/DOC-PIC/950206_4.gif\" target=\"_blank\" rel=\"noopener\">the military report said\u003c/a>.\u003c/p>\n\u003cp>\u003ca href=\"https://www.theguardian.com/world/shortcuts/2017/may/30/noriega-panama-music-playlist\" target=\"_blank\" rel=\"noopener\">U.S. Gen. Maxwell “Mad Max” Thurman\u003c/a> had ordered speakers placed as a “musical barrier” around the perimeter of the Vatican Embassy and turned to full volume.\u003c/p>\n\u003cp>Noriega was reportedly partial to opera. What he got was \u003ca href=\"https://www.youtube.com/watch?v=w-NshzYK9y0\" target=\"_blank\" rel=\"noopener\">“Panama,”\u003c/a> from Van Halen, \u003ca href=\"https://www.youtube.com/watch?v=siwpn14IE7E\" target=\"_blank\" rel=\"noopener\">“Danger Zone,”\u003c/a> from Kenny Loggins, and \u003ca href=\"https://www.youtube.com/watch?v=fFnOfpIJL0M\" target=\"_blank\" rel=\"noopener\">“Refugee,”\u003c/a> courtesy of Tom Petty.\u003c/p>\n\u003cp>And remember, this was the ’80s. So the strongman also got an earful of Rick Astley’s \u003ca href=\"https://www.youtube.com/watch?v=dQw4w9WgXcQ\" target=\"_blank\" rel=\"noopener\">“Never Gonna Give You Up,”\u003c/a> though that may have been intended more for Noriega’s hosts at the embassy.\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/dQw4w9WgXcQ'\n title='//www.youtube.com/embed/dQw4w9WgXcQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As the standoff dragged on for days, the playlist became part of the story.\u003c/p>\n\u003cp>Not everyone was happy with the military’s approach, including the White House, and the \u003ca href=\"http://www.bbc.com/news/world-latin-america-40090809\" target=\"_blank\" rel=\"noopener\">music was stopped after several days.\u003c/a> President George H.W. Bush’s national security adviser, Brent Scowcroft, said afterward that he thought the use of high-volume music was “undignified.”\u003c/p>\n\u003cp>On Jan. 3, 1990, Noriega surrendered to the U.S. forces, though not until after he’d been treated to a version of “\u003ca href=\"https://www.youtube.com/watch?v=AL8chWFuM-s\" target=\"_blank\" rel=\"noopener\">I Fought The Law\u003c/a>.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Noriega was flown to Miami, tried and convicted of drug trafficking, and spent nearly two decades in U.S. prisons. \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=How+The+U.S.+Military+Used+Guns+N%27+Roses+To+Make+A+Dictator+Give+Up&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Denis Johnson, Author Who Wrote of the 'Painfully Beautiful,' Dies at 67",
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"content": "\u003cp>\u003cstrong>Updated at 10:47 a.m. ET\u003c/strong>\u003c/p>\n\u003cp>Denis Johnson, the author behind the seminal collection \u003cem>Jesus’ Son\u003c/em>, has died at the age of 67. Jeff Seroy, a spokesperson for Johnson’s publisher, Farrar Straus and Giroux, confirmed that the National Book Award-winning novelist died but offered no further details.\u003c/p>\n\u003cp>https://twitter.com/fsgbooks/status/868115191501914112\u003c/p>\n\u003cp>“Denis was one of the great writers of his generation,” FSG’s president and publisher, Jonathan Galassi, said in a statement Friday. “He wrote prose with the imaginative concentration and empathy of the poet he was.”\u003c/p>\n\u003cp>“Brutally honest and painfully beautiful” — that’s how novelist Nathan Englander described Johnson’s work in 1992’s \u003cem>Jesus’ Son\u003c/em>, a brief, unvarnished set of interwoven stories that focus on the desperate lives of drug addicts.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He doesn’t ever romanticize these dark settings while leaving his narrator open to the fact that, despite it all, we may live in a heartbreakingly romantic world,” Englander \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=11531765\" target=\"_blank\" rel=\"noopener\">wrote of Johnson in 2007\u003c/a>, adding: “With dialogue that feels like you’re getting it verbatim and stripped-down prose, he writes simple, honest stories that have the bigness of great work.”\u003c/p>\n\u003cp>The same year that Englander praised him on NPR, Johnson went on to win the National Book Award for a significantly heftier work — at least in physical size. \u003cem>Tree of Smoke\u003c/em>, a deep dive into covert operations during the Vietnam War, only added proof to the notion Johnson was “a fine stylist of the world of soulful disaster,” reviewer Alan Cheuse \u003ca href=\"http://www.npr.org/templates/transcript/transcript.php?storyId=14162036\" target=\"_blank\" rel=\"noopener\">said at the time\u003c/a>.\u003c/p>\n\u003cp>And Johnson, whose novella \u003cem>Train Dreams\u003c/em> was also a finalist for the 2012 Pulitzer, proved to be prolific both on the page and off: The author of about 20 books, including several collections of poetry, he pursued journalistic stories in Somalia and Liberia, among other places around the world.\u003c/p>\n\u003cp>In Liberia’s capital city in 1990, the dogs were doing well “because they feed on human corpses,” he wrote in “The Civil War in Hell,” a piece included in the nonfiction collection \u003cem>Seek\u003c/em>. “The people are starving, but the dogs have put on weight.”\u003c/p>\n\u003cp>https://twitter.com/alexanderchee/status/867973643539587076\u003c/p>\n\u003cp>https://twitter.com/AimeeBender/status/867975314265186304\u003c/p>\n\u003cp>From book to book, the protean writer frequently defied readers’ expectations, slipping into new voices with each publication.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I get bored quickly and try another style, another genre, another form,” he \u003ca href=\"http://www.latimes.com/books/jacketcopy/la-ca-jc-denis-johnson-20141102-story.html\" target=\"_blank\" rel=\"noopener\">told the Los Angeles Times\u003c/a> in 2014, around the time he released his 10th novel, \u003cem>Laughing Monsters\u003c/em>. “To me the writing is all one thing, or maybe I should say it’s all nothing. The truth is, I just write sentences.” \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=Denis+Johnson%2C+Author+Who+Wrote+Of+The+%27Painfully+Beautiful%2C%27+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>From book to book, the protean writer frequently defied readers’ expectations, slipping into new voices with each publication.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I get bored quickly and try another style, another genre, another form,” he \u003ca href=\"http://www.latimes.com/books/jacketcopy/la-ca-jc-denis-johnson-20141102-story.html\" target=\"_blank\" rel=\"noopener\">told the Los Angeles Times\u003c/a> in 2014, around the time he released his 10th novel, \u003cem>Laughing Monsters\u003c/em>. “To me the writing is all one thing, or maybe I should say it’s all nothing. The truth is, I just write sentences.” \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=Denis+Johnson%2C+Author+Who+Wrote+Of+The+%27Painfully+Beautiful%2C%27+Dies+At+67&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "40 Years Ago, In A Galaxy Far, Far Away, an Iconic Film Score Was Born",
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"content": "\u003cp>How is this for a first day on the job: Maurice Murphy, the \u003ca href=\"https://lso.co.uk/\" target=\"_blank\" rel=\"noopener\">London Symphony Orchestra\u003c/a> (LSO)’s late principal trumpet player, spent his very first day with the orchestra recording \u003cem>Star Wars\u003c/em>‘ iconic opening theme, with its incredible brass fanfare — and Murphy leading the trumpets.\u003c/p>\n\u003cp>“It was an amazing moment, that blast of brass that opens the film. It was the first sound I heard from Maurice, really,” the film’s composer, John Williams, told the London Symphony Orchestra in a 2007 \u003ca href=\"https://soundcloud.com/london-symphony-orchestra/maurice-murphy-podcast\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a> celebrating Murphy, who was then retiring from the orchestra. “It was electrifying … Everyone felt it. And I think people around the world, whenever they hear that piece now, there’s a kind of instant reaction that I think really was elicited in its initial spirit by Maurice’s sound, and just that heraldic spirit that lies within everything he plays … I think of his playing, or the effect of his playing, as having created the voice of a hero.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ZSthLmvh6Fk\u003c/p>\n\u003cp>\u003cem>Star Wars\u003c/em> opened 40 years ago today — and pop culture was changed forever with its release and the ensuing constellation of shorthand cultural references. Its epically scaled, lushly orchestrated score, written by John Williams and played by the LSO, became a global touchstone in music.\u003c/p>\n\u003cp>The LSO is celebrating the 40th anniversary of its most-famous recording with a \u003ca href=\"https://lso.co.uk/more/blog/653-happy-40th-birthday-star-wars.html\" target=\"_blank\" rel=\"noopener\">page\u003c/a> of goodies, including the attendance sheet for that first recording session. (If you’re a film-score buff, by the way, you might want to check out that whole podcast about Maurice Murphy — Williams also talks about working with Murphy on other films throughout the \u003cem>Star Wars\u003c/em> series as well as on the \u003cem>Harry Potter\u003c/em> films.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/13577781″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Williams’ heroic music, embedded with references to the music of composers like \u003ca href=\"http://www.npr.org/artists/91322541/gustav-holst\" target=\"_blank\" rel=\"noopener\">Gustav Holst\u003c/a>, \u003ca href=\"http://www.npr.org/artists/89337436/richard-wagner\" target=\"_blank\" rel=\"noopener\">Richard Wagner\u003c/a> and \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15870129\" target=\"_blank\" rel=\"noopener\">Richard Strauss\u003c/a>, has been heralded as a musical landmark. When the Library of Congress added the \u003cem>Star Wars\u003c/em> soundtrack to the National Recording Registry in 2004, Emilio Audissino \u003ca href=\"https://www.loc.gov/programs/static/national-recording-preservation-board/documents/Star%20Wars-AUDISSINO.pdf\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on behalf of the Library:\u003c/p>\n\u003cblockquote>\n\u003cp>“Apart from the huge popularity and the many awards, Williams’s ‘Star Wars’ is a milestone because it was instrumental in reviving the musical style of the Golden Age of Hollywood (1930s to 1950s), and was seminal in boosting a new interest for symphonic film music … The score is rich in leitmotivs — à la Wagner through the Hollywood tradition — and is lushly orchestrated and highly coloristic, and follows tightly and extensively the visual actions and narrative lines.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>\u003c/strong>The matter of how a \u003cem>British\u003c/em> orchestra came to be associated with one of the U.S.’ most canonical pop-culture tentpoles might be simply a matter of economics. In those years — and in a situation that continues to this day — most American orchestras’ studio recording activities were tightly constrained by very strict union regulations and the associated costs of getting a major American orchestra into the recording studio under those union stipulations were, usually, deemed prohibitive. As a matter of comparison, the hourly rate for American players was roughly \u003ca href=\"https://www.stereophile.com/content/recording-rules-orchestras-page-2\" target=\"_blank\" rel=\"noopener\">three times\u003c/a> that of equally talented European musicians. According to a 1977 Twentieth Century-Fox budget breakdown \u003ca href=\"http://io9.gizmodo.com/5875998/behold-the-1977-budget-breakdown-for-star-wars\" target=\"_blank\" rel=\"noopener\">unearthed\u003c/a> a few years ago, the studio had allotted $100,000 for the score and recording costs, out of an $11 million total budget.\u003c/p>\n\u003cp>The LSO tells the story of their involvement from a different angle, recounted in the orchestra’s official history, the 2003 book \u003cem>\u003ca href=\"https://www.goodreads.com/book/show/874363.Orchestra\" target=\"_blank\" rel=\"noopener\">A Century of Triumph and Turbulence\u003c/a>\u003c/em>, written by Richard Morrison. According to Anthony Camden, the orchestra’s former oboist and chairman, he had a business meeting with then-principal conductor André Previn, who was a widely heralded Hollywood composer, particularly for his work in the 1950s and 60s. During their meeting, Camden suggested that Previn write a new film score that the orchestra could then record. Previn declined, but proposed that Camden get in touch with another American film composer by the name of John Williams.\u003c/p>\n\u003cp>Previn promptly called Williams, and passed the phone over to Camden. Williams said that he was, in fact, just starting to work on a new score, but that “it wouldn’t interest the LSO because it was all ‘up in the universe.'”\u003c/p>\n\u003cp>The LSO already had a \u003ca href=\"https://lso.co.uk/orchestra/history/lso-and-film-music.html\" target=\"_blank\" rel=\"noopener\">long history\u003c/a> of working within film music, going all the way back to 1935. Coincidentally, its very first recorded score was for another science-fiction fantasy, Arthur Bliss’ music for \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0028358/\" target=\"_blank\" rel=\"noopener\">Things to Come\u003c/a>\u003c/em>\u003ca href=\"http://www.imdb.com/title/tt0028358/\" target=\"_blank\" rel=\"noopener\">\u003c/a>. It was H.G. Wells’ screen adaptation of his novel about the rebirth of civilization after a long world war — and whose population attempts space travel.\u003c/p>\n\u003cp>Even though the 1977 \u003cem>Star Wars\u003c/em> soundtrack became one of the most famous pieces of recorded music in the 20th century, it\u003cstrong> \u003c/strong>didn’t become a major money-maker for the British orchestra.\u003c/p>\n\u003cp>There’s a delicious-sounding, but apparently \u003ca href=\"http://www.theibanker.com/when-cash-is-not-king-star-wars-and-the-london-symphony-orchestra/\" target=\"_blank\" rel=\"noopener\">spurious\u003c/a>, anecdote floating online about supposed negotiations between the LSO musicians and the film’s director, George Lucas, in which Lucas allegedly offered the orchestra the choice of either receiving their regular fees for the work upfront, or waiting to receive a “small” share of any box-office profits.\u003c/p>\n\u003cp>The LSO’s archivist, Libby Rice, took a peek at the ensemble’s records for NPR, and confirmed that Twentieth Century-Fox paid the orchestra the standard British Musicians’ Union rates, as well as standard residuals from the album release and a standard administration fee to the LSO organization for arranging the sessions. According to the LSO, there is no record of any negotiations, or any discussions about the fee structure for \u003cem>Star Wars\u003c/em>, in the orchestra’s minute books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That first \u003cem>Star Wars \u003c/em>film went on to earn more than \u003ca href=\"http://www.the-numbers.com/movies/franchise/Star-Wars#tab=summary\" target=\"_blank\" rel=\"noopener\">$786 million\u003c/a> worldwide. \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=40+Years+Ago%2C+In+A+Galaxy+Far%2C+Far+Away%2C+An+Iconic+Film+Score+Was+Born&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How is this for a first day on the job: Maurice Murphy, the \u003ca href=\"https://lso.co.uk/\" target=\"_blank\" rel=\"noopener\">London Symphony Orchestra\u003c/a> (LSO)’s late principal trumpet player, spent his very first day with the orchestra recording \u003cem>Star Wars\u003c/em>‘ iconic opening theme, with its incredible brass fanfare — and Murphy leading the trumpets.\u003c/p>\n\u003cp>“It was an amazing moment, that blast of brass that opens the film. It was the first sound I heard from Maurice, really,” the film’s composer, John Williams, told the London Symphony Orchestra in a 2007 \u003ca href=\"https://soundcloud.com/london-symphony-orchestra/maurice-murphy-podcast\" target=\"_blank\" rel=\"noopener\">podcast\u003c/a> celebrating Murphy, who was then retiring from the orchestra. “It was electrifying … Everyone felt it. And I think people around the world, whenever they hear that piece now, there’s a kind of instant reaction that I think really was elicited in its initial spirit by Maurice’s sound, and just that heraldic spirit that lies within everything he plays … I think of his playing, or the effect of his playing, as having created the voice of a hero.”