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"content": "\u003cp>Over the last 15 years, drummer and composer Nate Smith has built the quintessential jazz resume: He’s been in bands led by jazz legends, such as bassist \u003ca href=\"http://www.npr.org/artists/15404006/dave-holland\" target=\"_blank\" rel=\"noopener\">Dave Holland\u003c/a>, and toured with some of the music’s rising stars, like saxophonist \u003ca href=\"http://www.npr.org/artists/17177145/chris-potter\" target=\"_blank\" rel=\"noopener\">Chris Potter\u003c/a>.\u003c/p>\n\u003cp>Jazz musicians often lead nomadic lives; they go where the gigs are. A growing contingent of younger players are musical nomads, too: They’re reworking the beats they grew up with — hip-hop, rock, R&B — into settings for jazz creativity. Smith, 42, is among them. He comes from jazz — he’s happy when he can get sparks flying — but, like many of his peers, he’s searching beyond jazz history.\u003c/p>\n\u003cp>His first solo album, \u003cem>Kinfolk: Postcards From Everywhere,\u003c/em> emphasizes catchy, singable melodies and spring-loaded backbeats. Smith often starts with a conventional pattern, then disrupts it by adding an extra hiccup of a beat. Just that slight modification gives the groove a serious jolt.\u003c/p>\n\u003cp>Throughout the record, Smith tells multiple travel stories. Some reflect his experiences touring; he’s soaked up breezy, wonderfully open grooves from all over the place. Some are more personal: His parents are heard in short interludes, recalling his family’s moves from the South to the North and back. Many songs express a deep wistfulness and the traveler’s longing for home.\u003c/p>\n\u003cp>When Smith and vocalist \u003ca href=\"http://www.npr.org/artists/15171915/gretchen-parlato\" target=\"_blank\" rel=\"noopener\">Gretchen Parlato\u003c/a> listened back to the tune “Pages” in the studio, the drummer says he was seized with an unusual worry — that the track was too pretty, not cerebral enough. He got over that pretty quickly, when he realized that the journey of the project mirrored his own journey: He started out in jazz and wound up with the kind of sweeping travel diary only a nomad could make. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4DAZtVO3Xho\u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Nate+Smith%27s+%27Kinfolk%27%3A+A+Study+In+Nomadic+Jazz&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Over the last 15 years, drummer and composer Nate Smith has built the quintessential jazz resume: He’s been in bands led by jazz legends, such as bassist \u003ca href=\"http://www.npr.org/artists/15404006/dave-holland\" target=\"_blank\" rel=\"noopener\">Dave Holland\u003c/a>, and toured with some of the music’s rising stars, like saxophonist \u003ca href=\"http://www.npr.org/artists/17177145/chris-potter\" target=\"_blank\" rel=\"noopener\">Chris Potter\u003c/a>.\u003c/p>\n\u003cp>Jazz musicians often lead nomadic lives; they go where the gigs are. A growing contingent of younger players are musical nomads, too: They’re reworking the beats they grew up with — hip-hop, rock, R&B — into settings for jazz creativity. Smith, 42, is among them. He comes from jazz — he’s happy when he can get sparks flying — but, like many of his peers, he’s searching beyond jazz history.\u003c/p>\n\u003cp>His first solo album, \u003cem>Kinfolk: Postcards From Everywhere,\u003c/em> emphasizes catchy, singable melodies and spring-loaded backbeats. Smith often starts with a conventional pattern, then disrupts it by adding an extra hiccup of a beat. Just that slight modification gives the groove a serious jolt.\u003c/p>\n\u003cp>Throughout the record, Smith tells multiple travel stories. Some reflect his experiences touring; he’s soaked up breezy, wonderfully open grooves from all over the place. Some are more personal: His parents are heard in short interludes, recalling his family’s moves from the South to the North and back. Many songs express a deep wistfulness and the traveler’s longing for home.\u003c/p>\n\u003cp>When Smith and vocalist \u003ca href=\"http://www.npr.org/artists/15171915/gretchen-parlato\" target=\"_blank\" rel=\"noopener\">Gretchen Parlato\u003c/a> listened back to the tune “Pages” in the studio, the drummer says he was seized with an unusual worry — that the track was too pretty, not cerebral enough. He got over that pretty quickly, when he realized that the journey of the project mirrored his own journey: He started out in jazz and wound up with the kind of sweeping travel diary only a nomad could make. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Long live \u003cem>Logan\u003c/em>, James Mangold’s sad, stirring requiem for the \u003cem>X-Men\u003c/em> franchise’s most beloved character. The only problem with calling it the boldest and most affecting superhero flick in many years is that it’s barely a superhero movie at all.\u003c/p>\n\u003cp>It doesn’t talk like a superhero: too many F-bombs, including its very first word. And it doesn’t walk like a superhero: No computer-generated cities are razed in its finale, no unseen thousands sacrificed. Though with its gnarly R-rated medley of stabbings, slicings, skewerings, and impalings in what has been, \u003cem>Deadpool\u003c/em> excepted, a PG-13 franchise, \u003cem>Logan\u003c/em> sure feels bloodier than most of its ilk. And \u003cem>feels\u003c/em> is the right verb: The deaths have weight. For once. To misquote the 40-year-old tagline of the very first big-budget comic book movie, \u003cem>you will believe a man can cry …\u003c/em>\u003c/p>\n\u003cp>… at a movie about a 200-year-old rage monster with a silly haircut and retractable knives implanted in his knuckles.\u003c/p>\n\u003cp>https://youtu.be/RH3OxVFvTeg\u003c/p>\n\u003cp>Because \u003cem>Logan\u003c/em> is unlike any capes-and-tights movie we’ve seen. It does for the creaky \u003cem>X\u003c/em> series what \u003cem>Creed\u003c/em> did for the \u003cem>Rocky\u003c/em> cycle, restoring the integrity and emotion of the earliest installments while introducing talented new blood. (As with \u003cem>Creed\u003c/em>, you need only skeletal familiarity with the prior chapters to get gut-punched by this one.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Most significantly, it’s Hugh Jackman’s swan song to the part that’ll be cited in the first graf of his obituary, one he’s played for 17 years — longer than any superhero has ever remained on duty, by a lot. He’s played Logan more times than Sly played Rocky. More times than Connery \u003cem>or\u003c/em> Moore played 007. More times than Shatner played Kirk — in movies, anyway. (And all \u003cem>sans\u003c/em> hairpiece, despite the precariousness of his rapid-healing mutant coif!)\u003c/p>\n\u003cp>Unlike almost every other star who ever got famous in a heavily-merchandised role, Jackman never whined about his golden-goose gig. He was a musical theater guy, used to working hard, and he knew he’d lucked into an opportunity most actors would stab you through the heart with adamantium claws for. (In fact, he was a last-minute replacement Wolverine, after Scotsman Dougray Scott had to drop out of 2000’s \u003cem>X-Men\u003c/em>.) Jackman always seemed humble and happy.\u003c/p>\n\u003cp>Which is ironic, because the character has historically been defined by his temper. But it’s rage of the largely impotent sort in \u003cem>Logan\u003c/em>, which plays like the \u003cem>King Lear\u003c/em> of the X-saga. Director Mangold gave us not only 2013’s not-bad \u003cem>The Wolverine\u003c/em>, but also \u003cem>Walk the Line\u003c/em>, and \u003cem>3:10 to Yuma\u003c/em>. You can pick up echoes of all those movies here, and of \u003cem>Unforgiven\u003c/em>, samurai pictures, the Coen Brothers, \u003cem>Children of Men\u003c/em>, even Samuel Beckett. The scenes between Jackman and Patrick Stewart, who’s been in these movies as long as he has, have an intimacy rarely found in films with nine-digit budgets.\u003c/p>\n\u003cp>One influence that’s muted: the 40-odd years of Marvel comics in which the character has appeared. Even though, in a confident grace note, the movie actually lets Jackman leaf through old \u003cem>X-Men\u003c/em> issues, dismissing them as “ice cream for bed wetters!” because that’s not how it all went down. Feel free to infer a diss of any X-movies that didn’t deserve him. \u003ca href=\"http://www.npr.org/2016/05/26/479576425/x-men-issues-hiding-oscar-isaac-is-only-the-beginning\" target=\"_blank\" rel=\"noopener\">There have been a few\u003c/a>.\u003c/p>\n\u003cp>But at last we have a Wolverine movie as committed as Jackman is, and the grinning Australian wrings every drop of pathos he can from it. He’s tremendous. \u003cem>Logan\u003c/em> finds the short-tempered, steel-skulled, bicentennial beast-man finally feeling his age. It’s an effort for his body to expel bullets now. He’s hacking up blood like a courtesan in an opera. In one sure sign that the instant “healing factor” that once made him unkillable is flagging, he can even get drunk — and he does his damnedest to stay that way.\u003c/p>\n\u003cp>You need only scope out its sun-bleached El Paso-to-Oklahoma City-to-North Dakota trail to see that \u003cem>Logan\u003c/em> belongs to a genre even older and more tradition-bound than superheroes: In every way that matters, it’s a Western. Mangold leans into that association, hard, by having its three principal characters take a breather from the action in Act Two to watch the George Stevens classic \u003cem>Shane\u003c/em>. If you know that movie, you’ll get a pretty good clue about where this one is going.\u003c/p>\n\u003cp>Subtle? No. Powerful? Just you wait, Bub.\u003c/p>\n\u003cp>Set in 2029 (where \u003cem>The Terminator\u003c/em> began, back when 2029 was a long way off), \u003cem>Logan\u003c/em> exists in a twilight world where the X-Men are a spent and dissipated force. No new mutants have appeared in a generation. Charles Xavier, who founded the team some 70 years earlier, is in his nineties and suffering from dementia. Mangold (who wrote the script with Scott Frank and Michael Green, drawing inspiration from two 21st century comics stories by Mark Millar and Kyle Craig) vividly imagines what this scenario might look like if the patient were the world’s most powerful psychic. Basically, a Professor X not in control of his faculties is a loose nuke. Logan and Caliban (the comedian Stephen Merchant, playing a bad-mutant-turned-good) keep the prof sedated and isolated in a compound south of the border, hoping he won’t take us all with him when he finally goes.\u003c/p>\n\u003cp>Logan, scraping together a living as a limo driver, reluctantly accepts a dying woman’s request to escort a mysterious little girl (the astonishing Dafne Keen) from Mexico, up through the spine of the United States, to Canada. The \u003cem>Federales\u003c/em> and a bunch of extras from \u003cem>The Road Warrior\u003c/em> show up at his door (along with Boyd Holbrook from \u003cem>Narcos\u003c/em> and Richard E. Grant from the immortal \u003cem>Hudson Hawk\u003c/em>) and the movie becomes, like \u003cem>The Empire Strikes Back\u003c/em>, one long, desperate chase — and with just as many surprises.\u003c/p>\n\u003cp>Though it runs 45 minutes longer than Bryan Singer’s franchise-launching \u003cem>X-Men\u003c/em>, it shares with that film a refreshing modesty of scale. \u003cem>X-Men\u003c/em> was built largely on Jackman’s protective relationship with Anna Paquin, as \u003cem>Logan\u003c/em> trades on his burgeoning rapport with Keen. The world isn’t threatened — just a handful of characters about whom we’ve come to care deeply.\u003c/p>\n\u003cp>Marvel’s “mutants,” separate from their other superpowered beings, have always been analogs for persecuted peoples; in this movie, they’re immigrants. This gives \u003cem>Logan\u003c/em> the kind of topical \u003cem>frisson\u003c/em> and intensity that \u003cem>The Dark Knight\u003c/em> had nine years ago, and no superhero movie has enjoyed since. Inevitably, there will be those who cry that we don’t \u003cem>need\u003c/em> dour, violent R-rated comic book adaptations; that crowd can take comfort in the certainty that the bright, quippy Marvel Studios films aren’t going out of print until the human race does.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Logan\u003c/em> is something else, a stripped-down, one-mic, late-period Johnny Cash-style supermovie. And it’s a Marvel. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Long live \u003cem>Logan\u003c/em>, James Mangold’s sad, stirring requiem for the \u003cem>X-Men\u003c/em> franchise’s most beloved character. The only problem with calling it the boldest and most affecting superhero flick in many years is that it’s barely a superhero movie at all.\u003c/p>\n\u003cp>It doesn’t talk like a superhero: too many F-bombs, including its very first word. And it doesn’t walk like a superhero: No computer-generated cities are razed in its finale, no unseen thousands sacrificed. Though with its gnarly R-rated medley of stabbings, slicings, skewerings, and impalings in what has been, \u003cem>Deadpool\u003c/em> excepted, a PG-13 franchise, \u003cem>Logan\u003c/em> sure feels bloodier than most of its ilk. And \u003cem>feels\u003c/em> is the right verb: The deaths have weight. For once. To misquote the 40-year-old tagline of the very first big-budget comic book movie, \u003cem>you will believe a man can cry …\u003c/em>\u003c/p>\n\u003cp>… at a movie about a 200-year-old rage monster with a silly haircut and retractable knives implanted in his knuckles.