\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/ZSthLmvh6Fk'\n title='//www.youtube.com/embed/ZSthLmvh6Fk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Star Wars\u003c/em> opened 40 years ago today — and pop culture was changed forever with its release and the ensuing constellation of shorthand cultural references. Its epically scaled, lushly orchestrated score, written by John Williams and played by the LSO, became a global touchstone in music.\u003c/p>\n\u003cp>The LSO is celebrating the 40th anniversary of its most-famous recording with a \u003ca href=\"https://lso.co.uk/more/blog/653-happy-40th-birthday-star-wars.html\" target=\"_blank\" rel=\"noopener\">page\u003c/a> of goodies, including the attendance sheet for that first recording session. (If you’re a film-score buff, by the way, you might want to check out that whole podcast about Maurice Murphy — Williams also talks about working with Murphy on other films throughout the \u003cem>Star Wars\u003c/em> series as well as on the \u003cem>Harry Potter\u003c/em> films.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/13577781″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/13577781″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Williams’ heroic music, embedded with references to the music of composers like \u003ca href=\"http://www.npr.org/artists/91322541/gustav-holst\" target=\"_blank\" rel=\"noopener\">Gustav Holst\u003c/a>, \u003ca href=\"http://www.npr.org/artists/89337436/richard-wagner\" target=\"_blank\" rel=\"noopener\">Richard Wagner\u003c/a> and \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15870129\" target=\"_blank\" rel=\"noopener\">Richard Strauss\u003c/a>, has been heralded as a musical landmark. When the Library of Congress added the \u003cem>Star Wars\u003c/em> soundtrack to the National Recording Registry in 2004, Emilio Audissino \u003ca href=\"https://www.loc.gov/programs/static/national-recording-preservation-board/documents/Star%20Wars-AUDISSINO.pdf\" target=\"_blank\" rel=\"noopener\">wrote\u003c/a> on behalf of the Library:\u003c/p>\n\u003cblockquote>\n\u003cp>“Apart from the huge popularity and the many awards, Williams’s ‘Star Wars’ is a milestone because it was instrumental in reviving the musical style of the Golden Age of Hollywood (1930s to 1950s), and was seminal in boosting a new interest for symphonic film music … The score is rich in leitmotivs — à la Wagner through the Hollywood tradition — and is lushly orchestrated and highly coloristic, and follows tightly and extensively the visual actions and narrative lines.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>\u003c/strong>The matter of how a \u003cem>British\u003c/em> orchestra came to be associated with one of the U.S.’ most canonical pop-culture tentpoles might be simply a matter of economics. In those years — and in a situation that continues to this day — most American orchestras’ studio recording activities were tightly constrained by very strict union regulations and the associated costs of getting a major American orchestra into the recording studio under those union stipulations were, usually, deemed prohibitive. As a matter of comparison, the hourly rate for American players was roughly \u003ca href=\"https://www.stereophile.com/content/recording-rules-orchestras-page-2\" target=\"_blank\" rel=\"noopener\">three times\u003c/a> that of equally talented European musicians. According to a 1977 Twentieth Century-Fox budget breakdown \u003ca href=\"http://io9.gizmodo.com/5875998/behold-the-1977-budget-breakdown-for-star-wars\" target=\"_blank\" rel=\"noopener\">unearthed\u003c/a> a few years ago, the studio had allotted $100,000 for the score and recording costs, out of an $11 million total budget.\u003c/p>\n\u003cp>The LSO tells the story of their involvement from a different angle, recounted in the orchestra’s official history, the 2003 book \u003cem>\u003ca href=\"https://www.goodreads.com/book/show/874363.Orchestra\" target=\"_blank\" rel=\"noopener\">A Century of Triumph and Turbulence\u003c/a>\u003c/em>, written by Richard Morrison. According to Anthony Camden, the orchestra’s former oboist and chairman, he had a business meeting with then-principal conductor André Previn, who was a widely heralded Hollywood composer, particularly for his work in the 1950s and 60s. During their meeting, Camden suggested that Previn write a new film score that the orchestra could then record. Previn declined, but proposed that Camden get in touch with another American film composer by the name of John Williams.\u003c/p>\n\u003cp>Previn promptly called Williams, and passed the phone over to Camden. Williams said that he was, in fact, just starting to work on a new score, but that “it wouldn’t interest the LSO because it was all ‘up in the universe.'”\u003c/p>\n\u003cp>The LSO already had a \u003ca href=\"https://lso.co.uk/orchestra/history/lso-and-film-music.html\" target=\"_blank\" rel=\"noopener\">long history\u003c/a> of working within film music, going all the way back to 1935. Coincidentally, its very first recorded score was for another science-fiction fantasy, Arthur Bliss’ music for \u003cem>\u003ca href=\"http://www.imdb.com/title/tt0028358/\" target=\"_blank\" rel=\"noopener\">Things to Come\u003c/a>\u003c/em>\u003ca href=\"http://www.imdb.com/title/tt0028358/\" target=\"_blank\" rel=\"noopener\">\u003c/a>. It was H.G. Wells’ screen adaptation of his novel about the rebirth of civilization after a long world war — and whose population attempts space travel.\u003c/p>\n\u003cp>Even though the 1977 \u003cem>Star Wars\u003c/em> soundtrack became one of the most famous pieces of recorded music in the 20th century, it\u003cstrong> \u003c/strong>didn’t become a major money-maker for the British orchestra.\u003c/p>\n\u003cp>There’s a delicious-sounding, but apparently \u003ca href=\"http://www.theibanker.com/when-cash-is-not-king-star-wars-and-the-london-symphony-orchestra/\" target=\"_blank\" rel=\"noopener\">spurious\u003c/a>, anecdote floating online about supposed negotiations between the LSO musicians and the film’s director, George Lucas, in which Lucas allegedly offered the orchestra the choice of either receiving their regular fees for the work upfront, or waiting to receive a “small” share of any box-office profits.\u003c/p>\n\u003cp>The LSO’s archivist, Libby Rice, took a peek at the ensemble’s records for NPR, and confirmed that Twentieth Century-Fox paid the orchestra the standard British Musicians’ Union rates, as well as standard residuals from the album release and a standard administration fee to the LSO organization for arranging the sessions. According to the LSO, there is no record of any negotiations, or any discussions about the fee structure for \u003cem>Star Wars\u003c/em>, in the orchestra’s minute books.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That first \u003cem>Star Wars \u003c/em>film went on to earn more than \u003ca href=\"http://www.the-numbers.com/movies/franchise/Star-Wars#tab=summary\" target=\"_blank\" rel=\"noopener\">$786 million\u003c/a> worldwide. \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=40+Years+Ago%2C+In+A+Galaxy+Far%2C+Far+Away%2C+An+Iconic+Film+Score+Was+Born&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Cole Porter's Pro-Immigration Ballet Gets a Trump-Era Revival",
"headTitle": "Cole Porter’s Pro-Immigration Ballet Gets a Trump-Era Revival | KQED",
"content": "\u003cp>In the early 1920s, before he became an icon of the American songbook, composer \u003ca href=\"http://www.npr.org/artists/103165585/cole-porter\" target=\"_blank\" rel=\"noopener\">Cole Porter\u003c/a> wrote the score for a protest ballet. The production, called \u003cem>Within the Quota\u003c/em>, criticized restrictive immigration laws that had been passed by Congress. According to Princeton music professor Simon Morrison, who rediscovered the score two years ago in Yale’s Porter archives, the show opened in New York at a time of fearful backlash against Polish, Greek and Australian immigrants arriving in the U.S. after World War I.\u003c/p>\n\u003cp>Now, to protest President Trump’s anti-immigrant stance, the \u003ca href=\"http://www.princetonuniversityballet.com/\" target=\"_blank\" rel=\"noopener\">Princeton University Ballet\u003c/a> is reviving the production. Morrison, who produced the show, says after the election, “[I] looked again at the score and thought about its context and thought, \u003cem>Oh my God, this is actually what it was about. These things were real and actually we’re feeling them again now\u003c/em>.”\u003c/p>\n\u003cp>The updated ballet emphasizes the parallels between the political climate of the 1920s and that of 2017. “To my mind, the issues are frightfully the same,” Morrison says. He explains that in both eras, anti-immigrant hostility was rooted in “fear about people losing their jobs, fear about American culture being diluted.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/books/98/11/29/specials/porter-ballet.html\" target=\"_blank\" rel=\"noopener\">According to The New York Times\u003c/a>, the 1920s production of \u003cem>Within the Quota\u003c/em> was the first American-themed ballet set to music by an American composer.\u003cstrong> \u003c/strong>At the time, Porter was based in Paris and relatively unknown in the U.S. “He was not even established in New York,” Morrison says.\u003c/p>\n\u003cp>The original production tells the story, in dance, of a newly arrived immigrant who meets various American characters — an heiress, a movie star, a “jazz baby,” a cowboy — as well as dark forces who want to kick immigrants out of the country.\u003c/p>\n\u003cfigure id=\"attachment_13297483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-800x600.jpg\" alt=\"Student Julia Jansen choreographed the Princeton production of 'Within the Quota' and also performs in it.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13297483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Julia Jansen choreographed the Princeton production of ‘Within the Quota’ and also performs in it. \u003ccite>(Deb Amos/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Princeton revival, which was choreographed by student Julia Jansen, updates the characters to include an heiress who suggests Ivanka Trump and a Lady Liberty dancer who takes selfies. The set is also an update of the 1923 production, which included large posters of newspaper headlines; instead of posters, the revival projects satirical political headlines onto the back of the stage.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The show’s finale, a number called “Sweatheart of the World,” hints at the signature style Porter became famous for decades later. “The musical language is 100 percent Cole Porter,” Morrison says. “If you added lyrics and put it in a smoky bar somewhere, it would sound 100 percent ‘\u003ca href=\"https://www.youtube.com/watch?v=MoAigRL0oU0\">Night and Day\u003c/a>‘ Cole Porter.”\u003c/p>\n\u003cp>The London-based orchestra Penguin Café performed the music — Porter’s only score for ballet — at the Princeton debut. Daren Berry, who plays percussion, violin and ukulele, says, “It’s an incredible piece of work. … It’s not designed to be listened to; it’s designed to be watched.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier this month, there was a packed house for the show’s opening night\u003cem>.\u003c/em> Producer Simon Morrison says \u003cem>Within the Quota\u003c/em> will eventually tour the country, as it did in the 1920s. “This work, which was nothing but a bunch of yellow manuscript paper, is back and is very, very relevant,” Morrison says. “I think there’s something really magical 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=Cole+Porter%27s+Pro-Immigration+Ballet+Gets+A+Trump-Era+Revival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "\u003cem>Within the Quota\u003c/em> criticized the restrictive immigration laws passed by Congress after World War I. Now the Princeton University Ballet has brought the show back — with a few updates.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the early 1920s, before he became an icon of the American songbook, composer \u003ca href=\"http://www.npr.org/artists/103165585/cole-porter\" target=\"_blank\" rel=\"noopener\">Cole Porter\u003c/a> wrote the score for a protest ballet. The production, called \u003cem>Within the Quota\u003c/em>, criticized restrictive immigration laws that had been passed by Congress. According to Princeton music professor Simon Morrison, who rediscovered the score two years ago in Yale’s Porter archives, the show opened in New York at a time of fearful backlash against Polish, Greek and Australian immigrants arriving in the U.S. after World War I.\u003c/p>\n\u003cp>Now, to protest President Trump’s anti-immigrant stance, the \u003ca href=\"http://www.princetonuniversityballet.com/\" target=\"_blank\" rel=\"noopener\">Princeton University Ballet\u003c/a> is reviving the production. Morrison, who produced the show, says after the election, “[I] looked again at the score and thought about its context and thought, \u003cem>Oh my God, this is actually what it was about. These things were real and actually we’re feeling them again now\u003c/em>.”\u003c/p>\n\u003cp>The updated ballet emphasizes the parallels between the political climate of the 1920s and that of 2017. “To my mind, the issues are frightfully the same,” Morrison says. He explains that in both eras, anti-immigrant hostility was rooted in “fear about people losing their jobs, fear about American culture being diluted.”\u003c/p>\n\u003cp>\u003ca href=\"http://www.nytimes.com/books/98/11/29/specials/porter-ballet.html\" target=\"_blank\" rel=\"noopener\">According to The New York Times\u003c/a>, the 1920s production of \u003cem>Within the Quota\u003c/em> was the first American-themed ballet set to music by an American composer.\u003cstrong> \u003c/strong>At the time, Porter was based in Paris and relatively unknown in the U.S. “He was not even established in New York,” Morrison says.\u003c/p>\n\u003cp>The original production tells the story, in dance, of a newly arrived immigrant who meets various American characters — an heiress, a movie star, a “jazz baby,” a cowboy — as well as dark forces who want to kick immigrants out of the country.\u003c/p>\n\u003cfigure id=\"attachment_13297483\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-800x600.jpg\" alt=\"Student Julia Jansen choreographed the Princeton production of 'Within the Quota' and also performs in it.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-13297483\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/amos_img_0236-edit1-6bac1a636ed17cf9c9e5cc411bc3c524499d8d0f-520x390.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Student Julia Jansen choreographed the Princeton production of ‘Within the Quota’ and also performs in it. \u003ccite>(Deb Amos/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Princeton revival, which was choreographed by student Julia Jansen, updates the characters to include an heiress who suggests Ivanka Trump and a Lady Liberty dancer who takes selfies. The set is also an update of the 1923 production, which included large posters of newspaper headlines; instead of posters, the revival projects satirical political headlines onto the back of the stage.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The show’s finale, a number called “Sweatheart of the World,” hints at the signature style Porter became famous for decades later. “The musical language is 100 percent Cole Porter,” Morrison says. “If you added lyrics and put it in a smoky bar somewhere, it would sound 100 percent ‘\u003ca href=\"https://www.youtube.com/watch?v=MoAigRL0oU0\">Night and Day\u003c/a>‘ Cole Porter.”\u003c/p>\n\u003cp>The London-based orchestra Penguin Café performed the music — Porter’s only score for ballet — at the Princeton debut. Daren Berry, who plays percussion, violin and ukulele, says, “It’s an incredible piece of work. … It’s not designed to be listened to; it’s designed to be watched.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Earlier this month, there was a packed house for the show’s opening night\u003cem>.\u003c/em> Producer Simon Morrison says \u003cem>Within the Quota\u003c/em> will eventually tour the country, as it did in the 1920s. “This work, which was nothing but a bunch of yellow manuscript paper, is back and is very, very relevant,” Morrison says. “I think there’s something really magical 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=Cole+Porter%27s+Pro-Immigration+Ballet+Gets+A+Trump-Era+Revival&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Bachelorette' May Have a Black Star, But it's Still Set in a White World",