\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/RH3OxVFvTeg'\n title='//www.youtube.com/embed/RH3OxVFvTeg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Because \u003cem>Logan\u003c/em> is unlike any capes-and-tights movie we’ve seen. It does for the creaky \u003cem>X\u003c/em> series what \u003cem>Creed\u003c/em> did for the \u003cem>Rocky\u003c/em> cycle, restoring the integrity and emotion of the earliest installments while introducing talented new blood. (As with \u003cem>Creed\u003c/em>, you need only skeletal familiarity with the prior chapters to get gut-punched by this one.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Most significantly, it’s Hugh Jackman’s swan song to the part that’ll be cited in the first graf of his obituary, one he’s played for 17 years — longer than any superhero has ever remained on duty, by a lot. He’s played Logan more times than Sly played Rocky. More times than Connery \u003cem>or\u003c/em> Moore played 007. More times than Shatner played Kirk — in movies, anyway. (And all \u003cem>sans\u003c/em> hairpiece, despite the precariousness of his rapid-healing mutant coif!)\u003c/p>\n\u003cp>Unlike almost every other star who ever got famous in a heavily-merchandised role, Jackman never whined about his golden-goose gig. He was a musical theater guy, used to working hard, and he knew he’d lucked into an opportunity most actors would stab you through the heart with adamantium claws for. (In fact, he was a last-minute replacement Wolverine, after Scotsman Dougray Scott had to drop out of 2000’s \u003cem>X-Men\u003c/em>.) Jackman always seemed humble and happy.\u003c/p>\n\u003cp>Which is ironic, because the character has historically been defined by his temper. But it’s rage of the largely impotent sort in \u003cem>Logan\u003c/em>, which plays like the \u003cem>King Lear\u003c/em> of the X-saga. Director Mangold gave us not only 2013’s not-bad \u003cem>The Wolverine\u003c/em>, but also \u003cem>Walk the Line\u003c/em>, and \u003cem>3:10 to Yuma\u003c/em>. You can pick up echoes of all those movies here, and of \u003cem>Unforgiven\u003c/em>, samurai pictures, the Coen Brothers, \u003cem>Children of Men\u003c/em>, even Samuel Beckett. The scenes between Jackman and Patrick Stewart, who’s been in these movies as long as he has, have an intimacy rarely found in films with nine-digit budgets.\u003c/p>\n\u003cp>One influence that’s muted: the 40-odd years of Marvel comics in which the character has appeared. Even though, in a confident grace note, the movie actually lets Jackman leaf through old \u003cem>X-Men\u003c/em> issues, dismissing them as “ice cream for bed wetters!” because that’s not how it all went down. Feel free to infer a diss of any X-movies that didn’t deserve him. \u003ca href=\"http://www.npr.org/2016/05/26/479576425/x-men-issues-hiding-oscar-isaac-is-only-the-beginning\" target=\"_blank\" rel=\"noopener\">There have been a few\u003c/a>.\u003c/p>\n\u003cp>But at last we have a Wolverine movie as committed as Jackman is, and the grinning Australian wrings every drop of pathos he can from it. He’s tremendous. \u003cem>Logan\u003c/em> finds the short-tempered, steel-skulled, bicentennial beast-man finally feeling his age. It’s an effort for his body to expel bullets now. He’s hacking up blood like a courtesan in an opera. In one sure sign that the instant “healing factor” that once made him unkillable is flagging, he can even get drunk — and he does his damnedest to stay that way.\u003c/p>\n\u003cp>You need only scope out its sun-bleached El Paso-to-Oklahoma City-to-North Dakota trail to see that \u003cem>Logan\u003c/em> belongs to a genre even older and more tradition-bound than superheroes: In every way that matters, it’s a Western. Mangold leans into that association, hard, by having its three principal characters take a breather from the action in Act Two to watch the George Stevens classic \u003cem>Shane\u003c/em>. If you know that movie, you’ll get a pretty good clue about where this one is going.\u003c/p>\n\u003cp>Subtle? No. Powerful? Just you wait, Bub.\u003c/p>\n\u003cp>Set in 2029 (where \u003cem>The Terminator\u003c/em> began, back when 2029 was a long way off), \u003cem>Logan\u003c/em> exists in a twilight world where the X-Men are a spent and dissipated force. No new mutants have appeared in a generation. Charles Xavier, who founded the team some 70 years earlier, is in his nineties and suffering from dementia. Mangold (who wrote the script with Scott Frank and Michael Green, drawing inspiration from two 21st century comics stories by Mark Millar and Kyle Craig) vividly imagines what this scenario might look like if the patient were the world’s most powerful psychic. Basically, a Professor X not in control of his faculties is a loose nuke. Logan and Caliban (the comedian Stephen Merchant, playing a bad-mutant-turned-good) keep the prof sedated and isolated in a compound south of the border, hoping he won’t take us all with him when he finally goes.\u003c/p>\n\u003cp>Logan, scraping together a living as a limo driver, reluctantly accepts a dying woman’s request to escort a mysterious little girl (the astonishing Dafne Keen) from Mexico, up through the spine of the United States, to Canada. The \u003cem>Federales\u003c/em> and a bunch of extras from \u003cem>The Road Warrior\u003c/em> show up at his door (along with Boyd Holbrook from \u003cem>Narcos\u003c/em> and Richard E. Grant from the immortal \u003cem>Hudson Hawk\u003c/em>) and the movie becomes, like \u003cem>The Empire Strikes Back\u003c/em>, one long, desperate chase — and with just as many surprises.\u003c/p>\n\u003cp>Though it runs 45 minutes longer than Bryan Singer’s franchise-launching \u003cem>X-Men\u003c/em>, it shares with that film a refreshing modesty of scale. \u003cem>X-Men\u003c/em> was built largely on Jackman’s protective relationship with Anna Paquin, as \u003cem>Logan\u003c/em> trades on his burgeoning rapport with Keen. The world isn’t threatened — just a handful of characters about whom we’ve come to care deeply.\u003c/p>\n\u003cp>Marvel’s “mutants,” separate from their other superpowered beings, have always been analogs for persecuted peoples; in this movie, they’re immigrants. This gives \u003cem>Logan\u003c/em> the kind of topical \u003cem>frisson\u003c/em> and intensity that \u003cem>The Dark Knight\u003c/em> had nine years ago, and no superhero movie has enjoyed since. Inevitably, there will be those who cry that we don’t \u003cem>need\u003c/em> dour, violent R-rated comic book adaptations; that crowd can take comfort in the certainty that the bright, quippy Marvel Studios films aren’t going out of print until the human race does.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Logan\u003c/em> is something else, a stripped-down, one-mic, late-period Johnny Cash-style supermovie. And it’s a Marvel. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>At the heart of Gustav Metzger’s best-known work rests a seeming contradiction: The truest work of creation contains within itself the seeds of its own destruction. Working with acids and liquid crystals, Metzger often made his art to fall apart, break down or disappear entirely — and in doing so, better reflect the crumbling world around it.\u003c/p>\n\u003cp>Metzger, the inventor of “auto-destructive art,” died Wednesday in London at the age of 90. But long before his final days, he regularly confronted the implications of death in both his art and ecological activism.\u003c/p>\n\u003cp>“Gustav always maintained that an artist is not so much a creator as a destroyer; that the artist’s role is not to add something to the world of objects but to make fewer things,” Hans Ulrich Obrist, Metzger’s friend and curator of the Serpentine Gallery, \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/03/gustav-metzger-art-revolutionary-human-being-capitalism\" target=\"_blank\" rel=\"noopener\">writes for The Guardian\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12846565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-800x600.jpg\" alt=\"Metzger wears a gas mask while painting three nylon curtains with hydrochloric acid, causing them to disintegrate, in 1961\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12846565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metzger wears a gas mask while painting three nylon curtains with hydrochloric acid, causing them to disintegrate, in 1961 \u003ccite>(Photo: Keystone/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The roots of Metzger’s artistic inclinations lay partly in the tragedy of his youth. Born to Jewish parents in Germany shortly before the rise of Adolf Hitler, Metzger and his brother emigrated to the U.K. in 1939 as refugees in the \u003ca href=\"https://www.ushmm.org/wlc/en/article.php?ModuleId=10005260\" target=\"_blank\" rel=\"noopener\">kindertransport program\u003c/a>. His parents — and much of the rest of his family — disappeared in the Holocaust by 1943.\u003c/p>\n\u003cp>In the years that followed Metzger would often refer to himself as “stateless” or as “escaped Jew,” \u003ca href=\"https://www.washingtonpost.com/entertainment/museums/gustav-metzger-provocative-artist-who-developed-auto-destructive-art-dies-at-90/2017/03/02/0ef43478-ff6d-11e6-8ebe-6e0dbe4f2bca_story.html\" target=\"_blank\" rel=\"noopener\">according to The Washington Post\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though he began his career as a painter, he turned to more destructive forms in 1959 partly as a means of registering stark dissent. “When I saw the Nazis march, I saw machine-like people and the power of the Nazi state,” he told \u003ca href=\"https://www.theguardian.com/artanddesign/2012/nov/26/gustav-metzger-null-object-robot\" target=\"_blank\" rel=\"noopener\">The Guardian in 2012\u003c/a>. “Auto-destructive art is to do with rejecting power” — and in the process, creating new perspectives.\u003c/p>\n\u003cp>Take one of his most famous works, for instance: After stretching a sheet of nylon in a frame, he sprayed acid onto this blank surface, allowing the corrosive chemicals to eat away at a material other artists might have adorned with paint.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=9nzzLdiI9eg\u003c/p>\n\u003cp>“The important thing about burning a hole in that sheet,” he said in 2012, “was that it opened up a new view across the Thames of St Paul’s cathedral [in London]. Auto-destructive art was never merely destructive. Destroy a canvas and you create shapes.”\u003c/p>\n\u003cp>So it went with much of Metzger’s work. From decomposing liquid crystals, he created grand psychedelic tableaux of shifting colors; from discarded newspapers, he arranged a series of images as complex as they were vulnerable to fading.\u003c/p>\n\u003cp>And, as the \u003cem>Post\u003c/em> notes, from a bag of garbage he created a museum installation — which, in turn, was taken again for just another bag of garbage. “One evening,” the paper says, “a janitor tossed it out with the trash.”\u003c/p>\n\u003cfigure id=\"attachment_12846773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Metzger-piece-800x411.jpg\" alt=\"A woman looks at Metzger's 'Liquid Crystal Environment', part of a 2009 retrospective of his work at London's Serpentine Gallery\" width=\"800\" height=\"411\" class=\"size-medium wp-image-12846773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-768x395.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-240x123.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-520x267.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman looks at Metzger’s ‘Liquid Crystal Environment’, part of a 2009 retrospective of his work at London’s Serpentine Gallery \u003ccite>(AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Metzger, the aesthetic was never far from the political, and the one was just about as likely to get him in trouble as the other. \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/03/gustav-metzger-obituary\" target=\"_blank\" rel=\"noopener\">The Guardian reports\u003c/a> that during his 1966 \u003ca href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/art-60s-was-tomorrow/exhibition-themes/destruction-art-symposium\" target=\"_blank\" rel=\"noopener\">Destruction in Art Symposium\u003c/a>, which also featured a young Yoko Ono, Metzger was fined 100 pounds for obscenity in one of the exhibits.\u003c/p>\n\u003cp>“Hermann Nitsch’s 21st Action, the crucifixion of an eviscerated lamb with film of a man’s penis being manipulated by strings was stopped by the police,” the British paper recalls.\u003c/p>\n\u003cp>The police were just as receptive to some of his activism, as he was also jailed for his protests against nuclear weapons five years earlier.\u003c/p>\n\u003cp>But one notable rock star saw things differently.\u003c/p>\n\u003cp>“He had a profound effect on me,” Pete Townshend of The Who told the Guardian in 1998, according to the \u003cem>Post\u003c/em>. Townshend explained:\u003c/p>\n\u003cblockquote>\n\u003cp>“I took it as an excuse to smash my new Rickenbacker [guitar] that I had just [hocked] myself to the eyebrows to buy. I really believed it was my responsibility to start a rock band that would only last three months, an auto-destructive rock group. The Who would have been the first punk band except that we had a hit.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Still it seems Metzger, a Marxist, saw this art as more than an excuse. He saw it as a challenge leveled at a culture of consumerism that was always prepared to turn his artwork into a marketable object.