"headTitle": "‘The Bachelorette’ May Have a Black Star, But it’s Still Set in a White World | KQED",
"content": "\u003cp>As a TV critic who keeps an eye on social issues, I’ve long been critical of ABC’s \u003cem>The Bachelor\u003c/em> and \u003cem>The Bachelorette\u003c/em> franchises. They urge viewers to believe completely contrived events are somehow spontaneous. They also support an unhealthy princess fantasy in which romance is conflated with an upper-middle class wonderland filled with reality TV fame and luxury resort getaways.\u003c/p>\n\u003cp>So why do I find it so important that \u003cem>The Bachelorette\u003c/em> is welcoming its first black woman as a star this season? The answer came as I watched Rachel Lindsay navigate what turned out to be a pretty typical \u003cem>Bachelorette\u003c/em> debut episode, which aired Monday night. The show hit all the expected notes: a quick review of how she was rejected by Nick Viall in the last \u003cem>Bachelor\u003c/em> season, a hasty reminder of her background as an attorney and a turn into the new life she was hoping for at the end of the \u003cem>Bachelorette\u003c/em> “journey.”\u003c/p>\n\u003cp>But part of the show’s princess fantasy involves building up its bachelorette as an archetype of beauty: a smart, personable, all-American woman who a bevy of Abercrombie & Fitch model lookalikes would fight over.\u003c/p>\n\u003cp>And this time — for the first time — that woman is black.\u003c/p>\n\u003cp>It’s worth noting that until relatively recently people of color — especially black people — have often been shut out of any significant representation on \u003cem>The Bachelor\u003c/em> and \u003cem>The Bachelorette.\u003c/em> In 2012, two black men sued the show for racial discrimination (a legal effort that \u003ca href=\"http://www.npr.org/sections/monkeysee/2012/10/16/162992776/a-judge-dismisses-the-bachelor-discrimination-lawsuit-but-not-its-concerns\" target=\"_blank\" rel=\"noopener\">ultimately failed\u003c/a>) and a different black woman (dentist and model Misee Harris) conducted a futile campaign to be chosen as a bachelorette just a few years ago. Occasionally, the show has presented moments where black contestants have struggled, but for the most part it has ignored or papered over its blind spots on race.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So it was with a mixture of trepidation and anticipation that I watched Lindsay meet 31 suitors in hopes that one would turn out to be Mr. Right. (And one did: Lindsay \u003ca href=\"http://www.npr.org/2017/05/22/529467044/rachel-lindsay-will-debut-as-the-first-black-bachelorette\" target=\"_blank\" rel=\"noopener\">told NPR\u003c/a> and other media outlets that she got engaged at the end of this season, which was filmed in advance).\u003c/p>\n\u003cp>Previous recent iterations of \u003cem>The Bachelorette\u003c/em> have only featured about 25 or 26 “suitors,” so it was odd to see so many guys on Lindsay’s season. And even though the field of men was the most diverse in franchise history, there were still only 11 black men in the running.\u003c/p>\n\u003cp>Given how previous shows have been dominated by white suitors, I thought there might have been even more people of color presented (and if they wanted to more closely reflect the population, Hispanic guys were severely underrepresented). My suspicion is that ABC was worried about having enough white guys in the mix for their mostly white audience, while making sure there was also lots of racial diversity onscreen.\u003c/p>\n\u003cp>The pattern of Monday’s episode was familiar. Lindsay met the guys and each one was a “type.” There was DeMario, the overconfident one who brought Lindsay plane tickets and a plan to elope in Las Vegas together; Bryan, the suave one who spoke to her in Spanish and won a rose for best first impression; and Lucas, the crazy one who kept shouting \u003ca href=\"http://www.tvguide.com/news/the-bachelorette-whaboom-lucas-yancey/\" target=\"_blank\" rel=\"noopener\">an outlandish catchphrase\u003c/a> and caused all sorts of drama when he was picked last among the 23 men chosen to move ahead — as if producers would let such a great pot-stirrer head home after just one episode.\u003c/p>\n\u003cp>Hopping out of limousines to meet her for the first time, some of the guys resorted to gimmicks that felt a bit contrived: breaking a block of ice with a sledgehammer (breaking the ice — get it?), bringing a creepy mannequin as a conversation starter, walking up with a marching band and, of course, Lucas with his frat-guy-at-a-kegger obnoxiousness and mini-bullhorn.\u003c/p>\n\u003cp>Also as usual, there wasn’t much acknowledgement of the elephant in the room. Though host Chris Harrison began the episode by saying, “Let’s take a look at the bachelorette everybody’s talking about,” he never really said \u003cem>why\u003c/em> people were talking about her. One of the black men noted how diverse the pool of suitors was and there was an awkward moment where the episode ended with several suitors freestyle rapping. (Really, \u003cem>Bachelorette\u003c/em>?)\u003c/p>\n\u003cp>For some, that may be a great development; a way to emphasize the universality of everyone’s experience. But \u003cem>The Bachelor\u003c/em> and \u003cem>The Bachelorette\u003c/em> franchises have always glorified an ideal culture that is both upper-middle class and very white. Even among the 23 men left, just eight are black, so the contestant pool will be still dominated by white men. And in the preview scenes flashed at the episode’s end, it seems they’ll be enjoying the typical array of luxury resorts and getaway experiences — places and activities that rarely include other black people.\u003c/p>\n\u003cp>From the show’s perspective, this was likely a home run: They presented a diverse field of contestants and a black bachelorette without upsetting the bedrock formula that makes this “reality TV” soap opera successful. (According to previews, we can look forward to one suitor’s surprise girlfriend bursting onto the show and ramping up the drama).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But for those of us hoping to see some of the show’s basic messaging about culture, class and race changed, it was a disappointment. True diversity isn’t just about expecting black people to assimilate into a mostly white world; it’s about widening that world to reflect the experiences of everyone in it. With any luck, maybe they’ll get around to that before this season is over. \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=%27The+Bachelorette%27+May+Have+A+Black+Star%2C+But+It%27s+Still+Set+In+A+White+World&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Some may see Rachel Lindsay's rise as progress; but diversity isn't about expecting black people to assimilate into a mostly white world.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As a TV critic who keeps an eye on social issues, I’ve long been critical of ABC’s \u003cem>The Bachelor\u003c/em> and \u003cem>The Bachelorette\u003c/em> franchises. They urge viewers to believe completely contrived events are somehow spontaneous. They also support an unhealthy princess fantasy in which romance is conflated with an upper-middle class wonderland filled with reality TV fame and luxury resort getaways.\u003c/p>\n\u003cp>So why do I find it so important that \u003cem>The Bachelorette\u003c/em> is welcoming its first black woman as a star this season? The answer came as I watched Rachel Lindsay navigate what turned out to be a pretty typical \u003cem>Bachelorette\u003c/em> debut episode, which aired Monday night. The show hit all the expected notes: a quick review of how she was rejected by Nick Viall in the last \u003cem>Bachelor\u003c/em> season, a hasty reminder of her background as an attorney and a turn into the new life she was hoping for at the end of the \u003cem>Bachelorette\u003c/em> “journey.”\u003c/p>\n\u003cp>But part of the show’s princess fantasy involves building up its bachelorette as an archetype of beauty: a smart, personable, all-American woman who a bevy of Abercrombie & Fitch model lookalikes would fight over.\u003c/p>\n\u003cp>And this time — for the first time — that woman is black.\u003c/p>\n\u003cp>It’s worth noting that until relatively recently people of color — especially black people — have often been shut out of any significant representation on \u003cem>The Bachelor\u003c/em> and \u003cem>The Bachelorette.\u003c/em> In 2012, two black men sued the show for racial discrimination (a legal effort that \u003ca href=\"http://www.npr.org/sections/monkeysee/2012/10/16/162992776/a-judge-dismisses-the-bachelor-discrimination-lawsuit-but-not-its-concerns\" target=\"_blank\" rel=\"noopener\">ultimately failed\u003c/a>) and a different black woman (dentist and model Misee Harris) conducted a futile campaign to be chosen as a bachelorette just a few years ago. Occasionally, the show has presented moments where black contestants have struggled, but for the most part it has ignored or papered over its blind spots on race.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So it was with a mixture of trepidation and anticipation that I watched Lindsay meet 31 suitors in hopes that one would turn out to be Mr. Right. (And one did: Lindsay \u003ca href=\"http://www.npr.org/2017/05/22/529467044/rachel-lindsay-will-debut-as-the-first-black-bachelorette\" target=\"_blank\" rel=\"noopener\">told NPR\u003c/a> and other media outlets that she got engaged at the end of this season, which was filmed in advance).\u003c/p>\n\u003cp>Previous recent iterations of \u003cem>The Bachelorette\u003c/em> have only featured about 25 or 26 “suitors,” so it was odd to see so many guys on Lindsay’s season. And even though the field of men was the most diverse in franchise history, there were still only 11 black men in the running.\u003c/p>\n\u003cp>Given how previous shows have been dominated by white suitors, I thought there might have been even more people of color presented (and if they wanted to more closely reflect the population, Hispanic guys were severely underrepresented). My suspicion is that ABC was worried about having enough white guys in the mix for their mostly white audience, while making sure there was also lots of racial diversity onscreen.\u003c/p>\n\u003cp>The pattern of Monday’s episode was familiar. Lindsay met the guys and each one was a “type.” There was DeMario, the overconfident one who brought Lindsay plane tickets and a plan to elope in Las Vegas together; Bryan, the suave one who spoke to her in Spanish and won a rose for best first impression; and Lucas, the crazy one who kept shouting \u003ca href=\"http://www.tvguide.com/news/the-bachelorette-whaboom-lucas-yancey/\" target=\"_blank\" rel=\"noopener\">an outlandish catchphrase\u003c/a> and caused all sorts of drama when he was picked last among the 23 men chosen to move ahead — as if producers would let such a great pot-stirrer head home after just one episode.\u003c/p>\n\u003cp>Hopping out of limousines to meet her for the first time, some of the guys resorted to gimmicks that felt a bit contrived: breaking a block of ice with a sledgehammer (breaking the ice — get it?), bringing a creepy mannequin as a conversation starter, walking up with a marching band and, of course, Lucas with his frat-guy-at-a-kegger obnoxiousness and mini-bullhorn.\u003c/p>\n\u003cp>Also as usual, there wasn’t much acknowledgement of the elephant in the room. Though host Chris Harrison began the episode by saying, “Let’s take a look at the bachelorette everybody’s talking about,” he never really said \u003cem>why\u003c/em> people were talking about her. One of the black men noted how diverse the pool of suitors was and there was an awkward moment where the episode ended with several suitors freestyle rapping. (Really, \u003cem>Bachelorette\u003c/em>?)\u003c/p>\n\u003cp>For some, that may be a great development; a way to emphasize the universality of everyone’s experience. But \u003cem>The Bachelor\u003c/em> and \u003cem>The Bachelorette\u003c/em> franchises have always glorified an ideal culture that is both upper-middle class and very white. Even among the 23 men left, just eight are black, so the contestant pool will be still dominated by white men. And in the preview scenes flashed at the episode’s end, it seems they’ll be enjoying the typical array of luxury resorts and getaway experiences — places and activities that rarely include other black people.\u003c/p>\n\u003cp>From the show’s perspective, this was likely a home run: They presented a diverse field of contestants and a black bachelorette without upsetting the bedrock formula that makes this “reality TV” soap opera successful. (According to previews, we can look forward to one suitor’s surprise girlfriend bursting onto the show and ramping up the drama).\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But for those of us hoping to see some of the show’s basic messaging about culture, class and race changed, it was a disappointment. True diversity isn’t just about expecting black people to assimilate into a mostly white world; it’s about widening that world to reflect the experiences of everyone in it. With any luck, maybe they’ll get around to that before this season is over. \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=%27The+Bachelorette%27+May+Have+A+Black+Star%2C+But+It%27s+Still+Set+In+A+White+World&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The actor Sir Roger Moore has died at 89 after “a short but brave battle with cancer,” according to his family and his agent.\u003c/p>\n\u003cp>Moore played the role of James Bond from 1973 to 1985 and was knighted in his home country of England in 2003.\u003c/p>\n\u003cp>He was the third of six actors who have played James Bond in the official silver screen franchise, beginning with 1973’s \u003cem>Live and Let Die\u003c/em>. He starred in a total of seven Bond films over 12 years, ending with \u003cem>A View to a Kill\u003c/em> in 1985.\u003c/p>\n\u003cp>Moore embraced the Bond legend for decades afterward; none of the other Bonds burnished the legend as lovingly as he did. He published four books about his time as Agent 007, all of them with a sense of humor — especially about stepping into the shoes that Sean Connery made famous.\u003c/p>\n\u003cp>Some Bond fans thought early on that Moore was far too pretty for the role. In his 2008 memoir, \u003cem>My Word is My Bond\u003c/em>, he calls the character “a lover and a giggler,” and he told NPR’s Scott Simon in 2014 that his Bond looked “as though I’d squeeze them to death with love and lust.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bond certainly wasn’t Moore’s first role as a man of action. He got practice in making secret break-ins and daring escapes over seven seasons on the 1960s British TV series \u003cem>The Saint\u003c/em>. He played Simon Templar, a criminal mastermind who steals from the evil and the corrupt.\u003c/p>\n\u003cp>Roger Moore was born on Oct. 14, 1927, in London and raised by two working-class parents, to whom he was very close. He was an only child — he would joke that his parents attained perfection on their first try. Throughout his long life, Moore appeared to lead a charmed existence — he even titled a memoir \u003cem>One Lucky Bastard\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13290815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-800x663.jpg\" alt=\"A photograph of Roger Moore is seen at the "Heroes & Villains" book launch party and exhibition preview for photojournalist David Steen's book and show, back in 2005. \" width=\"800\" height=\"663\" class=\"size-medium wp-image-13290815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-800x663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-1020x846.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-1180x978.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-960x796.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-240x199.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-375x311.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-520x431.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of Roger Moore is seen at the “Heroes & Villains” book launch party and exhibition preview for photojournalist David Steen’s book and show, back in 2005. \u003ccite>(Photo: Chris Jackson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was married four times and lived abroad for decades as a tax exile. He met just about everyone — from Frank Sinatra to crowned heads across Europe. He partied with Richard Burton, Peter O’Toole, Richard Harris and Peter Finch. He was knighted in 2003 for his humanitarian work with UNICEF.\u003c/p>\n\u003cp>In an early and never-filmed movie script, Moore read a line that stayed with him the rest of his life. “My attitude about death is, going into the next room, and it’s a room the rest of us can’t go into because we don’t have the key, but when we do get the key, we’ll go in there and we’ll see one another again.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Roger Moore is survived by his wife, Kristina Tholstrup, and three children. He died Tuesday in Switzerland, according to his children. \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=He+Called+Himself+%27One+Lucky+Bastard%27%3A+Sir+Roger+Moore+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bond certainly wasn’t Moore’s first role as a man of action. He got practice in making secret break-ins and daring escapes over seven seasons on the 1960s British TV series \u003cem>The Saint\u003c/em>. He played Simon Templar, a criminal mastermind who steals from the evil and the corrupt.\u003c/p>\n\u003cp>Roger Moore was born on Oct. 14, 1927, in London and raised by two working-class parents, to whom he was very close. He was an only child — he would joke that his parents attained perfection on their first try. Throughout his long life, Moore appeared to lead a charmed existence — he even titled a memoir \u003cem>One Lucky Bastard\u003c/em>.\u003c/p>\n\u003cfigure id=\"attachment_13290815\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-800x663.jpg\" alt=\"A photograph of Roger Moore is seen at the "Heroes & Villains" book launch party and exhibition preview for photojournalist David Steen's book and show, back in 2005. \" width=\"800\" height=\"663\" class=\"size-medium wp-image-13290815\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-800x663.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-160x133.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-768x637.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-1020x846.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-1180x978.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-960x796.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-240x199.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-375x311.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/Roger-Moore-young-520x431.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A photograph of Roger Moore is seen at the “Heroes & Villains” book launch party and exhibition preview for photojournalist David Steen’s book and show, back in 2005. \u003ccite>(Photo: Chris Jackson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>He was married four times and lived abroad for decades as a tax exile. He met just about everyone — from Frank Sinatra to crowned heads across Europe. He partied with Richard Burton, Peter O’Toole, Richard Harris and Peter Finch. He was knighted in 2003 for his humanitarian work with UNICEF.\u003c/p>\n\u003cp>In an early and never-filmed movie script, Moore read a line that stayed with him the rest of his life. “My attitude about death is, going into the next room, and it’s a room the rest of us can’t go into because we don’t have the key, but when we do get the key, we’ll go in there and we’ll see one another again.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Roger Moore is survived by his wife, Kristina Tholstrup, and three children. He died Tuesday in Switzerland, according to his children. \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=He+Called+Himself+%27One+Lucky+Bastard%27%3A+Sir+Roger+Moore+Dies+At+89&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Police Confirm 22 People Dead After Explosion At Manchester Arena [UPDATED]",
"headTitle": "Police Confirm 22 People Dead After Explosion At Manchester Arena [UPDATED] | KQED",
"content": "\u003cp>\u003cb>Updated May 23, 2017, at 1pm:\u003c/b>\u003c/p>\n\u003cp>The Manchester Arena was packed on Monday night with pop fans eager to hear Ariana Grande perform. Her songs are bubblegum pop, so picture the crowd: kids and their parents, teenagers with their friends, fans looking for a cheerful night out.\u003c/p>\n\u003cp>At the end of the concert, an explosion struck near the arena. The blast killed at least 22 people and injured more than 50.\u003c/p>\n\u003cp>Young women — including very young girls — are Grande’s core fan base. And authorities confirmed that children were among the dead, which was quickly apparent as friends, family and schools began reporting the names of some of those victims.\u003c/p>\n\u003cp>The first to be named was an 18-year-old woman. The second, an 8-year-old girl.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Saffie Rose Roussos, the 8-year-old, was attending the concert with her mother and sister, \u003cem>The Guardian\u003c/em> \u003ca href=\"https://www.theguardian.com/uk-news/2017/may/23/parents-in-desperate-search-for-missing-children-after-manchester-attack\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>Saffie was initially identified as missing after the attack. Her photo was circulated online by friends of the family who knew that Saffie’s mother and sister had been hospitalized, but couldn’t find Saffie, according to Metro.\u003c/p>\n\u003cp>Now her death has been confirmed by the headmaster of her school, Chris Upton, who told the Guardian Saffie was “simply a beautiful little girl in every aspect of the word. She was loved by everyone and her warmth and kindness will be remembered fondly.”\u003c/p>\n\u003cp>An 18-year-old college student, Georgina Callander, was also named as a victim.\u003c/p>\n\u003cp>Callander was studying health and social care at Runshaw College, which \u003ca href=\"https://www.facebook.com/153080444733762/posts/1566034293438363\" target=\"_blank\" rel=\"noopener\">confirmed her death on Facebook\u003c/a>.\u003c/p>\n\u003cp>Callander had a buoyant social media presence, celebrating the singers, actors and shows that she followed passionately, and rejoicing over school achievements like finishing a long paper.\u003c/p>\n\u003cp>She often sought photos with celebrities — in fact, took a picture with Ariana Grande two years ago. Her caption read in part, “I HUGGED HER SO TIGHT AND SHE SAID SHE LOVED MY BOW.”\u003c/p>\n\u003cp>On Sunday, she tweeted at Grande, “SO EXCITED TO SEE YOU TOMORROW.”\u003c/p>\n\u003cp>A third victim has been identified as John Atkinson, according to the Manchester Evening News. His age has been reported as 26 and 28.\u003c/p>\n\u003cp>Friends called him “a beautiful soul” and “an amazing young man,” the newspaper reports.\u003c/p>\n\u003cp>Many of the people injured in the attack were still receiving treatment at area hospitals.\u003c/p>\n\u003cp>A dozen children were among those who were hospitalized, a director of an ambulance service tells The Guardian.\u003c/p>\n\u003cp>\u003cb>Original Story:\u003c/b>\u003c/p>\n\u003cp>Police in Manchester, England, confirm 19 people dead at Manchester Arena following an apparent explosion after a concert by Ariana Grande. About 50 people have been injured.\u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/gmpolice\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> says police will treat the incident as a terrorist attack until they know otherwise.\u003c/p>\n\u003cp>Authorities also say they conducted a “\u003ca href=\"https://twitter.com/gmpolice/status/866816910612103169\" target=\"_blank\" rel=\"noopener\">precautionary controlled explosion,\u003c/a>” and the thing they had been concerned about turned out to be abandoned clothing and not a suspicious item.\u003c/p>\n\u003cp>The management of the Manchester Arena issued \u003ca href=\"https://twitter.com/ManchesterArena/status/866808098798927873/photo/1\">a statement\u003c/a>, saying the incident happened outside the facility.\u003c/p>\n\u003cfigure id=\"attachment_13286091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-800x450.jpg\" alt=\"Emergency services arrive close to the Manchester Arena on Monday after reports of explosions following an Ariana Grande concert.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13286091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emergency services arrive close to the Manchester Arena on Monday after reports of explosions following an Ariana Grande concert. \u003ccite>(Dave Thompson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"http://www.bbc.com/news/uk-england-manchester-40007886\" target=\"_blank\" rel=\"noopener\">BBC reports\u003c/a> witnesses heard an explosion, which was followed by a chaotic scene with audience members running for the exits.\u003c/p>\n\u003cp>\u003ca href=\"http://www.reuters.com/article/us-britain-security-manchester-idUSKBN18I2OP?il=0\" target=\"_blank\" rel=\"noopener\">Reuters\u003c/a> reports that emergency services are responding to the reports of “a serious incident.” Greater Manchester Police are advising people to “avoid the area.”\u003c/p>\n\u003cp>A spokesman for the pop singer said that she was “okay,” according to Reuters.\\\u003c/p>\n\u003cfigure id=\"attachment_13286092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-800x450.jpg\" alt=\"A street close to England's Manchester Arena is cordoned off Monday, as police confirm fatalities after a concert there by Ariana Grande. Media quote witnesses as saying there was an explosion and the audience ran for the exits.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13286092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A street close to England’s Manchester Arena is cordoned off Monday, as police confirm fatalities after a concert there by Ariana Grande. Media quote witnesses as saying there was an explosion and the audience ran for the exits. \u003ccite>(Dave Thompson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One witness, Josh Elliott, told the BBC Radio 5 Live that “A bang went off and everyone stopped and screamed. … We basically hit the deck,” he said. “It was bedlam … it was horrific. We got up when we thought it was safe and got out as quickly as possible. People were just crying and in tears. … Police cars were everywhere.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story. Some things that get reported by the media will later turn out to be wrong. We will focus on reports from police officials and other authorities, credible news outlets and reporters who are at the scene. We will update as the situation develops.\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=British+Police+Confirm+19+People+Dead+After+Reported+Explosion+At+Manchester+Arena&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cb>Updated May 23, 2017, at 1pm:\u003c/b>\u003c/p>\n\u003cp>The Manchester Arena was packed on Monday night with pop fans eager to hear Ariana Grande perform. Her songs are bubblegum pop, so picture the crowd: kids and their parents, teenagers with their friends, fans looking for a cheerful night out.\u003c/p>\n\u003cp>At the end of the concert, an explosion struck near the arena. The blast killed at least 22 people and injured more than 50.\u003c/p>\n\u003cp>Young women — including very young girls — are Grande’s core fan base. And authorities confirmed that children were among the dead, which was quickly apparent as friends, family and schools began reporting the names of some of those victims.\u003c/p>\n\u003cp>The first to be named was an 18-year-old woman. The second, an 8-year-old girl.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Saffie Rose Roussos, the 8-year-old, was attending the concert with her mother and sister, \u003cem>The Guardian\u003c/em> \u003ca href=\"https://www.theguardian.com/uk-news/2017/may/23/parents-in-desperate-search-for-missing-children-after-manchester-attack\" target=\"_blank\" rel=\"noopener\">reports\u003c/a>.\u003c/p>\n\u003cp>Saffie was initially identified as missing after the attack. Her photo was circulated online by friends of the family who knew that Saffie’s mother and sister had been hospitalized, but couldn’t find Saffie, according to Metro.\u003c/p>\n\u003cp>Now her death has been confirmed by the headmaster of her school, Chris Upton, who told the Guardian Saffie was “simply a beautiful little girl in every aspect of the word. She was loved by everyone and her warmth and kindness will be remembered fondly.”\u003c/p>\n\u003cp>An 18-year-old college student, Georgina Callander, was also named as a victim.\u003c/p>\n\u003cp>Callander was studying health and social care at Runshaw College, which \u003ca href=\"https://www.facebook.com/153080444733762/posts/1566034293438363\" target=\"_blank\" rel=\"noopener\">confirmed her death on Facebook\u003c/a>.\u003c/p>\n\u003cp>Callander had a buoyant social media presence, celebrating the singers, actors and shows that she followed passionately, and rejoicing over school achievements like finishing a long paper.\u003c/p>\n\u003cp>She often sought photos with celebrities — in fact, took a picture with Ariana Grande two years ago. Her caption read in part, “I HUGGED HER SO TIGHT AND SHE SAID SHE LOVED MY BOW.”\u003c/p>\n\u003cp>On Sunday, she tweeted at Grande, “SO EXCITED TO SEE YOU TOMORROW.”\u003c/p>\n\u003cp>A third victim has been identified as John Atkinson, according to the Manchester Evening News. His age has been reported as 26 and 28.\u003c/p>\n\u003cp>Friends called him “a beautiful soul” and “an amazing young man,” the newspaper reports.\u003c/p>\n\u003cp>Many of the people injured in the attack were still receiving treatment at area hospitals.\u003c/p>\n\u003cp>A dozen children were among those who were hospitalized, a director of an ambulance service tells The Guardian.\u003c/p>\n\u003cp>\u003cb>Original Story:\u003c/b>\u003c/p>\n\u003cp>Police in Manchester, England, confirm 19 people dead at Manchester Arena following an apparent explosion after a concert by Ariana Grande. About 50 people have been injured.\u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/gmpolice\" target=\"_blank\" rel=\"noopener\">statement\u003c/a> says police will treat the incident as a terrorist attack until they know otherwise.\u003c/p>\n\u003cp>Authorities also say they conducted a “\u003ca href=\"https://twitter.com/gmpolice/status/866816910612103169\" target=\"_blank\" rel=\"noopener\">precautionary controlled explosion,\u003c/a>” and the thing they had been concerned about turned out to be abandoned clothing and not a suspicious item.\u003c/p>\n\u003cp>The management of the Manchester Arena issued \u003ca href=\"https://twitter.com/ManchesterArena/status/866808098798927873/photo/1\">a statement\u003c/a>, saying the incident happened outside the facility.\u003c/p>\n\u003cfigure id=\"attachment_13286091\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-800x450.jpg\" alt=\"Emergency services arrive close to the Manchester Arena on Monday after reports of explosions following an Ariana Grande concert.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13286091\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686951020_wide-e1748dc479d57e1049fdc9bd2d44cb00243960df-520x292.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Emergency services arrive close to the Manchester Arena on Monday after reports of explosions following an Ariana Grande concert. \u003ccite>(Dave Thompson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The \u003ca href=\"http://www.bbc.com/news/uk-england-manchester-40007886\" target=\"_blank\" rel=\"noopener\">BBC reports\u003c/a> witnesses heard an explosion, which was followed by a chaotic scene with audience members running for the exits.\u003c/p>\n\u003cp>\u003ca href=\"http://www.reuters.com/article/us-britain-security-manchester-idUSKBN18I2OP?il=0\" target=\"_blank\" rel=\"noopener\">Reuters\u003c/a> reports that emergency services are responding to the reports of “a serious incident.” Greater Manchester Police are advising people to “avoid the area.”\u003c/p>\n\u003cp>A spokesman for the pop singer said that she was “okay,” according to Reuters.\\\u003c/p>\n\u003cfigure id=\"attachment_13286092\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-800x450.jpg\" alt=\"A street close to England's Manchester Arena is cordoned off Monday, as police confirm fatalities after a concert there by Ariana Grande. Media quote witnesses as saying there was an explosion and the audience ran for the exits.\" width=\"800\" height=\"450\" class=\"size-medium wp-image-13286092\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1920x1080.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/05/gettyimages-686936316_wide-3cfed4e11353f2021dcfc5ef5b24ee243aa1eba5-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A street close to England’s Manchester Arena is cordoned off Monday, as police confirm fatalities after a concert there by Ariana Grande. Media quote witnesses as saying there was an explosion and the audience ran for the exits. \u003ccite>(Dave Thompson/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One witness, Josh Elliott, told the BBC Radio 5 Live that “A bang went off and everyone stopped and screamed. … We basically hit the deck,” he said. “It was bedlam … it was horrific. We got up when we thought it was safe and got out as quickly as possible. People were just crying and in tears. … Police cars were everywhere.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This is a developing story. Some things that get reported by the media will later turn out to be wrong. We will focus on reports from police officials and other authorities, credible news outlets and reporters who are at the scene. We will update as the situation develops.\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=British+Police+Confirm+19+People+Dead+After+Reported+Explosion+At+Manchester+Arena&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Richard Oakes, Who Occupied Alcatraz For Native Rights, Gets a Birthday Honor",