\u003c/p>\n\u003cp>As he told London’s Tate museum in 2008, his work was meant less as an object than an undiluted glimpse of society — both its beauties and its horrors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is the world,” he said. “Look at it, and deal with it.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gustav+Metzger%2C+Whose+Creations+Were+Works+Of+Destruction%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the heart of Gustav Metzger’s best-known work rests a seeming contradiction: The truest work of creation contains within itself the seeds of its own destruction. Working with acids and liquid crystals, Metzger often made his art to fall apart, break down or disappear entirely — and in doing so, better reflect the crumbling world around it.\u003c/p>\n\u003cp>Metzger, the inventor of “auto-destructive art,” died Wednesday in London at the age of 90. But long before his final days, he regularly confronted the implications of death in both his art and ecological activism.\u003c/p>\n\u003cp>“Gustav always maintained that an artist is not so much a creator as a destroyer; that the artist’s role is not to add something to the world of objects but to make fewer things,” Hans Ulrich Obrist, Metzger’s friend and curator of the Serpentine Gallery, \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/03/gustav-metzger-art-revolutionary-human-being-capitalism\" target=\"_blank\" rel=\"noopener\">writes for The Guardian\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12846565\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-800x600.jpg\" alt=\"Metzger wears a gas mask while painting three nylon curtains with hydrochloric acid, causing them to disintegrate, in 1961\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12846565\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/gettyimages-52262642-ac0660e0dc65aa8c61369d847c4be8924ed23b89.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Metzger wears a gas mask while painting three nylon curtains with hydrochloric acid, causing them to disintegrate, in 1961 \u003ccite>(Photo: Keystone/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The roots of Metzger’s artistic inclinations lay partly in the tragedy of his youth. Born to Jewish parents in Germany shortly before the rise of Adolf Hitler, Metzger and his brother emigrated to the U.K. in 1939 as refugees in the \u003ca href=\"https://www.ushmm.org/wlc/en/article.php?ModuleId=10005260\" target=\"_blank\" rel=\"noopener\">kindertransport program\u003c/a>. His parents — and much of the rest of his family — disappeared in the Holocaust by 1943.\u003c/p>\n\u003cp>In the years that followed Metzger would often refer to himself as “stateless” or as “escaped Jew,” \u003ca href=\"https://www.washingtonpost.com/entertainment/museums/gustav-metzger-provocative-artist-who-developed-auto-destructive-art-dies-at-90/2017/03/02/0ef43478-ff6d-11e6-8ebe-6e0dbe4f2bca_story.html\" target=\"_blank\" rel=\"noopener\">according to The Washington Post\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though he began his career as a painter, he turned to more destructive forms in 1959 partly as a means of registering stark dissent. “When I saw the Nazis march, I saw machine-like people and the power of the Nazi state,” he told \u003ca href=\"https://www.theguardian.com/artanddesign/2012/nov/26/gustav-metzger-null-object-robot\" target=\"_blank\" rel=\"noopener\">The Guardian in 2012\u003c/a>. “Auto-destructive art is to do with rejecting power” — and in the process, creating new perspectives.\u003c/p>\n\u003cp>Take one of his most famous works, for instance: After stretching a sheet of nylon in a frame, he sprayed acid onto this blank surface, allowing the corrosive chemicals to eat away at a material other artists might have adorned with paint.\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/9nzzLdiI9eg'\n title='//www.youtube.com/embed/9nzzLdiI9eg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“The important thing about burning a hole in that sheet,” he said in 2012, “was that it opened up a new view across the Thames of St Paul’s cathedral [in London]. Auto-destructive art was never merely destructive. Destroy a canvas and you create shapes.”\u003c/p>\n\u003cp>So it went with much of Metzger’s work. From decomposing liquid crystals, he created grand psychedelic tableaux of shifting colors; from discarded newspapers, he arranged a series of images as complex as they were vulnerable to fading.\u003c/p>\n\u003cp>And, as the \u003cem>Post\u003c/em> notes, from a bag of garbage he created a museum installation — which, in turn, was taken again for just another bag of garbage. “One evening,” the paper says, “a janitor tossed it out with the trash.”\u003c/p>\n\u003cfigure id=\"attachment_12846773\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/03/Metzger-piece-800x411.jpg\" alt=\"A woman looks at Metzger's 'Liquid Crystal Environment', part of a 2009 retrospective of his work at London's Serpentine Gallery\" width=\"800\" height=\"411\" class=\"size-medium wp-image-12846773\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-160x82.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-768x395.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-240x123.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-375x193.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/03/Metzger-piece-520x267.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">A woman looks at Metzger’s ‘Liquid Crystal Environment’, part of a 2009 retrospective of his work at London’s Serpentine Gallery \u003ccite>(AFP/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For Metzger, the aesthetic was never far from the political, and the one was just about as likely to get him in trouble as the other. \u003ca href=\"https://www.theguardian.com/artanddesign/2017/mar/03/gustav-metzger-obituary\" target=\"_blank\" rel=\"noopener\">The Guardian reports\u003c/a> that during his 1966 \u003ca href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/art-60s-was-tomorrow/exhibition-themes/destruction-art-symposium\" target=\"_blank\" rel=\"noopener\">Destruction in Art Symposium\u003c/a>, which also featured a young Yoko Ono, Metzger was fined 100 pounds for obscenity in one of the exhibits.\u003c/p>\n\u003cp>“Hermann Nitsch’s 21st Action, the crucifixion of an eviscerated lamb with film of a man’s penis being manipulated by strings was stopped by the police,” the British paper recalls.\u003c/p>\n\u003cp>The police were just as receptive to some of his activism, as he was also jailed for his protests against nuclear weapons five years earlier.\u003c/p>\n\u003cp>But one notable rock star saw things differently.\u003c/p>\n\u003cp>“He had a profound effect on me,” Pete Townshend of The Who told the Guardian in 1998, according to the \u003cem>Post\u003c/em>. Townshend explained:\u003c/p>\n\u003cblockquote>\n\u003cp>“I took it as an excuse to smash my new Rickenbacker [guitar] that I had just [hocked] myself to the eyebrows to buy. I really believed it was my responsibility to start a rock band that would only last three months, an auto-destructive rock group. The Who would have been the first punk band except that we had a hit.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Still it seems Metzger, a Marxist, saw this art as more than an excuse. He saw it as a challenge leveled at a culture of consumerism that was always prepared to turn his artwork into a marketable object.\u003c/p>\n\u003cp>As he told London’s Tate museum in 2008, his work was meant less as an object than an undiluted glimpse of society — both its beauties and its horrors.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“This is the world,” he said. “Look at it, and deal with it.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Gustav+Metzger%2C+Whose+Creations+Were+Works+Of+Destruction%2C+Dies+At+90&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Lou Reed's Demos, Papers and Record Collection Soon to be Public",
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"content": "\u003cp>Thursday would have been Lou Reed’s 75th birthday. This morning, his widow, performance artist Laurie Anderson, marked the occasion by announcing that the New York Public Library for the Performing Arts will house Reed’s complete archives. The collection includes thousands of hours of video and audio recordings, Reed’s personal record collection and more than 300 boxes of papers, photos and other items spanning his six-decade career.\u003c/p>\n\u003cp>There’s a 1971 recording of Reed reading poetry. There’s a bill from the legendary New York bar Max’s Kansas City — Reed’s tab stood at $194.08. There’s also a birthday card of more recent vintage inscribed, “Dear Honey Bun, Love and Hugs, Mo” — as in Moe Tucker, The Velvet Underground’s drummer. But NYPL director Jonathan Hiam says it’s the business and legal records that have him excited: The contracts, licensing agreements, tour receipts, and other documents paint a detailed picture of how the music industry evolved.\u003c/p>\n\u003cp>“These kinds of documents are usually in the hands of a private enterprise still, and there’s usually no financial incentive to make them available to anybody,” Hiam says. “So if you’re doing research, this is really a boon.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=5r998weOUiM\u003c/p>\n\u003cp>Later this year, library staff will begin the process of digitizing the thousands of hours of video and audio recordings. Music producer and archivist Don Fleming, who has been supervising the restoration, says the process has turned up a few gems.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“One of the things they found was a tape from the early ’60s, which seems to be Lou with one of his high school bands rehearsing for the variety show,” Fleming says. “And just following that [clip] is Lou playing Bob Dylan songs.”\u003c/p>\n\u003cp>Those recordings aren’t available yet for legal reasons. But once the issues have been worked out, the recordings — and everything else in the archive — will be available to anyone who visits the library. Laurie Anderson says that’s why she chose to put the archive there instead of a museum or academic institution.\u003c/p>\n\u003cp>“I really wanted it to not be deep in some vault where only people with white gloves can come. He was really democratic,” Anderson explains.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=lqEoTN4BGPQ\u003c/p>\n\u003cp>Anderson says she hopes access to the archive will paint a more nuanced picture of Lou Reed than the tough guy in leather jacket and shades everyone knows.\u003c/p>\n\u003cp>“You realize everyone makes mistakes — everyone. Everyone loses their nerve — everyone. Everyone feels vulnerable and small. Take courage from that,” she says. “And that’s why I wanted this archive out: So everyone could see how hard it is to do that, and how determined he was.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The New York Public Library will be hosting Reed-related events over the next several weeks. The complete archive — including those early demo recordings — should be available to the public later this year. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lou+Reed%27s+Demos%2C+Papers+And+Record+Collection+Soon+To+Be+Public&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Thursday would have been Lou Reed’s 75th birthday. This morning, his widow, performance artist Laurie Anderson, marked the occasion by announcing that the New York Public Library for the Performing Arts will house Reed’s complete archives. The collection includes thousands of hours of video and audio recordings, Reed’s personal record collection and more than 300 boxes of papers, photos and other items spanning his six-decade career.\u003c/p>\n\u003cp>There’s a 1971 recording of Reed reading poetry. There’s a bill from the legendary New York bar Max’s Kansas City — Reed’s tab stood at $194.08. There’s also a birthday card of more recent vintage inscribed, “Dear Honey Bun, Love and Hugs, Mo” — as in Moe Tucker, The Velvet Underground’s drummer. But NYPL director Jonathan Hiam says it’s the business and legal records that have him excited: The contracts, licensing agreements, tour receipts, and other documents paint a detailed picture of how the music industry evolved.\u003c/p>\n\u003cp>“These kinds of documents are usually in the hands of a private enterprise still, and there’s usually no financial incentive to make them available to anybody,” Hiam says. “So if you’re doing research, this is really a boon.”\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/5r998weOUiM'\n title='//www.youtube.com/embed/5r998weOUiM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Later this year, library staff will begin the process of digitizing the thousands of hours of video and audio recordings. Music producer and archivist Don Fleming, who has been supervising the restoration, says the process has turned up a few gems.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“One of the things they found was a tape from the early ’60s, which seems to be Lou with one of his high school bands rehearsing for the variety show,” Fleming says. “And just following that [clip] is Lou playing Bob Dylan songs.”\u003c/p>\n\u003cp>Those recordings aren’t available yet for legal reasons. But once the issues have been worked out, the recordings — and everything else in the archive — will be available to anyone who visits the library. Laurie Anderson says that’s why she chose to put the archive there instead of a museum or academic institution.\u003c/p>\n\u003cp>“I really wanted it to not be deep in some vault where only people with white gloves can come. He was really democratic,” Anderson explains.\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/lqEoTN4BGPQ'\n title='//www.youtube.com/embed/lqEoTN4BGPQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Anderson says she hopes access to the archive will paint a more nuanced picture of Lou Reed than the tough guy in leather jacket and shades everyone knows.\u003c/p>\n\u003cp>“You realize everyone makes mistakes — everyone. Everyone loses their nerve — everyone. Everyone feels vulnerable and small. Take courage from that,” she says. “And that’s why I wanted this archive out: So everyone could see how hard it is to do that, and how determined he was.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The New York Public Library will be hosting Reed-related events over the next several weeks. The complete archive — including those early demo recordings — should be available to the public later this year. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Lou+Reed%27s+Demos%2C+Papers+And+Record+Collection+Soon+To+Be+Public&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Psychedelic Speed Freak: Remembering the Blistering Experimentalism of Hideo Ikeezumi",