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"content": "\u003cp>In November 1969, Richard Oakes and dozens of his fellow Native American activists came ashore at Alcatraz. The little island in San Francisco Bay had lain dormant since 1963, when its infamous federal prison had been shut down, and the group Oakes led set out to claim the land as its own.\u003c/p>\n\u003cp>The Indians of All Tribes had a century-old legal basis: \u003ca href=\"http://www.pbs.org/weta/thewest/resources/archives/four/ftlaram.htm\" target=\"_blank\" rel=\"noopener\">the 1868 Fort Laramie Treaty\u003c/a> between the U.S. and the Sioux and Lakota, which they said returned defunct federal lands to native people. They announced that, by the terms of this treaty, Alcatraz could be legally claimed as theirs.\u003c/p>\n\u003cp>And so Oakes and his compatriots stayed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=7QNfUE7hBUc\u003c/p>\n\u003cp>That day commenced a 19-month occupation of the island that attracted national attention to native rights and catapulted Oakes into wider notoriety and acclaim — such acclaim, in fact, that nearly five decades later, Google is celebrating his birthday with a \u003ca href=\"https://www.google.com/doodles/richard-oakes-75th-birthday\" target=\"_blank\" rel=\"noopener\">doodle in his honor\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“The aim was not only to set up a community, complete with a university, museum and cultural center, but also for the government to acknowledge the rights of American Indians to claim the out-of-use federal land as their own,” the tech giant writes in a blog post. “Although Richard didn’t succeed in gaining the deeds to Alcatraz for his people, he brought their issues into the media spotlight and made a substantial impact on the treatment of American Indians in the US.”\u003c/p>\n\u003cp>“There’s just a dual sense of justice in this country,” Oakes said in \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187780\" target=\"_blank\" rel=\"noopener\">an interview just days after the occupation began\u003c/a>. “We’d like an end to this. And I think this — manning the island of Alcatraz — is a positive step in that direction. If they’re going to treat us separately, then we’ll remain separately.”\u003c/p>\n\u003cp>Within half a year, though, the occupation began to splinter and weaken as many of the original occupiers returned to their daily lives and were replaced with others, some of whom rejected the Mohawk activist’s leadership and pursued different aims.\u003c/p>\n\u003cp>“The final blow to the organized leadership occurred on January 5, 1970, when Oakes’s 13 year old stepdaughter fell three floors down a stairwell to her death,” \u003ca href=\"https://www.nps.gov/alca/learn/historyculture/we-hold-the-rock.htm\" target=\"_blank\" rel=\"noopener\">the National Park Service writes\u003c/a>. “Following Yvonne’s death, Oakes left the island and the two competing groups maneuvered back and forth for leadership on the island.”\u003c/p>\n\u003cp>It would be another year and a half before federal law enforcement stormed Alcatraz and removed the few remaining occupiers.\u003c/p>\n\u003cp>And while the overt aims of the occupation were never realized, the Park Service explains that something else was achieved with Oakes’ efforts:\u003c/p>\n\u003cblockquote>\n\u003cp>“The success or failure of the occupation should not be judged by whether the demands of the occupiers were realized. The underlying goals of the Indians on Alcatraz were to awaken the American public to the reality of the plight of the first Americans and to assert the need for Indian self-determination. As a result of the occupation, either directly or indirectly, the official government policy of termination of Indian tribes was ended and a policy of Indian self-determination became the official US government policy.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Before that occupation even ended, Oakes was on to his next fight, taking part in the Pit River Indians’ attempts to reclaim tribal land in Northern California. And once more he had little difficulty grabbing national headlines, joining the tribe in resisting not only Pacific Gas & Electric — the company that had laid claim to the land — but \u003ca href=\"https://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=DS19700605.2.15\">U.S. law enforcement, too\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He was killed in 1972 under murky circumstances, after a confrontation with a white man turned violent. Though Oakes was unarmed, the man who shot him dead was acquitted of manslaughter on grounds of self-defense. \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=Richard+Oakes%2C+Who+Occupied+Alcatraz+For+Native+Rights%2C+Gets+A+Birthday+Honor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The late activist and Google doodle honoree stormed the island with dozens of other activists in 1969, citing a century-old treaty in claiming it for Native Americans. He would have been 75 on Monday.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In November 1969, Richard Oakes and dozens of his fellow Native American activists came ashore at Alcatraz. The little island in San Francisco Bay had lain dormant since 1963, when its infamous federal prison had been shut down, and the group Oakes led set out to claim the land as its own.\u003c/p>\n\u003cp>The Indians of All Tribes had a century-old legal basis: \u003ca href=\"http://www.pbs.org/weta/thewest/resources/archives/four/ftlaram.htm\" target=\"_blank\" rel=\"noopener\">the 1868 Fort Laramie Treaty\u003c/a> between the U.S. and the Sioux and Lakota, which they said returned defunct federal lands to native people. They announced that, by the terms of this treaty, Alcatraz could be legally claimed as theirs.\u003c/p>\n\u003cp>And so Oakes and his compatriots stayed.\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/7QNfUE7hBUc'\n title='//www.youtube.com/embed/7QNfUE7hBUc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That day commenced a 19-month occupation of the island that attracted national attention to native rights and catapulted Oakes into wider notoriety and acclaim — such acclaim, in fact, that nearly five decades later, Google is celebrating his birthday with a \u003ca href=\"https://www.google.com/doodles/richard-oakes-75th-birthday\" target=\"_blank\" rel=\"noopener\">doodle in his honor\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“The aim was not only to set up a community, complete with a university, museum and cultural center, but also for the government to acknowledge the rights of American Indians to claim the out-of-use federal land as their own,” the tech giant writes in a blog post. “Although Richard didn’t succeed in gaining the deeds to Alcatraz for his people, he brought their issues into the media spotlight and made a substantial impact on the treatment of American Indians in the US.”\u003c/p>\n\u003cp>“There’s just a dual sense of justice in this country,” Oakes said in \u003ca href=\"https://diva.sfsu.edu/collections/sfbatv/bundles/187780\" target=\"_blank\" rel=\"noopener\">an interview just days after the occupation began\u003c/a>. “We’d like an end to this. And I think this — manning the island of Alcatraz — is a positive step in that direction. If they’re going to treat us separately, then we’ll remain separately.”\u003c/p>\n\u003cp>Within half a year, though, the occupation began to splinter and weaken as many of the original occupiers returned to their daily lives and were replaced with others, some of whom rejected the Mohawk activist’s leadership and pursued different aims.\u003c/p>\n\u003cp>“The final blow to the organized leadership occurred on January 5, 1970, when Oakes’s 13 year old stepdaughter fell three floors down a stairwell to her death,” \u003ca href=\"https://www.nps.gov/alca/learn/historyculture/we-hold-the-rock.htm\" target=\"_blank\" rel=\"noopener\">the National Park Service writes\u003c/a>. “Following Yvonne’s death, Oakes left the island and the two competing groups maneuvered back and forth for leadership on the island.”\u003c/p>\n\u003cp>It would be another year and a half before federal law enforcement stormed Alcatraz and removed the few remaining occupiers.\u003c/p>\n\u003cp>And while the overt aims of the occupation were never realized, the Park Service explains that something else was achieved with Oakes’ efforts:\u003c/p>\n\u003cblockquote>\n\u003cp>“The success or failure of the occupation should not be judged by whether the demands of the occupiers were realized. The underlying goals of the Indians on Alcatraz were to awaken the American public to the reality of the plight of the first Americans and to assert the need for Indian self-determination. As a result of the occupation, either directly or indirectly, the official government policy of termination of Indian tribes was ended and a policy of Indian self-determination became the official US government policy.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Before that occupation even ended, Oakes was on to his next fight, taking part in the Pit River Indians’ attempts to reclaim tribal land in Northern California. And once more he had little difficulty grabbing national headlines, joining the tribe in resisting not only Pacific Gas & Electric — the company that had laid claim to the land — but \u003ca href=\"https://cdnc.ucr.edu/cgi-bin/cdnc?a=d&d=DS19700605.2.15\">U.S. law enforcement, too\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>He was killed in 1972 under murky circumstances, after a confrontation with a white man turned violent. Though Oakes was unarmed, the man who shot him dead was acquitted of manslaughter on grounds of self-defense. \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=Richard+Oakes%2C+Who+Occupied+Alcatraz+For+Native+Rights%2C+Gets+A+Birthday+Honor&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "After a Detour, Land Of Talk's Elizabeth Powell Finds a New Way Home",
"headTitle": "After a Detour, Land Of Talk’s Elizabeth Powell Finds a New Way Home | KQED",
"content": "\u003cp>Seven years ago, Elizabeth Powell lost her joy. As the singer and guitarist for indie rock group Land of Talk, Powell had seen her share of success: Between 2006 and 2010, the band released two EPs and two albums and toured with bands like The Decemberists and Broken Social Scene. But setbacks weren’t far off. Powell had to contend with Land of Talk’s frequent lineup changes, a vocal polyp that nearly robbed her of her ability to sing and an exhausting cycle of writing, recording and touring.\u003c/p>\n\u003cp>After the release of 2010’s \u003cem>Cloak and Cipher\u003c/em>, Powell says, she started doubting her career path. “I think that because I had been a performer for so long, and I’ve been writing music since teenagehood, that I stopped listening,” she says. “I think that I stopped being the music fan.” So Powell decided to take some time off and retreat to her bucolic Canadian hometown, unsure when — or if — Land of Talk would return.\u003c/p>\n\u003cp>But music had a way of pulling her back. A series of intense events — both fortunate and unfortunate — rekindled Powell’s focus and sparked a new chapter for Land of Talk. The result is \u003cem>Life After Youth\u003c/em>, the band’s impressive third album, out Friday. \u003cem>Life After Youth \u003c/em>is full of songs Powell has been writing, in one way or another, over the last seven years. The time off seems to have added a centripetal force to her smart, dense indie rock; \u003cem>Life After Youth\u003c/em> feels more grounded or centered than the band’s earlier work. The album radiates a commitment to its own existence but takes pleasure in uncertainty; it’s deeply rooted in partnership but pulled together by Powell’s newfound sense of perspective.\u003c/p>\n\u003cp>Ahead of the album’s release, Powell spoke on the phone with NPR Music about the value of distance, the benefits of collaboration and the power of lost CDs from the Salvation Army.\u003c/p>\n\u003cp>\u003cstrong>Marissa Lorusso: It’s been several years since you last put out a record. Could you tell me a little bit about what went on in those years?\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Powell:\u003c/strong> I ended up feeling the need to retreat a bit after touring \u003cem>Cloak and Cipher\u003c/em>, which we had released in 2010. Memory is a tricky thing, so I don’t want to romanticize; I don’t think it was any kind of grand move that I was planning on making. I think I was just thinking, “Here’s the most time off I have in the foreseeable future.” I knew I had a couple months where I could just be on my own and go out to my granny’s cottage [in Orillia, Ontario], which is where I had written a lot of my songs. And I immediately started working on music, demoing what I thought might become maybe a solo record. We had toured three records and I was feeling like it might have been just a natural evolution. You know, a lot of artists do that: They have their band and then they do their solo thing sometimes. So I was recording music, probably loosely kind of aiming at that, and then my laptop crashed. [\u003cem>Laughs.\u003c/em>] I lost all of what I had recorded.\u003c/p>\n\u003cp>So I kind of just threw my hands up and I left music; I kind of put music away for a while. And then, unfortunately, my dad suffered a major stroke, which had him in the hospital for a good six months rehabbing. I found that one of the most powerful tools, along with all of his other therapy, was music. And I realized it was also helping me deal with an event as traumatic as that. My dad and I are really close, so it was hard: It was like watching not only my dad suffer through something major and traumatic, but it was also like watching my friend. But music just really got through to him in a way where no one else was getting through to him. After I got home from the hospital after his stroke, I just wrote this chord progression which ended up becoming “This Time.” And I played it for him and he just got a glint in his eye, he got a really cool faraway look in his eye, and he smiled. And then he’s like, “This is beautiful; make this, make other people feel this way.” You know, he was using his own words, but he was just saying, “Please, keep making music again.” And I thought that was sweet.