"headTitle": "Psychedelic Speed Freak: Remembering the Blistering Experimentalism of Hideo Ikeezumi | KQED",
"content": "\u003cp>\u003cem>Editor’s note: The authors of this post, Peter Kolovos and Steve Lowenthal, worked closely with Hideo Ikeezumi in his final years, with Kolovos purchasing most of the impressive catalog of music he had released and reissuing that catalog through his U.S.-based \u003ca href=\"http://www.theblackeditions.com/\">Black Editions\u003c/a>. Below, they share a remembrance of the man as well as a cross-sectional playlist, complete with “liner notes,” compiled from the vast catalog of strange, lovely sounds that Mr. Ikeezumi dedicated himself to.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Over nearly forty years Hideo Ikeezumi, the Japanese founder of the infamous record label P.S.F. who died early this week at the age of 67, was a champion of his country’s always-vibrant underground scene, introducing the world to some of the most distinct and uncompromising music ever created in Japan.\u003c/p>\n\u003cp>Ikeezumi was born in 1949 in Tokyo, starting his career in music as a buyer for large record store chain Gobangai. Eventually, he became frustrated at the lack of diversity and far-out sounds that the chain would allow to be stocked. To remedy that cultural blind spot he founded the store Modern Music in the early ’80s in Tokyo, stocking the music he cared most about — free jazz, avant-garde, psychedelic rock and other hard-to-find-at-the-time genres. Quickly, his shop became a focal point for adventurous Japanese musicians.\u003c/p>\n\u003cp>Ikeezumi launched P.S.F. records several years later, in 1984, with the release of the aptly titled \u003cem>Psychedelic Speed Freaks\u003c/em>, the debut album of Tokyo band High Rise, which became a titular acronym and shorthand for the new label (its name was, in fact, somewhat amorphous). Works followed soon by iconic Japanese artists such as Keiji Haino, Ghost, Kaoru Abe, White Heaven, Che SHIZU, Shizuka and many others; the label would eventually release over 240 albums. And, across nearly ten volumes, P.S.F.’s seminal \u003cem>Tokyo Flashback\u003c/em> compilations provided wide-ranging introductions to the curious and helped to expand the label beyond its Tokyo base. To further document and explore the music he was working with, Ikeezumi also sporadically published the magazine \u003cem>G-Modern\u003c/em>.\u003c/p>\n\u003cp>Though Modern Music closed in 2014, Ikeezumi continued his work with the label, even as his deteriorating health began to slow his days. In recent years, he reached an agreement [with Kolovos and Lowenthal], through Black Editions, to reissue the P.S.F. catalog.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mr. Ikeezumi was a truly visionary man; he had a remarkable ear and an ability to identify truly new and exciting currents in music. He championed and brought first light to many artists that have gone on to have long and distinguished lives in music. Against great odds and out of nothing more than a love of the music, he greatly expanded the world he lived in… to include us.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/309922952″ params=”color=ff5500″ width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“My Cold Dimension” — White Heaven\u003c/strong>\u003c/p>\n\u003cp>White Heaven deliver wild blasts of wah-pedal-drenched coolness, with English lyrics and a more structured form than some of their P.S.F. labelmates. The undeniable chemistry between guitarists Ken Isihara and Michio Kurihara remain among the most unforgettable and revered of the P.S.F. catalog.\u003c/p>\n\u003cp>\u003cstrong>“The End of Dawn” — Kousokuya\u003c/strong>\u003c/p>\n\u003cp>One of the great bands of the late-’70s Japanese psychedelic underground scene was Kousokuya, formed by Jutok Kaneko. The band’s heavy, dark take on psychedelic rock music remains a mystery all its own. This track is taken from the debut P.S.F. compilation\u003cem> Tokyo Flashback\u003c/em>, from 1991.\u003c/p>\n\u003cp>\u003cstrong>“Will It Fall?” Keiji Haino\u003c/strong>\u003c/p>\n\u003cp>Haino’s solo work is just as essential to the P.S.F. catalog as Fushitsusha, but reveals entirely new depths. This track from his 2002 P.S.F. album \u003cem>To Start Let’s Remove The Color\u003c/em> offers gorgeous excursions in solo guitar and voice, providing a more meditative and solemnly barren landscape.\u003c/p>\n\u003cp>\u003cstrong>“Rotten Telepathies” — Michio Kadotani \u003c/strong>\u003c/p>\n\u003cp>A lost rebel of the Japanese underground, Kadotani was a prolific songwriter whose wild home recordings from the early ’80s mirror his intense manic depression, which eventually led to his early demise. This track is taken from a posthumous collection of his recordings and is stunning in it’s simultaneously futuristic vision and rough technique.\u003c/p>\n\u003cp>\u003cstrong>“Cosmic Audrey, Acid Takion” — Acid Mothers Temple\u003c/strong>\u003c/p>\n\u003cp>Kawabata Mikoto had been a member of seminal groups such as Mainliner and Toho Sara, but is best known for this long-running, far touring band. Acid Mothers live up to their name with wild freak-outs evolving from late ’60s and ’70s-inspired rock and drone. This track is from their 1999 P.S.F. album \u003cem>Pataphisical Freak Out MU!!\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“1/21/1972 Alto 1” — Kaoru Abe\u003c/strong>\u003c/p>\n\u003cp>The music of Kaoru Abe provided an early inspiration for P.S.F. Abe played with a fiery intensity that rivaled Albert Ayler at his peak. This is music that lives on the edge and an early example of Japanese “free underground” music.\u003c/p>\n\u003cp>\u003cstrong>“Up The Chimney” — Kan Mikami\u003c/strong>\u003c/p>\n\u003cp>Mikami was an outsider folk singer in the ’60s , whose delivery and songwriting were more intense and deeply poetic than his more pop-oriented peers. P.S.F. recognized Mikami’s unique brilliance and invited him to record a series of LPs and collaborations for the label. This track is from his 1991 P.S.F. album \u003cem>I’m The Only One Around\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>“Crystal Wings” — Shizuka\u003c/strong>\u003c/p>\n\u003cp>A quiet sadness envelops the music of Shizuka, whose ballads ache with beauty. Their sole studio album,\u003cem> Heaven’s Personae\u003c/em>, features some of the most straightforward — yet equally magical — music within the P.S.F. catalog.\u003c/p>\n\u003cp>\u003cstrong>“Juso Station” — Ché-SHIZU\u003c/strong>\u003c/p>\n\u003cp>Led by legendary improvisor Chie Mukai, Ché-SHIZU is an exploratory dream psychedelia featuring Mukai on vocals on er-hu, a violin-like instrument designed to mimic the human voice. This track, from their 1994 studio album \u003cem>A Journey\u003c/em>, shows a lighter side of the P.S.F. aesthetic, though just as deeply intense and profound.\u003c/p>\n\u003cp>\u003cstrong>“Untitled (Track 3)” — Fushitsusha\u003c/strong>\u003c/p>\n\u003cp>Led by Keiji Haino, this long-running group is a pioneering symbol of the P.S.F. aesthetic, tearing down all boundaries of conventional rock music and finding new limits to traditional instrumentation. While at first it may seem impenetrable, there is an undeniable logic and intent to Haino’s music that reveals itself to those who listen closely enough.\u003c/p>\n\u003cp>\u003cstrong>“Wipe Out” — High Rise\u003c/strong>\u003c/p>\n\u003cp>As a premier act on the P.S.F. label, High Rise are among the legends of 20th Century Japanese underground music. Led by Nanjo Asahita on fuzz bass and Narita Munehiro on electric guitar, this track is off their classic second album \u003cem>High Rise II\u003c/em>.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Psychedelic+Speed+Freak%3A+Remembering+The+Blistering+Experimentalism+Of+Hideo+Ikeezumi&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Editor’s note: The authors of this post, Peter Kolovos and Steve Lowenthal, worked closely with Hideo Ikeezumi in his final years, with Kolovos purchasing most of the impressive catalog of music he had released and reissuing that catalog through his U.S.-based \u003ca href=\"http://www.theblackeditions.com/\">Black Editions\u003c/a>. Below, they share a remembrance of the man as well as a cross-sectional playlist, complete with “liner notes,” compiled from the vast catalog of strange, lovely sounds that Mr. Ikeezumi dedicated himself to.\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>Over nearly forty years Hideo Ikeezumi, the Japanese founder of the infamous record label P.S.F. who died early this week at the age of 67, was a champion of his country’s always-vibrant underground scene, introducing the world to some of the most distinct and uncompromising music ever created in Japan.\u003c/p>\n\u003cp>Ikeezumi was born in 1949 in Tokyo, starting his career in music as a buyer for large record store chain Gobangai. Eventually, he became frustrated at the lack of diversity and far-out sounds that the chain would allow to be stocked. To remedy that cultural blind spot he founded the store Modern Music in the early ’80s in Tokyo, stocking the music he cared most about — free jazz, avant-garde, psychedelic rock and other hard-to-find-at-the-time genres. Quickly, his shop became a focal point for adventurous Japanese musicians.\u003c/p>\n\u003cp>Ikeezumi launched P.S.F. records several years later, in 1984, with the release of the aptly titled \u003cem>Psychedelic Speed Freaks\u003c/em>, the debut album of Tokyo band High Rise, which became a titular acronym and shorthand for the new label (its name was, in fact, somewhat amorphous). Works followed soon by iconic Japanese artists such as Keiji Haino, Ghost, Kaoru Abe, White Heaven, Che SHIZU, Shizuka and many others; the label would eventually release over 240 albums. And, across nearly ten volumes, P.S.F.’s seminal \u003cem>Tokyo Flashback\u003c/em> compilations provided wide-ranging introductions to the curious and helped to expand the label beyond its Tokyo base. To further document and explore the music he was working with, Ikeezumi also sporadically published the magazine \u003cem>G-Modern\u003c/em>.\u003c/p>\n\u003cp>Though Modern Music closed in 2014, Ikeezumi continued his work with the label, even as his deteriorating health began to slow his days. In recent years, he reached an agreement [with Kolovos and Lowenthal], through Black Editions, to reissue the P.S.F. catalog.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mr. Ikeezumi was a truly visionary man; he had a remarkable ear and an ability to identify truly new and exciting currents in music. He championed and brought first light to many artists that have gone on to have long and distinguished lives in music. Against great odds and out of nothing more than a love of the music, he greatly expanded the world he lived in… to include us.\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/309922952″&visual=true&”color=ff5500″'\n title='”https://api.soundcloud.com/tracks/309922952″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“My Cold Dimension” — White Heaven\u003c/strong>\u003c/p>\n\u003cp>White Heaven deliver wild blasts of wah-pedal-drenched coolness, with English lyrics and a more structured form than some of their P.S.F. labelmates. The undeniable chemistry between guitarists Ken Isihara and Michio Kurihara remain among the most unforgettable and revered of the P.S.F. catalog.\u003c/p>\n\u003cp>\u003cstrong>“The End of Dawn” — Kousokuya\u003c/strong>\u003c/p>\n\u003cp>One of the great bands of the late-’70s Japanese psychedelic underground scene was Kousokuya, formed by Jutok Kaneko. The band’s heavy, dark take on psychedelic rock music remains a mystery all its own. This track is taken from the debut P.S.F. compilation\u003cem> Tokyo Flashback\u003c/em>, from 1991.\u003c/p>\n\u003cp>\u003cstrong>“Will It Fall?” Keiji Haino\u003c/strong>\u003c/p>\n\u003cp>Haino’s solo work is just as essential to the P.S.F. catalog as Fushitsusha, but reveals entirely new depths. This track from his 2002 P.S.F. album \u003cem>To Start Let’s Remove The Color\u003c/em> offers gorgeous excursions in solo guitar and voice, providing a more meditative and solemnly barren landscape.\u003c/p>\n\u003cp>\u003cstrong>“Rotten Telepathies” — Michio Kadotani \u003c/strong>\u003c/p>\n\u003cp>A lost rebel of the Japanese underground, Kadotani was a prolific songwriter whose wild home recordings from the early ’80s mirror his intense manic depression, which eventually led to his early demise. This track is taken from a posthumous collection of his recordings and is stunning in it’s simultaneously futuristic vision and rough technique.