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=0ScgvyuJHMo\u003c/p>\n\u003cp>So there was that one really unfortunate thing, and then there was a series of really fortunate things that happened. Bucky [Wheaton], my original drummer, came through Toronto, and he just happened to be subbing for the Besnard Lakes’ drummer. And the Besnard Lakes is who we make our records with so it was like, too perfect — basically my old musical family came all the way up to Toronto. We had a great night, and Bucky just said, “Let’s make the record that we never made. Let’s make the record that we haven’t had the chance to make, because now is our chance.” And I just said, “Of course, absolutely.” And I started sending him demos of stuff that had just been brewing and stuff that had been marinating.\u003c/p>\n\u003cp>I guess this whole time I had just been collecting music, like I always do, and I had just been filing it away for later. And it all ended up kind of coming out probably better than the solo record would have become! So it was nice that I had those couple years to not even think about creating any semblance of an actual song structure.\u003c/p>\n\u003cp>\u003cstrong>Do you think taking the pressure off yourself — just kind of playing around and not knowing if you were going to do anything with these songs in that time — ended up changing the way that you wrote, or the songs that ended up coming out of that process?\u003c/strong>\u003c/p>\n\u003cp>Totally. Because I didn’t even really reach for my guitar after a while. There’s this Mahalia Jackson CD, this live CD, that I got at a Salvation Army. And now it’s gone, I’ve lost it. But the one song that I was obsessed with is an old traditional called “Closer To Him.” The organ parts were really getting to me, like I was really getting obsessed with them, and her voice is obviously just \u003cem>sublime\u003c/em>. And there’s this John Lee Hooker song — he does a cover of “I Cover the Waterfront” with Van Morrison, and again there’s these organ parts and I was really interested by them. So I started to just play keys a lot.\u003c/p>\n\u003cp>I probably would have just immediately gone for the guitar had I been more in Land of Talk mode. But just waking up in the morning and sitting a keyboard is so different. From that stemmed also more of an open mind about song structure, or lack thereof. I don’t even know technical terms of it; it’s not as intuitive, it’s not as textbook, or orthodox, but it seems to me like it just has a feel to it. Like even “This Time” is not as straightforward. To me, it seems like you want to float or sway to it; it has more levity to it. I wanted there to be more of an airiness and more of a flexibility, you know?\u003c/p>\n\u003cp>\u003cstrong>I feel like on this record, too, you can hear your lyrics more clearly. I know that you had vocal issues a couple years ago, and had to re-learn how to sing — I wondered if it was maybe related to that?\u003c/strong>\u003c/p>\n\u003cp>Maybe it was that. Again, it was probably a couple factors. I used to really grate on my vocal chords, and I used to smoke cigarettes, and it was always this very hoarse affair. And, unbeknownst to me at the time, I was probably developing those vocal nodes, which would eventually became a hemorrhagic vocal polyp. Leading up to that, I was probably just pushing harder and harder to get sound out. When you’re yelling, you’re not enunciating as much, but you’re putting a lot of \u003cem>feeling \u003c/em>into it — So that I think changes the whole lyrical and vocal effects, you know? But then maybe because of the way that I was approaching this record, and maybe having lived in nature — just kind of living on the lake and hearing the birds chirping, maybe that was kind of informing what kind of sounds I was wanting to hear. And then also maybe I was searching for more clarity in my life, and so I wanted to offer more clarity in my voice. Those are all possible. And also — oh God — being introduced to Kurt Vile for the first time, and Courtney Barnett. Those were game changers for me. Game changers!\u003c/p>\n\u003cp>\u003cstrong>How so?\u003c/strong>\u003c/p>\n\u003cp>They made me realize that those musing kinds of conversations you have with yourself, that internal dialogue — I want to hear that! I just wanted to hear more of it from them, so I was like, “Oh, maybe that’s okay if I let people in — if I don’t cloak stuff and try to obfuscate. What if I just give a little more? And be a little clearer?”\u003c/p>\n\u003cp>\u003cstrong>Did you feel like you were able to be more clear with the lyrics on this album?\u003c/strong> \u003cstrong>Or be more straightforward?\u003c/strong>\u003c/p>\n\u003cp>Yeah, like that’s the thing — I feel like I am being clear! But in a way, it’s almost like, I’ve just made my voice sound clearer. You know what I mean? I’m halfway there!\u003c/p>\n\u003cp>Like the mantra thing of like, [sings] “I don’t want to waste it this time” — I just wanted to sing that over and over again. I was just happy to repeat and repeat and repeat, ad nauseam, but it wasn’t until just calling on Sharon, my friend Sharon van Etten — she, like a champ, came by the studio when we were in New Jersey, and she just kind of picked my brain, and picked my heart. I just feel like I don’t have to explain much to her; she could kind of glean the rest of what I was saying. She was guessing and prompting and just sort of coaxing these words and these lyrics out, to just finish off and flesh out these ideas. So she helped out a lot with “This Time, “Heartcore” and “Loving” — songs that I would have been happy kind of leaving in this nice mantra area. She scratched through my surface and got to more of the root of things, whereas sometimes it seems like I’m trying to just make it abstract to keep the root hidden.\u003c/p>\n\u003cp>\u003cstrong>Had you used that kind of collaborative process to write lyrics before? \u003c/strong>\u003c/p>\n\u003cp>Never — oh my god! Never. Never. I would never. I think something like came with the time away was understanding my strengths and my weaknesses. And also understanding and appreciating just how supportive and how trustworthy my musician friends are. I think I had just been so cagey. I think I spent the first couple years of Land of Talk — well, since I was 13 or 14, playing open mics — trying to make my own voice, create my own guitar style. I think I had just been trying to forge ahead creatively in such a way, and a huge part of that was self-preservation. You’re just trying so hard to protect yourself against a lot of stuff.\u003c/p>\n\u003cp>\u003cstrong>How do you mean — emotionally? Financially? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>I think that creatively, too — I feel like I had a lot to prove. And maybe it was especially being a woman in the industry, too. I just felt like I had a lot to prove: I have to write my own songs to be taken seriously. And that was a huge point of pride, that I write my own songs: I’m the composer, I’m not just a pretty face. [Laughs.] Not even that I was, but I’m just saying, like, “I’m more than you expect of me.” Because I feel like women are underestimated, like, f****** constantly.\u003c/p>\n\u003cp>\u003cstrong>You have to be twice as good to be taken seriously.\u003c/strong>\u003c/p>\n\u003cp>I felt like I had a lot to prove. So I maybe would not have even been open to it, or have even considered it, had I not just had that time away to grow and to get perspective on things. And I’m coming back now to an industry where I feel so well-represented. What a time to come back to the music industry! But I just can’t stress enough how it wasn’t like that back then. It’s amazing now to be going on tour and to be just like seeing women everywhere — and I’m not talking about gender in a binary way, I just mean, like, people who aren’t…\u003c/p>\n\u003cp>\u003cstrong>Who aren’t cis dudes\u003c/strong>.\u003c/p>\n\u003cp>Right? So I think it’s so exciting, and I’m so excited to see where it’s going. Because it seems like it’s only getting more and more and more fair.\u003c/p>\n\u003cp>\u003cstrong>I’m curious about the fact that you were hoping to make a solo record, because I feel like the lineup of your band has changed so much — it kind of seems like you’re the one constant in the band. \u003c/strong>\u003cstrong>Why do you think you were interested in doing that seven years ago?\u003c/strong>\u003c/p>\n\u003cp>I think maybe I was getting disillusioned. I started to think: I don’t know if I just want to be Land of Talk. I don’t know if I want to be in a rock and roll town like Montreal, releasing a record every year. I felt like I was maybe becoming too careerist. And it’s not that I had a problem with making money from my music. It’s just that sometimes, you get plugged into an industry track; I felt like if I didn’t watch it, maybe I would be feeling emptier and emptier. So maybe I was trying to get off the track, and see if I could focus more on the art instead of the career aspect of it. I felt like the art was becoming the footnote or the sidenote or the afterthought. And so I guess I was starting to feel like a natural gravitation to wanting to isolate — which is also where I do my best creating! I also find that when you’re at your emptiest is when you resonate the most. I was lost, aimless, feeling a bit like I needed to center myself. So maybe that’s why the record sounds like it’s me trying to center myself. There, there you go! I can’t believe it took that long just to figure out the obvious. \u003cem>[Laughs.]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Are you nervous about the future? Because of how you felt pulled off track?\u003c/strong>\u003c/p>\n\u003cp>No. Because I feel like I went through it, and realized that I’m going to be nervous about the future anyways — and I would rather be doing my favorite thing. That’s the other thing, too: that I want to feel useful. I was starting to feel like maybe being an artist and being a songwriter was just serving myself, like it was selfish and it was egotistical and it was maybe not healthy because it’s, “Look at me, look at me.” It’s narcissistic.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>But the last six years has definitely proven me wrong. Now I’m returning to music, and that’s a good place to be if you want to keep the joy going and keep connected. Because it keeps me connected to people, and those people happen to be music lovers, and I happen to be making music that they might be loving, and then I feel like “OK, I’m useful. OK, it’s a two-way street now, it’s helping me and it seems to be helping other people.” Like, wow. Yes. I’m here to stay, and that doesn’t make me nervous. I find that really reassuring. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+A+Detour%2C+Land+Of+Talk%27s+Elizabeth+Powell+Finds+A+New+Way+Home&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Seven years ago, Elizabeth Powell lost her joy. As the singer and guitarist for indie rock group Land of Talk, Powell had seen her share of success: Between 2006 and 2010, the band released two EPs and two albums and toured with bands like The Decemberists and Broken Social Scene. But setbacks weren’t far off. Powell had to contend with Land of Talk’s frequent lineup changes, a vocal polyp that nearly robbed her of her ability to sing and an exhausting cycle of writing, recording and touring.\u003c/p>\n\u003cp>After the release of 2010’s \u003cem>Cloak and Cipher\u003c/em>, Powell says, she started doubting her career path. “I think that because I had been a performer for so long, and I’ve been writing music since teenagehood, that I stopped listening,” she says. “I think that I stopped being the music fan.” So Powell decided to take some time off and retreat to her bucolic Canadian hometown, unsure when — or if — Land of Talk would return.\u003c/p>\n\u003cp>But music had a way of pulling her back. A series of intense events — both fortunate and unfortunate — rekindled Powell’s focus and sparked a new chapter for Land of Talk. The result is \u003cem>Life After Youth\u003c/em>, the band’s impressive third album, out Friday. \u003cem>Life After Youth \u003c/em>is full of songs Powell has been writing, in one way or another, over the last seven years. The time off seems to have added a centripetal force to her smart, dense indie rock; \u003cem>Life After Youth\u003c/em> feels more grounded or centered than the band’s earlier work. The album radiates a commitment to its own existence but takes pleasure in uncertainty; it’s deeply rooted in partnership but pulled together by Powell’s newfound sense of perspective.\u003c/p>\n\u003cp>Ahead of the album’s release, Powell spoke on the phone with NPR Music about the value of distance, the benefits of collaboration and the power of lost CDs from the Salvation Army.\u003c/p>\n\u003cp>\u003cstrong>Marissa Lorusso: It’s been several years since you last put out a record. Could you tell me a little bit about what went on in those years?\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Elizabeth Powell:\u003c/strong> I ended up feeling the need to retreat a bit after touring \u003cem>Cloak and Cipher\u003c/em>, which we had released in 2010. Memory is a tricky thing, so I don’t want to romanticize; I don’t think it was any kind of grand move that I was planning on making. I think I was just thinking, “Here’s the most time off I have in the foreseeable future.” I knew I had a couple months where I could just be on my own and go out to my granny’s cottage [in Orillia, Ontario], which is where I had written a lot of my songs. And I immediately started working on music, demoing what I thought might become maybe a solo record. We had toured three records and I was feeling like it might have been just a natural evolution. You know, a lot of artists do that: They have their band and then they do their solo thing sometimes. So I was recording music, probably loosely kind of aiming at that, and then my laptop crashed. [\u003cem>Laughs.\u003c/em>] I lost all of what I had recorded.\u003c/p>\n\u003cp>So I kind of just threw my hands up and I left music; I kind of put music away for a while. And then, unfortunately, my dad suffered a major stroke, which had him in the hospital for a good six months rehabbing. I found that one of the most powerful tools, along with all of his other therapy, was music. And I realized it was also helping me deal with an event as traumatic as that. My dad and I are really close, so it was hard: It was like watching not only my dad suffer through something major and traumatic, but it was also like watching my friend. But music just really got through to him in a way where no one else was getting through to him. After I got home from the hospital after his stroke, I just wrote this chord progression which ended up becoming “This Time.” And I played it for him and he just got a glint in his eye, he got a really cool faraway look in his eye, and he smiled. And then he’s like, “This is beautiful; make this, make other people feel this way.” You know, he was using his own words, but he was just saying, “Please, keep making music again.” And I thought that was sweet.\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/0ScgvyuJHMo'\n title='//www.youtube.com/embed/0ScgvyuJHMo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>So there was that one really unfortunate thing, and then there was a series of really fortunate things that happened. Bucky [Wheaton], my original drummer, came through Toronto, and he just happened to be subbing for the Besnard Lakes’ drummer. And the Besnard Lakes is who we make our records with so it was like, too perfect — basically my old musical family came all the way up to Toronto. We had a great night, and Bucky just said, “Let’s make the record that we never made. Let’s make the record that we haven’t had the chance to make, because now is our chance.” And I just said, “Of course, absolutely.” And I started sending him demos of stuff that had just been brewing and stuff that had been marinating.\u003c/p>\n\u003cp>I guess this whole time I had just been collecting music, like I always do, and I had just been filing it away for later. And it all ended up kind of coming out probably better than the solo record would have become! So it was nice that I had those couple years to not even think about creating any semblance of an actual song structure.