\u003c/p>\n\u003cp>\u003cstrong>“Cosmic Audrey, Acid Takion” — Acid Mothers Temple\u003c/strong>\u003c/p>\n\u003cp>Kawabata Mikoto had been a member of seminal groups such as Mainliner and Toho Sara, but is best known for this long-running, far touring band. Acid Mothers live up to their name with wild freak-outs evolving from late ’60s and ’70s-inspired rock and drone. This track is from their 1999 P.S.F. album \u003cem>Pataphisical Freak Out MU!!\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>“1/21/1972 Alto 1” — Kaoru Abe\u003c/strong>\u003c/p>\n\u003cp>The music of Kaoru Abe provided an early inspiration for P.S.F. Abe played with a fiery intensity that rivaled Albert Ayler at his peak. This is music that lives on the edge and an early example of Japanese “free underground” music.\u003c/p>\n\u003cp>\u003cstrong>“Up The Chimney” — Kan Mikami\u003c/strong>\u003c/p>\n\u003cp>Mikami was an outsider folk singer in the ’60s , whose delivery and songwriting were more intense and deeply poetic than his more pop-oriented peers. P.S.F. recognized Mikami’s unique brilliance and invited him to record a series of LPs and collaborations for the label. This track is from his 1991 P.S.F. album \u003cem>I’m The Only One Around\u003c/em>.\u003c/p>\n\u003cp>\u003cstrong>“Crystal Wings” — Shizuka\u003c/strong>\u003c/p>\n\u003cp>A quiet sadness envelops the music of Shizuka, whose ballads ache with beauty. Their sole studio album,\u003cem> Heaven’s Personae\u003c/em>, features some of the most straightforward — yet equally magical — music within the P.S.F. catalog.\u003c/p>\n\u003cp>\u003cstrong>“Juso Station” — Ché-SHIZU\u003c/strong>\u003c/p>\n\u003cp>Led by legendary improvisor Chie Mukai, Ché-SHIZU is an exploratory dream psychedelia featuring Mukai on vocals on er-hu, a violin-like instrument designed to mimic the human voice. This track, from their 1994 studio album \u003cem>A Journey\u003c/em>, shows a lighter side of the P.S.F. aesthetic, though just as deeply intense and profound.\u003c/p>\n\u003cp>\u003cstrong>“Untitled (Track 3)” — Fushitsusha\u003c/strong>\u003c/p>\n\u003cp>Led by Keiji Haino, this long-running group is a pioneering symbol of the P.S.F. aesthetic, tearing down all boundaries of conventional rock music and finding new limits to traditional instrumentation. While at first it may seem impenetrable, there is an undeniable logic and intent to Haino’s music that reveals itself to those who listen closely enough.\u003c/p>\n\u003cp>\u003cstrong>“Wipe Out” — High Rise\u003c/strong>\u003c/p>\n\u003cp>As a premier act on the P.S.F. label, High Rise are among the legends of 20th Century Japanese underground music. Led by Nanjo Asahita on fuzz bass and Narita Munehiro on electric guitar, this track is off their classic second album \u003cem>High Rise II\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Shocking Ending Caps A Big Oscar Night For 'Moonlight'",
"headTitle": "A Shocking Ending Caps A Big Oscar Night For ‘Moonlight’ | KQED",
"content": "\u003cp>Well, excuse me while I throw away my first draft, won’t you?\u003c/p>\n\u003cp>For quite a while, Sunday night’s Oscars seemed fairly tame. \u003cem>La La Land\u003c/em>, the retro musical with Emma Stone and Ryan Gosling, came into the Oscars as a favorite, having tied the nomination record with a total of 14. It took a while for it to get going, as the early awards were spread out across a variety of nominees. But indeed, by the time they prepared to announce best picture, \u003cem>La La Land \u003c/em>had gone on a late run and nabbed six awards: for production design, cinematography, best original score, best original song (“City Of Stars”), best actress (Stone) and best director. Its path to best picture seemed clear.\u003c/p>\n\u003cp>Faye Dunaway and Warren Beatty took the stage to announce best picture and Beatty looked at the card and paused. And then he paused more. He handed it to Dunaway, and she read the card: “\u003cem>La La Land\u003c/em>.” The producers and cast of the heavily favored film took the stage, and several of them spoke. But then, with the throng still onstage, producer Jordan Horowitz — who had already given his heartfelt thanks — returned to the microphone and announced that there had been a mistake. In fact, best picture had not been won by \u003cem>La La Land\u003c/em>, but by \u003cem>Moonlight\u003c/em>, a beautiful, moving and very inexpensive independent coming-of-age drama. Beatty, still onstage and trying to explain while surrounded by shocked producers and actors, blamed it on confusion with the card from the previous award: Emma Stone, in \u003cem>La La Land\u003c/em>. But either way, the \u003cem>Moonlight \u003c/em>producers stepped up and took an award that many in the room and many watching at home were already irate that they hadn’t won.\u003c/p>\n\u003cp>It hadn’t been all that unexpected an evening until then. The Oscar telecast hadn’t begun with a cornball movie-themed musical number, but with Justin Timberlake performing “Can’t Stop The Feeling,” his nominated song from the animated movie \u003cem>Trolls\u003c/em>. After guiding an auditorium full of celebrities through some very awkward dancing, Timberlake yielded the stage to first-time host Jimmy Kimmel.\u003c/p>\n\u003cp>Kimmel’s monologue was about average for such things, laced with politics as you might expect (Kimmel thanked President Trump and said, “Remember when it seemed like the \u003cem>Oscars \u003c/em>were racist?”) but also heavy on the kinds of jokes that would be B-minus jokes on an average late-night monologue (for instance, his quip that if Amazon won an Oscar for \u003cem>Manchester By The Sea\u003c/em>, it would be delivered “in two to five business days”).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Once the awards got underway, though, they started to go in interesting directions in a hurry. Mahershala Ali won best supporting actor for his performance in \u003cem>Moonlight\u003c/em> — a win that few would have imagined last year at this time. Ali gave a very emotional speech and offered a shout-out to his wife, who had a baby four days ago. Ali was also the night’s first first, as it were — specifically, the first Muslim actor, as far as anyone seems to know, to win an Oscar.\u003c/p>\n\u003cp>There were other milestones: Katherine Johnson, the NASA mathematician Taraji P. Henson played in \u003cem>Hidden Figures\u003c/em>, joined the actresses from the film onstage to present the award for best documentary feature to Ezra Edelman for \u003cem>O.J. Made In America\u003c/em>, the ESPN TV miniseries (which also played in theaters and at film festivals with an eye on Oscar qualifications). In winning, it became the longest “film” to ever win an Academy Award, given that it was produced as a 467-minute, multipart (and totally brilliant) TV miniseries.\u003c/p>\n\u003cp>Viola Davis won best supporting actress for \u003cem>Fences. \u003c/em>With an Emmy, an Oscar and a Tony, she’s only a Grammy away from precious EGOT status. (Narrate that audiobook, Viola Davis!) She saluted the writer of \u003cem>Fences\u003c/em>, both play and screenplay, recognizing “August Wilson, who exhumed and exalted the ordinary people.”\u003c/p>\n\u003cp>The Oscars for original screenplay and adapted screenplay went, respectively, to the scripts for \u003cem>Manchester By The Sea \u003c/em>and \u003cem>Moonlight\u003c/em>. \u003cem>Manchester \u003c/em>also won best actor for Casey Affleck. \u003cem> \u003c/em>\u003c/p>\n\u003cp>Politics, which had been a big question mark hanging over the ceremony ahead of time, showed up in a few ways. Absence, in at least one case, spoke as plainly as presence. Iranian filmmaker Asghar Farhadi won best foreign language film for \u003cem>The Salesman\u003c/em>, but he was not present (as he had announced he wouldn’t be). In a statement read on his behalf by Iranian engineer and space traveler Anousheh Ansari, Farhadi said that he wasn’t present out of respect for Iranians and those from the other six countries included in the travel ban issued in late January.\u003c/p>\n\u003cp>On a much lighter note, Kimmel tweeted directly at Trump at one point, asking him “u up?” and adding “#merylsayshi” in a nod to Trump’s \u003ca href=\"https://www.nytimes.com/2017/01/09/movies/trump-meryl-streep-golden-globes-speech.html?_r=0\">displeased reaction\u003c/a> to Meryl Streep’s speech at the Golden Globes. And, sometimes, even silent statements emerged: there were red-carpet pins showing support for the ACLU, GLAAD and Planned Parenthood.\u003c/p>\n\u003cp>As for Kimmel himself, he remains utterly convinced that everyone wants him to play his late-night hits — even on the Oscars. Thus, you get Mean Tweets, and you get endless riffs on his supposed feud with Matt Damon. You get a weird stunt — in this case, a bit in which Kimmel brought in a bunch of tourists from a bus who didn’t know they were being surprised with a visit to the ceremony. There didn’t seem to be much of an exit strategy for the bit, so once they brought the tourists in — perhaps getting less squealing and more confused milling than they expected — it was tough to put any kind of a button on it, so it kind of went on and on until it petered out.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>It really wasn’t a terribly surprising Oscar night, right up until the unimaginable happened and someone had to give back a best picture trophy that he already held in his hand. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Shocking+Ending+Caps+A+Big+Oscar+Night+For+%27Moonlight%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Well, excuse me while I throw away my first draft, won’t you?\u003c/p>\n\u003cp>For quite a while, Sunday night’s Oscars seemed fairly tame. \u003cem>La La Land\u003c/em>, the retro musical with Emma Stone and Ryan Gosling, came into the Oscars as a favorite, having tied the nomination record with a total of 14. It took a while for it to get going, as the early awards were spread out across a variety of nominees. But indeed, by the time they prepared to announce best picture, \u003cem>La La Land \u003c/em>had gone on a late run and nabbed six awards: for production design, cinematography, best original score, best original song (“City Of Stars”), best actress (Stone) and best director. Its path to best picture seemed clear.\u003c/p>\n\u003cp>Faye Dunaway and Warren Beatty took the stage to announce best picture and Beatty looked at the card and paused. And then he paused more. He handed it to Dunaway, and she read the card: “\u003cem>La La Land\u003c/em>.” The producers and cast of the heavily favored film took the stage, and several of them spoke. But then, with the throng still onstage, producer Jordan Horowitz — who had already given his heartfelt thanks — returned to the microphone and announced that there had been a mistake. In fact, best picture had not been won by \u003cem>La La Land\u003c/em>, but by \u003cem>Moonlight\u003c/em>, a beautiful, moving and very inexpensive independent coming-of-age drama. Beatty, still onstage and trying to explain while surrounded by shocked producers and actors, blamed it on confusion with the card from the previous award: Emma Stone, in \u003cem>La La Land\u003c/em>. But either way, the \u003cem>Moonlight \u003c/em>producers stepped up and took an award that many in the room and many watching at home were already irate that they hadn’t won.\u003c/p>\n\u003cp>It hadn’t been all that unexpected an evening until then. The Oscar telecast hadn’t begun with a cornball movie-themed musical number, but with Justin Timberlake performing “Can’t Stop The Feeling,” his nominated song from the animated movie \u003cem>Trolls\u003c/em>. After guiding an auditorium full of celebrities through some very awkward dancing, Timberlake yielded the stage to first-time host Jimmy Kimmel.\u003c/p>\n\u003cp>Kimmel’s monologue was about average for such things, laced with politics as you might expect (Kimmel thanked President Trump and said, “Remember when it seemed like the \u003cem>Oscars \u003c/em>were racist?”) but also heavy on the kinds of jokes that would be B-minus jokes on an average late-night monologue (for instance, his quip that if Amazon won an Oscar for \u003cem>Manchester By The Sea\u003c/em>, it would be delivered “in two to five business days”).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Once the awards got underway, though, they started to go in interesting directions in a hurry. Mahershala Ali won best supporting actor for his performance in \u003cem>Moonlight\u003c/em> — a win that few would have imagined last year at this time. Ali gave a very emotional speech and offered a shout-out to his wife, who had a baby four days ago. Ali was also the night’s first first, as it were — specifically, the first Muslim actor, as far as anyone seems to know, to win an Oscar.\u003c/p>\n\u003cp>There were other milestones: Katherine Johnson, the NASA mathematician Taraji P. Henson played in \u003cem>Hidden Figures\u003c/em>, joined the actresses from the film onstage to present the award for best documentary feature to Ezra Edelman for \u003cem>O.J. Made In America\u003c/em>, the ESPN TV miniseries (which also played in theaters and at film festivals with an eye on Oscar qualifications). In winning, it became the longest “film” to ever win an Academy Award, given that it was produced as a 467-minute, multipart (and totally brilliant) TV miniseries.\u003c/p>\n\u003cp>Viola Davis won best supporting actress for \u003cem>Fences. \u003c/em>With an Emmy, an Oscar and a Tony, she’s only a Grammy away from precious EGOT status. (Narrate that audiobook, Viola Davis!) She saluted the writer of \u003cem>Fences\u003c/em>, both play and screenplay, recognizing “August Wilson, who exhumed and exalted the ordinary people.”\u003c/p>\n\u003cp>The Oscars for original screenplay and adapted screenplay went, respectively, to the scripts for \u003cem>Manchester By The Sea \u003c/em>and \u003cem>Moonlight\u003c/em>. \u003cem>Manchester \u003c/em>also won best actor for Casey Affleck. \u003cem> \u003c/em>\u003c/p>\n\u003cp>Politics, which had been a big question mark hanging over the ceremony ahead of time, showed up in a few ways. Absence, in at least one case, spoke as plainly as presence. Iranian filmmaker Asghar Farhadi won best foreign language film for \u003cem>The Salesman\u003c/em>, but he was not present (as he had announced he wouldn’t be). In a statement read on his behalf by Iranian engineer and space traveler Anousheh Ansari, Farhadi said that he wasn’t present out of respect for Iranians and those from the other six countries included in the travel ban issued in late January.\u003c/p>\n\u003cp>On a much lighter note, Kimmel tweeted directly at Trump at one point, asking him “u up?” and adding “#merylsayshi” in a nod to Trump’s \u003ca href=\"https://www.nytimes.com/2017/01/09/movies/trump-meryl-streep-golden-globes-speech.html?_r=0\">displeased reaction\u003c/a> to Meryl Streep’s speech at the Golden Globes. And, sometimes, even silent statements emerged: there were red-carpet pins showing support for the ACLU, GLAAD and Planned Parenthood.\u003c/p>\n\u003cp>As for Kimmel himself, he remains utterly convinced that everyone wants him to play his late-night hits — even on the Oscars. Thus, you get Mean Tweets, and you get endless riffs on his supposed feud with Matt Damon. You get a weird stunt — in this case, a bit in which Kimmel brought in a bunch of tourists from a bus who didn’t know they were being surprised with a visit to the ceremony. There didn’t seem to be much of an exit strategy for the bit, so once they brought the tourists in — perhaps getting less squealing and more confused milling than they expected — it was tough to put any kind of a button on it, so it kind of went on and on until it petered out.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Bill Paxton, Prolific Actor and Star of 'Titanic' and 'Apollo 13,' Dies at 61",
"headTitle": "Bill Paxton, Prolific Actor and Star of ‘Titanic’ and ‘Apollo 13,’ Dies at 61 | KQED",
"content": "\u003cp>\u003cstrong>Updated at 12:38 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>Bill Paxton, prolific actor and big-screen fixture for decades, has died at the age of 61. In a statement released to media outlets Sunday, a family representative says Paxton died of complications from surgery.\u003c/p>\n\u003cp>“A loving husband and father, Bill began his career in Hollywood working on films in the art department and went on to have an illustrious career spanning four decades as a beloved and prolific actor and filmmaker,” \u003ca href=\"https://twitter.com/NBCNews/status/835882286449033220\">the statement reads\u003c/a>.\u003c/p>\n\u003cp>“Bill’s passion for the arts was felt by all who knew him, and his warmth and tireless energy were undeniable.”\u003c/p>\n\u003cp>Paxton was perhaps best known for his marquee roles in Hollywood blockbusters. From below the sea, as in \u003cem>Titanic\u003c/em>, to out of this world, as in \u003cem>Aliens\u003c/em> and \u003cem>Apollo 13\u003c/em>, Paxton starred in dozens of films and even directed a handful himself.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://twitter.com/tomhanks/status/835896205179817985\u003c/p>\n\u003cp>https://twitter.com/elijahwood/status/835876875926831104\u003c/p>\n\u003cp>More recently, Paxton had been focusing on the small screen. His role as a polygamist in HBO’s \u003cem>Big Love \u003c/em>earned him Emmy and Golden Globe nominations. And Paxton played the lead in the television spin-off of the film \u003cem>Training Day\u003c/em>, which launched on CBS earlier this month. As a corrupt LAPD detective, Paxton tackled the kind of moral ambiguity that characterized some of his most memorable roles.\u003c/p>\n\u003cp>Based on the reaction from many of his colleagues, those who worked with the beloved actor felt no such ambivalence about the man himself.\u003c/p>\n\u003cp>What may risk going unnoticed, though, is the sheer effort Paxton would put into his roles. In a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=99985715\" target=\"_blank\" rel=\"noopener\">2009 interview with Fresh Air’s Terry Gross\u003c/a>, Paxton explained his process while filming \u003cem>Big Love\u003c/em>.\u003c/p>\n\u003cp>“I live kind of a monastic existence. I usually stay in a hotel,” Paxton said, noting that he would spend his evenings memorizing his lines for the next day. “Every night I have five or six pages I have to learn. I don’t know if my memory is starting to fail me, but I really have to get it down cold the night before.”\u003c/p>\n\u003cp>Paxton added: “My technique is kind of like the errant schoolboy who has to stay after school and write ‘I will not talk in class’ on the chalkboard. I write it over and over, again and again, until I find I understand the character I’m playing.”\u003c/p>\n\u003cp>And though he left Texas when he was still in his teens to pursue his acting career, Paxton said he carried some crucial lessons with him that he’d learned from his father, who was a hardwood salesman.\u003c/p>\n\u003cp>“Look, I’ve been an actor most of my adult life, and you certainly have to know how to sell yourself to get on in this profession. … But it’s not a phony thing. My dad sold a good product — you know, these hardwoods were used to make everything from musical instruments to beautiful furniture and every use in between.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He had integrity about the thing he was selling,” Paxton continued. “And I certainly picked that up from him.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Paxton%2C+Prolific+Actor+And+Star+Of+%27Titanic%27+And+%27Apollo+13%2C%27+Dies+At+61&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\n\u003cp>More recently, Paxton had been focusing on the small screen. His role as a polygamist in HBO’s \u003cem>Big Love \u003c/em>earned him Emmy and Golden Globe nominations. And Paxton played the lead in the television spin-off of the film \u003cem>Training Day\u003c/em>, which launched on CBS earlier this month. As a corrupt LAPD detective, Paxton tackled the kind of moral ambiguity that characterized some of his most memorable roles.\u003c/p>\n\u003cp>Based on the reaction from many of his colleagues, those who worked with the beloved actor felt no such ambivalence about the man himself.\u003c/p>\n\u003cp>What may risk going unnoticed, though, is the sheer effort Paxton would put into his roles. In a \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=99985715\" target=\"_blank\" rel=\"noopener\">2009 interview with Fresh Air’s Terry Gross\u003c/a>, Paxton explained his process while filming \u003cem>Big Love\u003c/em>.\u003c/p>\n\u003cp>“I live kind of a monastic existence. I usually stay in a hotel,” Paxton said, noting that he would spend his evenings memorizing his lines for the next day. “Every night I have five or six pages I have to learn. I don’t know if my memory is starting to fail me, but I really have to get it down cold the night before.”\u003c/p>\n\u003cp>Paxton added: “My technique is kind of like the errant schoolboy who has to stay after school and write ‘I will not talk in class’ on the chalkboard. I write it over and over, again and again, until I find I understand the character I’m playing.”\u003c/p>\n\u003cp>And though he left Texas when he was still in his teens to pursue his acting career, Paxton said he carried some crucial lessons with him that he’d learned from his father, who was a hardwood salesman.\u003c/p>\n\u003cp>“Look, I’ve been an actor most of my adult life, and you certainly have to know how to sell yourself to get on in this profession. … But it’s not a phony thing. My dad sold a good product — you know, these hardwoods were used to make everything from musical instruments to beautiful furniture and every use in between.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He had integrity about the thing he was selling,” Paxton continued. “And I certainly picked that up from him.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Bill+Paxton%2C+Prolific+Actor+And+Star+Of+%27Titanic%27+And+%27Apollo+13%2C%27+Dies+At+61&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Struggles of Austin's Music Scene Mirror a Widened World",
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"content": "\u003cp>The Austin music industry isn’t whole. The business underlying “The Live Music Capital of the World” stands bifurcated between its lucrative festivals (SXSW principally, but Austin City Limits, Fun Fun Fun Fest and others, too) and, as studies have found, a dwindling local music scene. Austin didn’t become the self-styled “Capital” solely by hosting a handful of gargantuan events, which were first born from and since have capitalized handsomely on Austin’s brand to increase their now-global footprints, which have drawn outsized attention to the city. These large events and a rapidly expanding population have put an unintended strain on the infrastructure of the local music scene which helped create them and on which they still rely — it’s hard to throw innumerable shows, as during SXSW, in a city with fewer and fewer venues to put them in.\u003c/p>\n\u003cp>Austin musicians’ “main source of income,” says Don Pitts, is “through live performance. Anyone who’s been keeping an eye on live performance on a local level sees that it’s continuing to go down year after year.” As the founding face of the city government’s Music and Entertainment Office, Pitts has been in a centralized orbit around the problem of trying to balance these disparate sides of Austin’s coin.\u003c/p>\n\u003cp>Since mid-January, Pitts, who began working for the city in 2010, has also been mired in a mini-controversy after being placed on paid administrative leave pending an investigation by the Office of the City Auditor. Last week, as the \u003ca href=\"http://www.mystatesman.com/news/local-govt--politics/city-music-manager-don-pitts-resigns-while-administrative-leave/q2644QpQYgVE83hcBZbwIL/\">\u003cem>Austin-American Statesman \u003c/em>reported\u003c/a>, he resigned. On Feb. 20, city auditors \u003ca href=\"http://www.austinmonitor.com/wp-content/uploads/2017/02/InvestigationReport_EDD_Failure_to_Report_Wrongdoing.pdf\">made public\u003c/a> their findings — that Pitts had not properly reported to his superiors the existence of a circuitous and fraudulent scheme by an employee set on getting reimbursed for $2,500 in travel costs to a business conference.\u003c/p>\n\u003cp>The investigation, while precipitating Pitts’ resignation, was hardly damning — he’s already back on the job. (At least for the next two months.)\u003cstrong> \u003c/strong>“I was happy to see the relationship wasn’t ending as abruptly as I thought when I read his letter of resignation,” Austin Mayor Steve Adler tells NPR. “I’m convinced that Don remains committed to this city, to keeping it special, to growing the music industry vertically, so that you can play in your garage at 16, in a club at 22 and be in your early 40s and still support your family [while working in music].” (SXSW also sent a letter on his behalf — as did his counterpart in Seattle.)\u003c/p>\n\u003cp>During his seven years inside Austin’s city government, Pitts was something of a trailblazer, tasked with diagnosing and treating the many problems facing the music economy, large and small, there. In no small part, Pitts’ work culminated in the voluminous \u003ca href=\"http://projects.statesman.com/documents/?doc=2090887-austin-music-census-2015\">Austin Music Census\u003c/a> he commissioned and released in 2015. It found that, as revenues continued to grow for the larger events, the city was bleeding jobs within the local music economy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We were seeing a real decline across the board in what we called our primary music economy. At the same time, we were seeing an uptick in revenue from the festival economy. SXSW, Austin City Limits — those folks were doing really well,” says Jennifer Houlihan. She is the former executive director of a local music industry advocacy group, Austin Music People, and now the director of business development of a local music business, Nomad Sound. Houlihan worked with Pitts during her time with Austin Music People.\u003c/p>\n\u003cp>“As Austin has become more expensive and attractive — particularly to tech companies,” she continues, “a lot of our folks [members of the local music industry] that work for tips and minimum wage can’t afford it anymore.” She says the city is losing its largely middle-class creative folks to the suburbs.