\u003c/p>\n\u003cp>\u003cstrong>Do you think taking the pressure off yourself — just kind of playing around and not knowing if you were going to do anything with these songs in that time — ended up changing the way that you wrote, or the songs that ended up coming out of that process?\u003c/strong>\u003c/p>\n\u003cp>Totally. Because I didn’t even really reach for my guitar after a while. There’s this Mahalia Jackson CD, this live CD, that I got at a Salvation Army. And now it’s gone, I’ve lost it. But the one song that I was obsessed with is an old traditional called “Closer To Him.” The organ parts were really getting to me, like I was really getting obsessed with them, and her voice is obviously just \u003cem>sublime\u003c/em>. And there’s this John Lee Hooker song — he does a cover of “I Cover the Waterfront” with Van Morrison, and again there’s these organ parts and I was really interested by them. So I started to just play keys a lot.\u003c/p>\n\u003cp>I probably would have just immediately gone for the guitar had I been more in Land of Talk mode. But just waking up in the morning and sitting a keyboard is so different. From that stemmed also more of an open mind about song structure, or lack thereof. I don’t even know technical terms of it; it’s not as intuitive, it’s not as textbook, or orthodox, but it seems to me like it just has a feel to it. Like even “This Time” is not as straightforward. To me, it seems like you want to float or sway to it; it has more levity to it. I wanted there to be more of an airiness and more of a flexibility, you know?\u003c/p>\n\u003cp>\u003cstrong>I feel like on this record, too, you can hear your lyrics more clearly. I know that you had vocal issues a couple years ago, and had to re-learn how to sing — I wondered if it was maybe related to that?\u003c/strong>\u003c/p>\n\u003cp>Maybe it was that. Again, it was probably a couple factors. I used to really grate on my vocal chords, and I used to smoke cigarettes, and it was always this very hoarse affair. And, unbeknownst to me at the time, I was probably developing those vocal nodes, which would eventually became a hemorrhagic vocal polyp. Leading up to that, I was probably just pushing harder and harder to get sound out. When you’re yelling, you’re not enunciating as much, but you’re putting a lot of \u003cem>feeling \u003c/em>into it — So that I think changes the whole lyrical and vocal effects, you know? But then maybe because of the way that I was approaching this record, and maybe having lived in nature — just kind of living on the lake and hearing the birds chirping, maybe that was kind of informing what kind of sounds I was wanting to hear. And then also maybe I was searching for more clarity in my life, and so I wanted to offer more clarity in my voice. Those are all possible. And also — oh God — being introduced to Kurt Vile for the first time, and Courtney Barnett. Those were game changers for me. Game changers!\u003c/p>\n\u003cp>\u003cstrong>How so?\u003c/strong>\u003c/p>\n\u003cp>They made me realize that those musing kinds of conversations you have with yourself, that internal dialogue — I want to hear that! I just wanted to hear more of it from them, so I was like, “Oh, maybe that’s okay if I let people in — if I don’t cloak stuff and try to obfuscate. What if I just give a little more? And be a little clearer?”\u003c/p>\n\u003cp>\u003cstrong>Did you feel like you were able to be more clear with the lyrics on this album?\u003c/strong> \u003cstrong>Or be more straightforward?\u003c/strong>\u003c/p>\n\u003cp>Yeah, like that’s the thing — I feel like I am being clear! But in a way, it’s almost like, I’ve just made my voice sound clearer. You know what I mean? I’m halfway there!\u003c/p>\n\u003cp>Like the mantra thing of like, [sings] “I don’t want to waste it this time” — I just wanted to sing that over and over again. I was just happy to repeat and repeat and repeat, ad nauseam, but it wasn’t until just calling on Sharon, my friend Sharon van Etten — she, like a champ, came by the studio when we were in New Jersey, and she just kind of picked my brain, and picked my heart. I just feel like I don’t have to explain much to her; she could kind of glean the rest of what I was saying. She was guessing and prompting and just sort of coaxing these words and these lyrics out, to just finish off and flesh out these ideas. So she helped out a lot with “This Time, “Heartcore” and “Loving” — songs that I would have been happy kind of leaving in this nice mantra area. She scratched through my surface and got to more of the root of things, whereas sometimes it seems like I’m trying to just make it abstract to keep the root hidden.\u003c/p>\n\u003cp>\u003cstrong>Had you used that kind of collaborative process to write lyrics before? \u003c/strong>\u003c/p>\n\u003cp>Never — oh my god! Never. Never. I would never. I think something like came with the time away was understanding my strengths and my weaknesses. And also understanding and appreciating just how supportive and how trustworthy my musician friends are. I think I had just been so cagey. I think I spent the first couple years of Land of Talk — well, since I was 13 or 14, playing open mics — trying to make my own voice, create my own guitar style. I think I had just been trying to forge ahead creatively in such a way, and a huge part of that was self-preservation. You’re just trying so hard to protect yourself against a lot of stuff.\u003c/p>\n\u003cp>\u003cstrong>How do you mean — emotionally? Financially? \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>I think that creatively, too — I feel like I had a lot to prove. And maybe it was especially being a woman in the industry, too. I just felt like I had a lot to prove: I have to write my own songs to be taken seriously. And that was a huge point of pride, that I write my own songs: I’m the composer, I’m not just a pretty face. [Laughs.] Not even that I was, but I’m just saying, like, “I’m more than you expect of me.” Because I feel like women are underestimated, like, f****** constantly.\u003c/p>\n\u003cp>\u003cstrong>You have to be twice as good to be taken seriously.\u003c/strong>\u003c/p>\n\u003cp>I felt like I had a lot to prove. So I maybe would not have even been open to it, or have even considered it, had I not just had that time away to grow and to get perspective on things. And I’m coming back now to an industry where I feel so well-represented. What a time to come back to the music industry! But I just can’t stress enough how it wasn’t like that back then. It’s amazing now to be going on tour and to be just like seeing women everywhere — and I’m not talking about gender in a binary way, I just mean, like, people who aren’t…\u003c/p>\n\u003cp>\u003cstrong>Who aren’t cis dudes\u003c/strong>.\u003c/p>\n\u003cp>Right? So I think it’s so exciting, and I’m so excited to see where it’s going. Because it seems like it’s only getting more and more and more fair.\u003c/p>\n\u003cp>\u003cstrong>I’m curious about the fact that you were hoping to make a solo record, because I feel like the lineup of your band has changed so much — it kind of seems like you’re the one constant in the band. \u003c/strong>\u003cstrong>Why do you think you were interested in doing that seven years ago?\u003c/strong>\u003c/p>\n\u003cp>I think maybe I was getting disillusioned. I started to think: I don’t know if I just want to be Land of Talk. I don’t know if I want to be in a rock and roll town like Montreal, releasing a record every year. I felt like I was maybe becoming too careerist. And it’s not that I had a problem with making money from my music. It’s just that sometimes, you get plugged into an industry track; I felt like if I didn’t watch it, maybe I would be feeling emptier and emptier. So maybe I was trying to get off the track, and see if I could focus more on the art instead of the career aspect of it. I felt like the art was becoming the footnote or the sidenote or the afterthought. And so I guess I was starting to feel like a natural gravitation to wanting to isolate — which is also where I do my best creating! I also find that when you’re at your emptiest is when you resonate the most. I was lost, aimless, feeling a bit like I needed to center myself. So maybe that’s why the record sounds like it’s me trying to center myself. There, there you go! I can’t believe it took that long just to figure out the obvious. \u003cem>[Laughs.]\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Are you nervous about the future? Because of how you felt pulled off track?\u003c/strong>\u003c/p>\n\u003cp>No. Because I feel like I went through it, and realized that I’m going to be nervous about the future anyways — and I would rather be doing my favorite thing. That’s the other thing, too: that I want to feel useful. I was starting to feel like maybe being an artist and being a songwriter was just serving myself, like it was selfish and it was egotistical and it was maybe not healthy because it’s, “Look at me, look at me.” It’s narcissistic.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the last six years has definitely proven me wrong. Now I’m returning to music, and that’s a good place to be if you want to keep the joy going and keep connected. Because it keeps me connected to people, and those people happen to be music lovers, and I happen to be making music that they might be loving, and then I feel like “OK, I’m useful. OK, it’s a two-way street now, it’s helping me and it seems to be helping other people.” Like, wow. Yes. I’m here to stay, and that doesn’t make me nervous. I find that really reassuring. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+A+Detour%2C+Land+Of+Talk%27s+Elizabeth+Powell+Finds+A+New+Way+Home&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "PWR BTTM Issues New Statement Addressing Allegations of Sexual Misconduct",
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"content": "\u003cp>PWR BTTM has responded at length and in detail to allegations of sexual misconduct directed towards Ben Hopkins, a member of the Brooklyn-based duo. In a statement released Thursday afternoon, Hopkins acknowledges a sexual relationship with a woman who accused the musician of rape in an anonymous interview posted on \u003cem>Jezebel \u003c/em>last week, but reports a different version of events. “[T]he statements made about me by the anonymous source did not line up with any sexual experience I have ever had,” Hopkins writes in the statement.\u003c/p>\n\u003cp>“We met the night before a show in March of 2016,” Hopkins writes. “After the show, she invited me back to her house and we eventually engaged in sex. Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual.”\u003c/p>\n\u003cp>It’s been just over a week since the allegations, which began circulating in social media posts and were further detailed in an anonymous interview, began getting reported widely. Within days, the band’s music had been pulled from streaming services — including a brand-new record, \u003cem>Pageant\u003c/em>, released last Friday. Bands scheduled to accompany PWR BTTM on a tour promoting \u003cem>Pageant \u003c/em>pulled out of those performances. The group was dropped by its management and at least one festival had removed it from the lineup.\u003c/p>\n\u003cp>As the story was breaking, PWR BTTM issued \u003ca href=\"https://www.facebook.com/PWRBTTM666/posts/793308764171998\">an initial statement\u003c/a> saying the group was surprised by the allegations and that Hopkins had never been “contacted by any survivor(s) of abuse.” But last Friday, after the band’s statement had been released, \u003cem>Jezebel\u003c/em> published \u003ca href=\"http://jezebel.com/member-of-queer-punk-band-pwr-bttm-accused-of-sexual-as-1795132781\" target=\"_blank\" rel=\"noopener\">an article\u003c/a> in which an anonymous woman said that Hopkins had sex with her without her permission and while she was intoxicated, following a PWR BTTM show in the spring of 2016. She is quoted in the piece as saying Hopkins assaulted her for the second time a month after the first, and that she came to the realization she had been the victim of sexual assault some time later, after talking over the experience with friends.\u003c/p>\n\u003cp>The new statement is split into three parts — one from Hopkins, one from Bruce and one from the band as a whole. PWR BTTM attempts to explain the discrepancies created by its first public address of the controversy, to address the allegations against Hopkins and to retract the band’s much-criticized attempt at mediation presented in its initial statement. (The full statement can be found at the bottom of this article.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hopkins’ statement offers a different perspective of the events. “Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual,” Hopkins writes.\u003c/p>\n\u003cp>“That being said,” the statement continues, “in keeping with my commitment to my principles, I believe it is my responsibility to be accountable to this individual’s perspective and to honor it accordingly.”\u003c/p>\n\u003cp>The account in \u003cem>Jezebel\u003c/em>‘s article conflicted with band’s earlier statement of having been surprised by the accusations; the accuser told \u003cem>Jezebel\u003c/em> that she had contacted Hopkins’ bandmate Liv Bruce earlier this year. In the new statement, Bruce acknowledges contacting Hopkins’ accuser in February, and of keeping the conversation from Hopkins until last Friday.\u003c/p>\n\u003cp>NPR Music has covered or partnered with PWR BTTM on several occasions. It premiered \u003cem>Pageant\u003c/em> on May 4 as part of its First Listen series; invited the band to play a Tiny Desk Concert in 2016; Hopkins was a judge in the 2017 Tiny Desk Contest; and PWR BTTM performed at NPR Music’s 2017 SXSW showcase.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>RAINN, an organization which provides confidential support to survivors of sexual assault, \u003ca href=\"https://www.rainn.org/\">can be reached at its website\u003c/a> (where they offer \u003ca href=\"https://hotline.rainn.org/online/terms-of-service.jsp\">privacy-focused online chat\u003c/a> to victims) or by phone at 1-800-656-4673.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>PWR BTTM’s full statement:\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cstrong>\u003cem>From Ben [Hopkins]:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>What has transpired over the past several days has been emotionally overwhelming and difficult to comprehend. Last Thursday, I learned that an anonymous individual had made an allegation of sexual assault against me. This allegation was devastating to me as it is contrary to the intentional way I seek to interact with those around me. As I digested the allegations, I tried to figure out who the individual might be so that I could try to reconcile what I had read with my memory of any particular sexual interaction. I’ve waited to respond to the Jezebel article because the statements made about me by the anonymous source did not line up with any sexual experience I have ever had.\u003c/p>\n\u003cp>Over the past several days, I was able to figure out who the individual was based on what I was reading and my subsequent conversations with Liv. I am not going to breach the anonymity of the person interviewed in the Jezebel article, but given the serious nature of what was published and its impact, I have to unpack the claims and provide perspective on the details within. We met the night before a show in March of 2016 and spent most of the following day together. After the show, she invited me back to her house and we eventually engaged in sex. Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual. We stayed in touch over the course of several weeks by exchanging texts and pictures. Later, she asked if she could stay with me at my home, where we had sex several more times over the course of those days. Again, I understood these interactions to be fully consensual, especially since our ongoing communications continued to be mutual, positive and reciprocal in nature. We did not see each other much after that but when we did it was entirely pleasant and we continued to exchange texts, including as recently as March of this year. I had no indication before last week that she had any concerns about our interaction.