\u003c/p>\n\u003cfigure id=\"attachment_12813823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-800x600.jpg\" alt=\"Former President Barack Obama attends South by Southwest Interactive for a conversation with Evan Smith, Editor-in-Chief and CEO of the Texas Tribune news service\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former President Barack Obama attends South by Southwest Interactive for a conversation with Evan Smith, Editor-in-Chief and CEO of the Texas Tribune news service \u003ccite>(Photo: Erich Schlegel/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a very real and useful way, the division within Austin’s local music industry can be taken as a microcosm of the effects that technological globalization has on artists and creators. As the world of information — whether music, news, photography, writing — flattens from the top down, with global distribution readily available to anyone via technology, it may be getting less interesting from the ground up, as those same forces draw money away from the local scenes that have long incubated the creativity that people eventually enjoy globally. Similar parallels \u003ca href=\"https://techcrunch.com/2015/05/24/patronbook/\">have\u003c/a> been \u003ca href=\"http://www.slate.com/articles/technology/technology/2016/11/the_problem_with_facebook_runs_much_deeper_than_fake_news.html\">drawn\u003c/a> between Facebook, which controls — curates, directs, if you prefer — much of what content people consume online … but pays for none of its creation. Facebook and SXSW, disparate as they are, seem cut from a similar quilt in this context.\u003c/p>\n\u003cp>Tech companies like Apple, Google and Facebook — which all have significant footprints in Austin — receive a lot of the blame for Austin’s culture crunch. As Mayor Adler pointed out, their employees are typically paid well, allowing them to bid very competitively on housing. “It’s kind of like musical chairs,” he says. “When 40 people are bidding on the only house that’s available, that price is gonna go way up.”\u003c/p>\n\u003cp>But of course, any city would welcome a reliable, well-paying and internationally known employer coming to their town — much as it would welcome an event like SXSW, which brings a similar economic impact to the city as “hosting the Super Bowl every year,” Pitts says.\u003c/p>\n\u003cp>As well, these companies “contribute money into non-profits and community efforts,” Adler points out.\u003c/p>\n\u003cp>Again, Austin-as-microcosm. Technology isn’t going anywhere, but without a focus on grassroots creation and local vibrancy, much of its distributive value may wither, as creators are barred from growing into their own.\u003c/p>\n\u003cp>How to address the flattening? “We’re no different,” Pitts tells NPR, “than Seattle, or Chicago, even Nashville for that matter, if you focus on that local scene. If the industry is globalized, if technology has globalized the ecosystem, then you’ve got to think globally in return. I think that’s where a lot of cities, including Austin, fall short.”\u003c/p>\n\u003cp>To that end — and as that letter written on his behalf from the director of Seattle’s Office of Film, Music and Special Events attests — Pitts fostered an informal coalition of knowledge sharing among cities having similar problems, to learn from each others’ mistakes and replicate their successes. If the dominant methods of engagement go high, local scenes must keep their center of gravity low in response — picture the interlocking lattice of a safety net. It kind of resembles … a social network.\u003c/p>\n\u003cp>Pitts, however, is no longer bullish on the ability of city governments alone to protect their cultural petri dishes. He plans on moving into the private sector. Asked whether the private sector is not the source of many of these problems, Pitts is pragmatic. “It is,” he says, “but they also have a part to play. Identifying what part they play is key.” Pitts hopes to act as a consultant to cities, and as a bridge between them and the more efficient private-sector systems that could reconcile the global and the local. It may be the only way forward.\u003c/p>\n\u003cp>As Bobby Garza, a former chief of staff to city council member Mike Martinez as well as general manager of the promoter Transmission Events, the company responsible for Fun Fun Fun Fest, puts it: “Music is such an integral part of the cultural fabric here that people assume it’s just always going to be here. Part of our challenge as music advocates is to say actually, it might not be.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Replace “here” in Garza’s quote with “everywhere” — the worry remains the same. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Struggles+Of+Austin%27s+Music+Scene+Mirror+A+Widened+World&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "As the face of Austin's music office prepares to depart, the city's problems and successes may offer a lesson for the world at large about globalization and technology.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Austin music industry isn’t whole. The business underlying “The Live Music Capital of the World” stands bifurcated between its lucrative festivals (SXSW principally, but Austin City Limits, Fun Fun Fun Fest and others, too) and, as studies have found, a dwindling local music scene. Austin didn’t become the self-styled “Capital” solely by hosting a handful of gargantuan events, which were first born from and since have capitalized handsomely on Austin’s brand to increase their now-global footprints, which have drawn outsized attention to the city. These large events and a rapidly expanding population have put an unintended strain on the infrastructure of the local music scene which helped create them and on which they still rely — it’s hard to throw innumerable shows, as during SXSW, in a city with fewer and fewer venues to put them in.\u003c/p>\n\u003cp>Austin musicians’ “main source of income,” says Don Pitts, is “through live performance. Anyone who’s been keeping an eye on live performance on a local level sees that it’s continuing to go down year after year.” As the founding face of the city government’s Music and Entertainment Office, Pitts has been in a centralized orbit around the problem of trying to balance these disparate sides of Austin’s coin.\u003c/p>\n\u003cp>Since mid-January, Pitts, who began working for the city in 2010, has also been mired in a mini-controversy after being placed on paid administrative leave pending an investigation by the Office of the City Auditor. Last week, as the \u003ca href=\"http://www.mystatesman.com/news/local-govt--politics/city-music-manager-don-pitts-resigns-while-administrative-leave/q2644QpQYgVE83hcBZbwIL/\">\u003cem>Austin-American Statesman \u003c/em>reported\u003c/a>, he resigned. On Feb. 20, city auditors \u003ca href=\"http://www.austinmonitor.com/wp-content/uploads/2017/02/InvestigationReport_EDD_Failure_to_Report_Wrongdoing.pdf\">made public\u003c/a> their findings — that Pitts had not properly reported to his superiors the existence of a circuitous and fraudulent scheme by an employee set on getting reimbursed for $2,500 in travel costs to a business conference.\u003c/p>\n\u003cp>The investigation, while precipitating Pitts’ resignation, was hardly damning — he’s already back on the job. (At least for the next two months.)\u003cstrong> \u003c/strong>“I was happy to see the relationship wasn’t ending as abruptly as I thought when I read his letter of resignation,” Austin Mayor Steve Adler tells NPR. “I’m convinced that Don remains committed to this city, to keeping it special, to growing the music industry vertically, so that you can play in your garage at 16, in a club at 22 and be in your early 40s and still support your family [while working in music].” (SXSW also sent a letter on his behalf — as did his counterpart in Seattle.)\u003c/p>\n\u003cp>During his seven years inside Austin’s city government, Pitts was something of a trailblazer, tasked with diagnosing and treating the many problems facing the music economy, large and small, there. In no small part, Pitts’ work culminated in the voluminous \u003ca href=\"http://projects.statesman.com/documents/?doc=2090887-austin-music-census-2015\">Austin Music Census\u003c/a> he commissioned and released in 2015. It found that, as revenues continued to grow for the larger events, the city was bleeding jobs within the local music economy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“We were seeing a real decline across the board in what we called our primary music economy. At the same time, we were seeing an uptick in revenue from the festival economy. SXSW, Austin City Limits — those folks were doing really well,” says Jennifer Houlihan. She is the former executive director of a local music industry advocacy group, Austin Music People, and now the director of business development of a local music business, Nomad Sound. Houlihan worked with Pitts during her time with Austin Music People.\u003c/p>\n\u003cp>“As Austin has become more expensive and attractive — particularly to tech companies,” she continues, “a lot of our folks [members of the local music industry] that work for tips and minimum wage can’t afford it anymore.” She says the city is losing its largely middle-class creative folks to the suburbs.\u003c/p>\n\u003cfigure id=\"attachment_12813823\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-800x600.jpg\" alt=\"Former President Barack Obama attends South by Southwest Interactive for a conversation with Evan Smith, Editor-in-Chief and CEO of the Texas Tribune news service\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12813823\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/02/gettyimages-514883222-13505165b31ecdb2e73e362e1ffce9140584517d.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Former President Barack Obama attends South by Southwest Interactive for a conversation with Evan Smith, Editor-in-Chief and CEO of the Texas Tribune news service \u003ccite>(Photo: Erich Schlegel/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In a very real and useful way, the division within Austin’s local music industry can be taken as a microcosm of the effects that technological globalization has on artists and creators. As the world of information — whether music, news, photography, writing — flattens from the top down, with global distribution readily available to anyone via technology, it may be getting less interesting from the ground up, as those same forces draw money away from the local scenes that have long incubated the creativity that people eventually enjoy globally. Similar parallels \u003ca href=\"https://techcrunch.com/2015/05/24/patronbook/\">have\u003c/a> been \u003ca href=\"http://www.slate.com/articles/technology/technology/2016/11/the_problem_with_facebook_runs_much_deeper_than_fake_news.html\">drawn\u003c/a> between Facebook, which controls — curates, directs, if you prefer — much of what content people consume online … but pays for none of its creation. Facebook and SXSW, disparate as they are, seem cut from a similar quilt in this context.\u003c/p>\n\u003cp>Tech companies like Apple, Google and Facebook — which all have significant footprints in Austin — receive a lot of the blame for Austin’s culture crunch. As Mayor Adler pointed out, their employees are typically paid well, allowing them to bid very competitively on housing. “It’s kind of like musical chairs,” he says. “When 40 people are bidding on the only house that’s available, that price is gonna go way up.”\u003c/p>\n\u003cp>But of course, any city would welcome a reliable, well-paying and internationally known employer coming to their town — much as it would welcome an event like SXSW, which brings a similar economic impact to the city as “hosting the Super Bowl every year,” Pitts says.\u003c/p>\n\u003cp>As well, these companies “contribute money into non-profits and community efforts,” Adler points out.\u003c/p>\n\u003cp>Again, Austin-as-microcosm. Technology isn’t going anywhere, but without a focus on grassroots creation and local vibrancy, much of its distributive value may wither, as creators are barred from growing into their own.\u003c/p>\n\u003cp>How to address the flattening? “We’re no different,” Pitts tells NPR, “than Seattle, or Chicago, even Nashville for that matter, if you focus on that local scene. If the industry is globalized, if technology has globalized the ecosystem, then you’ve got to think globally in return. I think that’s where a lot of cities, including Austin, fall short.”\u003c/p>\n\u003cp>To that end — and as that letter written on his behalf from the director of Seattle’s Office of Film, Music and Special Events attests — Pitts fostered an informal coalition of knowledge sharing among cities having similar problems, to learn from each others’ mistakes and replicate their successes. If the dominant methods of engagement go high, local scenes must keep their center of gravity low in response — picture the interlocking lattice of a safety net. It kind of resembles … a social network.\u003c/p>\n\u003cp>Pitts, however, is no longer bullish on the ability of city governments alone to protect their cultural petri dishes. He plans on moving into the private sector. Asked whether the private sector is not the source of many of these problems, Pitts is pragmatic. “It is,” he says, “but they also have a part to play. Identifying what part they play is key.” Pitts hopes to act as a consultant to cities, and as a bridge between them and the more efficient private-sector systems that could reconcile the global and the local. It may be the only way forward.\u003c/p>\n\u003cp>As Bobby Garza, a former chief of staff to city council member Mike Martinez as well as general manager of the promoter Transmission Events, the company responsible for Fun Fun Fun Fest, puts it: “Music is such an integral part of the cultural fabric here that people assume it’s just always going to be here. Part of our challenge as music advocates is to say actually, it might not be.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Replace “here” in Garza’s quote with “everywhere” — the worry remains the same. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Struggles+Of+Austin%27s+Music+Scene+Mirror+A+Widened+World&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Get Out': A Terrifically Topical — And Terrifying — Satire",