\u003c/p>\n\u003cp>Last week I learned that, in February of this year, this person had expressed concerns to others about what had transpired between us. I fully embrace and respect this individual’s right to speak out in any manner or forum they choose, including in a Facebook post or anonymously to a Jezebel reporter. It does not diminish that person’s experience or perception. After the initial shock of learning about her concerns, I have tried to understand her experience of our interactions. It would be antithetical to my values to attack, blame, or shame someone who is using the power of call-out culture to name their experience and hold others accountable, even when – or especially if – the individual they seek to hold accountable is me. I fully appreciate that someone’s views about the dynamics of intimate interactions can change and are not always apparent in the moment. While I am open to understanding this person’s perspective, I strongly contest the account put forth in Jezebel. I am firmly committed to consent, to communication, and to mutual expression of sexual interest. The accusations in Jezebel directly conflict with my experience, as it is not my practice to engage in sexual contact without protection, without discussing the issue with my partner, or to engage in the other conduct alleged in the Jezebel article. That being said, in keeping with my commitment to my principles, I believe it is my responsibility to be accountable to this individual’s perspective and to honor it accordingly.\u003c/p>\n\u003cp>One more thing. I have seen posts about people raising concerns about having their boundaries crossed when I have greeted our fans after our shows, something Liv and I do after every performance, taking selfies and thanking folks for coming. This is, again, incredibly shocking news to me, as the safety and well-being of PWR BTTM fans is the most paramount concern I have as a member of this band on and\u003c/p>\n\u003cp>off stage. If my physical contact has made anyone feel uncomfortable, I sincerely apologize and will work hard to have an increased awareness of boundaries moving forward consistent with our commitment to our fans.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>From Liv [Bruce]:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>In February, I made contact with the anonymous individual interviewed by Jezebel, someone I knew casually, after hearing that she had made inflammatory accusations about Ben in a private online forum. My intent in reaching out was to learn more and to make myself available in the event that I could be of any help. Our conversation was friendly, but it ended without a plan for any specific next steps. Based upon our discussion, my understanding was that she did not want me to share her identity with Ben unless I had her explicit permission to do so, and I assured her that I would not do so.\u003c/p>\n\u003cp>After our conversation, I wanted to discuss with Ben the issues she had raised but I quickly realized that doing so would inevitably reveal her identity. I did not know how to proceed nor did I know where to seek advice about how to move forward.\u003c/p>\n\u003cp>After Ben ascertained the individual’s identity on Friday I decided that my withholding information was no longer protecting her privacy and I told Ben about the conversation she and I had.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>From PWR BTTM:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>As some of you know, we set up a separate email address back in mid-May so that anyone with information relevant to the situation that was then unfolding could privately share what they knew. At the time we thought it was the right thing to do. We now see that we were putting the onus on others to do something that only works if it is what they want. We have concluded that there is no viable way to do what we were trying to accomplish, with the result that we are going to shut that email address down (we have not and will not look at any emails that may have been sent there to date).\u003c/p>\n\u003cp>Finally, to our fans, our friends, our family and those who have supported us unfailingly and who continue to support us unfailingly: thank you from the bottom of our hearts. Having enjoyed the enthusiastic support of so many incredible people throughout our music careers has been a blessing. We love playing music, we love sharing music with others and we want nothing more than to be back performing together soon.\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=PWR+BTTM+Issues+New+Statement+Addressing+Allegations+Of+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>PWR BTTM has responded at length and in detail to allegations of sexual misconduct directed towards Ben Hopkins, a member of the Brooklyn-based duo. In a statement released Thursday afternoon, Hopkins acknowledges a sexual relationship with a woman who accused the musician of rape in an anonymous interview posted on \u003cem>Jezebel \u003c/em>last week, but reports a different version of events. “[T]he statements made about me by the anonymous source did not line up with any sexual experience I have ever had,” Hopkins writes in the statement.\u003c/p>\n\u003cp>“We met the night before a show in March of 2016,” Hopkins writes. “After the show, she invited me back to her house and we eventually engaged in sex. Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual.”\u003c/p>\n\u003cp>It’s been just over a week since the allegations, which began circulating in social media posts and were further detailed in an anonymous interview, began getting reported widely. Within days, the band’s music had been pulled from streaming services — including a brand-new record, \u003cem>Pageant\u003c/em>, released last Friday. Bands scheduled to accompany PWR BTTM on a tour promoting \u003cem>Pageant \u003c/em>pulled out of those performances. The group was dropped by its management and at least one festival had removed it from the lineup.\u003c/p>\n\u003cp>As the story was breaking, PWR BTTM issued \u003ca href=\"https://www.facebook.com/PWRBTTM666/posts/793308764171998\">an initial statement\u003c/a> saying the group was surprised by the allegations and that Hopkins had never been “contacted by any survivor(s) of abuse.” But last Friday, after the band’s statement had been released, \u003cem>Jezebel\u003c/em> published \u003ca href=\"http://jezebel.com/member-of-queer-punk-band-pwr-bttm-accused-of-sexual-as-1795132781\" target=\"_blank\" rel=\"noopener\">an article\u003c/a> in which an anonymous woman said that Hopkins had sex with her without her permission and while she was intoxicated, following a PWR BTTM show in the spring of 2016. She is quoted in the piece as saying Hopkins assaulted her for the second time a month after the first, and that she came to the realization she had been the victim of sexual assault some time later, after talking over the experience with friends.\u003c/p>\n\u003cp>The new statement is split into three parts — one from Hopkins, one from Bruce and one from the band as a whole. PWR BTTM attempts to explain the discrepancies created by its first public address of the controversy, to address the allegations against Hopkins and to retract the band’s much-criticized attempt at mediation presented in its initial statement. (The full statement can be found at the bottom of this article.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Hopkins’ statement offers a different perspective of the events. “Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual,” Hopkins writes.\u003c/p>\n\u003cp>“That being said,” the statement continues, “in keeping with my commitment to my principles, I believe it is my responsibility to be accountable to this individual’s perspective and to honor it accordingly.”\u003c/p>\n\u003cp>The account in \u003cem>Jezebel\u003c/em>‘s article conflicted with band’s earlier statement of having been surprised by the accusations; the accuser told \u003cem>Jezebel\u003c/em> that she had contacted Hopkins’ bandmate Liv Bruce earlier this year. In the new statement, Bruce acknowledges contacting Hopkins’ accuser in February, and of keeping the conversation from Hopkins until last Friday.\u003c/p>\n\u003cp>NPR Music has covered or partnered with PWR BTTM on several occasions. It premiered \u003cem>Pageant\u003c/em> on May 4 as part of its First Listen series; invited the band to play a Tiny Desk Concert in 2016; Hopkins was a judge in the 2017 Tiny Desk Contest; and PWR BTTM performed at NPR Music’s 2017 SXSW showcase.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>RAINN, an organization which provides confidential support to survivors of sexual assault, \u003ca href=\"https://www.rainn.org/\">can be reached at its website\u003c/a> (where they offer \u003ca href=\"https://hotline.rainn.org/online/terms-of-service.jsp\">privacy-focused online chat\u003c/a> to victims) or by phone at 1-800-656-4673.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>PWR BTTM’s full statement:\u003c/strong>\u003c/p>\n\u003cblockquote>\n\u003cp>\u003cstrong>\u003cem>From Ben [Hopkins]:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>What has transpired over the past several days has been emotionally overwhelming and difficult to comprehend. Last Thursday, I learned that an anonymous individual had made an allegation of sexual assault against me. This allegation was devastating to me as it is contrary to the intentional way I seek to interact with those around me. As I digested the allegations, I tried to figure out who the individual might be so that I could try to reconcile what I had read with my memory of any particular sexual interaction. I’ve waited to respond to the Jezebel article because the statements made about me by the anonymous source did not line up with any sexual experience I have ever had.\u003c/p>\n\u003cp>Over the past several days, I was able to figure out who the individual was based on what I was reading and my subsequent conversations with Liv. I am not going to breach the anonymity of the person interviewed in the Jezebel article, but given the serious nature of what was published and its impact, I have to unpack the claims and provide perspective on the details within. We met the night before a show in March of 2016 and spent most of the following day together. After the show, she invited me back to her house and we eventually engaged in sex. Based on the nature of our communications and our interactions with one another, I understood our interactions to be fully consensual. We stayed in touch over the course of several weeks by exchanging texts and pictures. Later, she asked if she could stay with me at my home, where we had sex several more times over the course of those days. Again, I understood these interactions to be fully consensual, especially since our ongoing communications continued to be mutual, positive and reciprocal in nature. We did not see each other much after that but when we did it was entirely pleasant and we continued to exchange texts, including as recently as March of this year. I had no indication before last week that she had any concerns about our interaction.\u003c/p>\n\u003cp>Last week I learned that, in February of this year, this person had expressed concerns to others about what had transpired between us. I fully embrace and respect this individual’s right to speak out in any manner or forum they choose, including in a Facebook post or anonymously to a Jezebel reporter. It does not diminish that person’s experience or perception. After the initial shock of learning about her concerns, I have tried to understand her experience of our interactions. It would be antithetical to my values to attack, blame, or shame someone who is using the power of call-out culture to name their experience and hold others accountable, even when – or especially if – the individual they seek to hold accountable is me. I fully appreciate that someone’s views about the dynamics of intimate interactions can change and are not always apparent in the moment. While I am open to understanding this person’s perspective, I strongly contest the account put forth in Jezebel. I am firmly committed to consent, to communication, and to mutual expression of sexual interest. The accusations in Jezebel directly conflict with my experience, as it is not my practice to engage in sexual contact without protection, without discussing the issue with my partner, or to engage in the other conduct alleged in the Jezebel article. That being said, in keeping with my commitment to my principles, I believe it is my responsibility to be accountable to this individual’s perspective and to honor it accordingly.\u003c/p>\n\u003cp>One more thing. I have seen posts about people raising concerns about having their boundaries crossed when I have greeted our fans after our shows, something Liv and I do after every performance, taking selfies and thanking folks for coming. This is, again, incredibly shocking news to me, as the safety and well-being of PWR BTTM fans is the most paramount concern I have as a member of this band on and\u003c/p>\n\u003cp>off stage. If my physical contact has made anyone feel uncomfortable, I sincerely apologize and will work hard to have an increased awareness of boundaries moving forward consistent with our commitment to our fans.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>From Liv [Bruce]:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>In February, I made contact with the anonymous individual interviewed by Jezebel, someone I knew casually, after hearing that she had made inflammatory accusations about Ben in a private online forum. My intent in reaching out was to learn more and to make myself available in the event that I could be of any help. Our conversation was friendly, but it ended without a plan for any specific next steps. Based upon our discussion, my understanding was that she did not want me to share her identity with Ben unless I had her explicit permission to do so, and I assured her that I would not do so.\u003c/p>\n\u003cp>After our conversation, I wanted to discuss with Ben the issues she had raised but I quickly realized that doing so would inevitably reveal her identity. I did not know how to proceed nor did I know where to seek advice about how to move forward.\u003c/p>\n\u003cp>After Ben ascertained the individual’s identity on Friday I decided that my withholding information was no longer protecting her privacy and I told Ben about the conversation she and I had.\u003c/p>\n\u003cp>\u003cstrong>\u003cem>From PWR BTTM:\u003c/em>\u003c/strong>\u003c/p>\n\u003cp>As some of you know, we set up a separate email address back in mid-May so that anyone with information relevant to the situation that was then unfolding could privately share what they knew. At the time we thought it was the right thing to do. We now see that we were putting the onus on others to do something that only works if it is what they want. We have concluded that there is no viable way to do what we were trying to accomplish, with the result that we are going to shut that email address down (we have not and will not look at any emails that may have been sent there to date).\u003c/p>\n\u003cp>Finally, to our fans, our friends, our family and those who have supported us unfailingly and who continue to support us unfailingly: thank you from the bottom of our hearts. Having enjoyed the enthusiastic support of so many incredible people throughout our music careers has been a blessing. We love playing music, we love sharing music with others and we want nothing more than to be back performing together soon.\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=PWR+BTTM+Issues+New+Statement+Addressing+Allegations+Of+Sexual+Misconduct&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The 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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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"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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},
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"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"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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