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"content": "\u003cp>Horror parodies are seldom as funny, and never as scary, as fright-flicks that play their scares, er, straight. Jordan Peele — the shorter half of the 21st century’s funniest sketch-comedy duo — understands this, and that’s why \u003cem>Get Out,\u003c/em> his debut feature as writer and director, is so truly, madly, mercilessly entertaining, even when it makes you want to jump out of your skin. It is small-c catholic in its tastes, liberally sampling elements of \u003cem>Guess Who’s Coming to Dinner, Rosemary’s Baby\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em> before morphing into the most potent racial revenge fantasy since \u003cem>Django Unchained\u003c/em>. But a parody it’s not: It’s as gnarly as \u003cem>Green Room,\u003c/em> 2016’s nerviest thriller, whose villains wore their bigotry on their tattooed arms. What makes \u003cem>Get Out\u003c/em> stand out is that its social critique — usually present in the horror-survival genre as subtext — is very much its text.\u003c/p>\n\u003cp>https://youtu.be/sRfnevzM9kQ\u003c/p>\n\u003cp>That’s a writing trick Peele and his creative partner, Keegan-Michael Key, used over and over again through five seasons of their marvelous Comedy Central series, one that boasted production values that stood head and shoulders above anything else in sketch TV. \u003cem>Key & Peele\u003c/em>’s movie sendups looked like real movies, and now we have a good idea why: Peele is a world-class filmmaker. (Nearly all \u003cem>Key & Peele\u003c/em> episodes were directed by Peter Atencio, who also directed the two comics in last year’s \u003cem>Keanu\u003c/em>. That was a funny movie, but it had nothing like the invention, the intensity or the shimmering, righteous anger that \u003cem>Get Out\u003c/em> possesses.) His movie is as much a triumph of craft as of inspiration.\u003c/p>\n\u003cp>\u003cem>Get Out\u003c/em>’s cautionary tale concerns Chris (Daniel Kaluuya), a 26-year-old photographer, whose white girlfriend, Rose Armitage (Allison Williams from HBO’s \u003cem>Girls,\u003c/em> though her carbon-fiber jawline makes you wonder how she hasn’t shown up in an \u003cem>Alien\u003c/em> sequel yet), takes him home to meet her affluent parents. She hasn’t told them the man she is dating is black, but she assures Chris their liberal credentials are in good standing and that he’ll be welcomed unconditionally. Chris is wary, but he loves Rose and trusts her, so he overrules his better judgment — and the warnings of his TSA agent best pal, Rod (LilRel Howery, marvelous in a comic supporting role) — and they drive upstate. When a cop demands Chris’s ID after a minor accident even though Rose was the one driving, Rose calls out the cop for profiling even though Chris is eager to comply. In Rose, it seems, Chris has found a true and constant ally.\u003c/p>\n\u003cp>The less I tell you about what happens once she introduces Chris to her folks — Catherine Keener and Bradley Whitford, perfectly cast as a smug psychiatrist and a smug neurosurgeon, respectively — the better. Let it suffice to say that Allison’s louche med-student brother (Caleb Landry Jones) can’t refrain from commenting admiringly on Chris’s “genetic makeup” and that the Armitages are weirdly insistent Chris meet every one of their neighbors, one of whom cheerfully observes that “black is in fashion again.” \u003cem>Green Room\u003c/em>’s gaptoothed skinheads had nothing on these cardigan-wearing, tea-sipping Clinton voters. Even more unsettling is the fact that the Armitages’ black housekeeper (Betty Gabriel) and their black gardener/handyman (Marcus Henderson) evince a Stepford-like servility when they’re around company and behave even more strangely when they think they’re alone.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it takes a long time for the microaggressions Chris experiences at the hands of the Armitages and their confederates to harden into something more directly threatening — long enough for Chris, and for us, to wonder if he’s just being paranoid. Rose listens to him airing these concerns with saintly patience, but Peele’s handheld camera in these scenes keeps the anxiety high. It’s rare to find a first-time director so fully in command of his tone. But if 90 percent of directing is casting (an adage that’s been variously ascribed to John Ford, Elia Kazan and many others) then Peele started at 90: His actors are top-to-bottom great, but Kaluuya (whose expressive face you may recall from “15 Million Merits,” perhaps the most upsetting of all \u003cem>Black Mirror\u003c/em> episodes) is especially magnetic, letting us see the grinding gearworks behind his eyes without speaking a word.\u003c/p>\n\u003cp>That other 10 percent we have to give to Peele. He opens the picture with a long steadicam shot of a young black man’s attempt to locate an address in a suburban, presumably majority-white neighborhood after dark, while a car creeps along too slowly beside him. We’re primed to expect a Trayvon Martin-esque killing, and the way the scene resolves is the first of Peele’s many rug-pulls. It’s a powerful sequence, but \u003cem>Get Out\u003c/em> might’ve been even stronger without it. This prologue seems inserted to pre-empt complaints that \u003cem>Get Out\u003c/em> takes too long to Get Going. It doesn’t. Its pace, like everything else about it, is just right.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And righteous.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Horror parodies are seldom as funny, and never as scary, as fright-flicks that play their scares, er, straight. Jordan Peele — the shorter half of the 21st century’s funniest sketch-comedy duo — understands this, and that’s why \u003cem>Get Out,\u003c/em> his debut feature as writer and director, is so truly, madly, mercilessly entertaining, even when it makes you want to jump out of your skin. It is small-c catholic in its tastes, liberally sampling elements of \u003cem>Guess Who’s Coming to Dinner, Rosemary’s Baby\u003c/em> and \u003cem>Invasion of the Body Snatchers\u003c/em> before morphing into the most potent racial revenge fantasy since \u003cem>Django Unchained\u003c/em>. But a parody it’s not: It’s as gnarly as \u003cem>Green Room,\u003c/em> 2016’s nerviest thriller, whose villains wore their bigotry on their tattooed arms. What makes \u003cem>Get Out\u003c/em> stand out is that its social critique — usually present in the horror-survival genre as subtext — is very much its text.\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/sRfnevzM9kQ'\n title='//www.youtube.com/embed/sRfnevzM9kQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That’s a writing trick Peele and his creative partner, Keegan-Michael Key, used over and over again through five seasons of their marvelous Comedy Central series, one that boasted production values that stood head and shoulders above anything else in sketch TV. \u003cem>Key & Peele\u003c/em>’s movie sendups looked like real movies, and now we have a good idea why: Peele is a world-class filmmaker. (Nearly all \u003cem>Key & Peele\u003c/em> episodes were directed by Peter Atencio, who also directed the two comics in last year’s \u003cem>Keanu\u003c/em>. That was a funny movie, but it had nothing like the invention, the intensity or the shimmering, righteous anger that \u003cem>Get Out\u003c/em> possesses.) His movie is as much a triumph of craft as of inspiration.\u003c/p>\n\u003cp>\u003cem>Get Out\u003c/em>’s cautionary tale concerns Chris (Daniel Kaluuya), a 26-year-old photographer, whose white girlfriend, Rose Armitage (Allison Williams from HBO’s \u003cem>Girls,\u003c/em> though her carbon-fiber jawline makes you wonder how she hasn’t shown up in an \u003cem>Alien\u003c/em> sequel yet), takes him home to meet her affluent parents. She hasn’t told them the man she is dating is black, but she assures Chris their liberal credentials are in good standing and that he’ll be welcomed unconditionally. Chris is wary, but he loves Rose and trusts her, so he overrules his better judgment — and the warnings of his TSA agent best pal, Rod (LilRel Howery, marvelous in a comic supporting role) — and they drive upstate. When a cop demands Chris’s ID after a minor accident even though Rose was the one driving, Rose calls out the cop for profiling even though Chris is eager to comply. In Rose, it seems, Chris has found a true and constant ally.\u003c/p>\n\u003cp>The less I tell you about what happens once she introduces Chris to her folks — Catherine Keener and Bradley Whitford, perfectly cast as a smug psychiatrist and a smug neurosurgeon, respectively — the better. Let it suffice to say that Allison’s louche med-student brother (Caleb Landry Jones) can’t refrain from commenting admiringly on Chris’s “genetic makeup” and that the Armitages are weirdly insistent Chris meet every one of their neighbors, one of whom cheerfully observes that “black is in fashion again.” \u003cem>Green Room\u003c/em>’s gaptoothed skinheads had nothing on these cardigan-wearing, tea-sipping Clinton voters. Even more unsettling is the fact that the Armitages’ black housekeeper (Betty Gabriel) and their black gardener/handyman (Marcus Henderson) evince a Stepford-like servility when they’re around company and behave even more strangely when they think they’re alone.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it takes a long time for the microaggressions Chris experiences at the hands of the Armitages and their confederates to harden into something more directly threatening — long enough for Chris, and for us, to wonder if he’s just being paranoid. Rose listens to him airing these concerns with saintly patience, but Peele’s handheld camera in these scenes keeps the anxiety high. It’s rare to find a first-time director so fully in command of his tone. But if 90 percent of directing is casting (an adage that’s been variously ascribed to John Ford, Elia Kazan and many others) then Peele started at 90: His actors are top-to-bottom great, but Kaluuya (whose expressive face you may recall from “15 Million Merits,” perhaps the most upsetting of all \u003cem>Black Mirror\u003c/em> episodes) is especially magnetic, letting us see the grinding gearworks behind his eyes without speaking a word.\u003c/p>\n\u003cp>That other 10 percent we have to give to Peele. He opens the picture with a long steadicam shot of a young black man’s attempt to locate an address in a suburban, presumably majority-white neighborhood after dark, while a car creeps along too slowly beside him. We’re primed to expect a Trayvon Martin-esque killing, and the way the scene resolves is the first of Peele’s many rug-pulls. It’s a powerful sequence, but \u003cem>Get Out\u003c/em> might’ve been even stronger without it. This prologue seems inserted to pre-empt complaints that \u003cem>Get Out\u003c/em> takes too long to Get Going. It doesn’t. Its pace, like everything else about it, is just right.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And righteous.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Grad Student Discovers a Lost Novel Written by Walt Whitman",
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"content": "\u003cp>\u003cstrong>Updated at 4:10 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>A literary treasure buried for more than a century has been unearthed by Zachary Turpin, a grad student at the University of Houston.\u003c/p>\n\u003cp>It’s a work of short fiction: a 36,000-word novella published anonymously, in six parts, in a New York newspaper in 1852. The discursive nature of the manuscript’s full title — \u003cem>Life and Adventures of Jack Engle: An Auto-Biography; In Which The Reader Will Find Some Familiar Characters —\u003c/em> places it squarely in its literary era, as does its subtitle, \u003cem>A Story of New York at the Present Time\u003c/em>.\u003c/p>\n\u003cp>The find was announced on Monday as the full book was \u003ca href=\"http://ir.uiowa.edu/wwqr/vol34/iss3/3/\">published online\u003c/a> in the literary journal \u003cem>Walt Whitman Quarterly Review;\u003c/em> the University of Iowa Press is releasing it in book form.\u003c/p>\n\u003cp>What’s notable about the novella is its author — the beloved American poet Walt Whitman — and its place in Whitman’s literary career. Just three years after \u003cem>Jack Engle\u003c/em> saw print, Whitman would publish the work that would enshrine him in the American canon: \u003cem>Leaves of Grass\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Prior to Monday’s announcement, it was believed Whitman spent the early 1850s at work on that magnum opus, publishing little of note.\u003c/p>\n\u003cp>In 1842, Whitman had published another work of fiction, a harrowing “temperance novel” about a stouthearted young man whose life is nearly destroyed by alcohol. Whitman distanced himself from that early work and never publicly acknowledged authorship of \u003cem>Jack Engle.\u003c/em>\u003c/p>\n\u003cp>Turpin spoke to NPR about his discovery, made when he was scouring a vast online database of 19th century newspapers for names found in Whitman’s notebooks.\u003c/p>\n\u003cp>“It was wild,” he told \u003cem>All Things Considered\u003c/em>‘s Ari Shapiro. “The literary research that I do isn’t as glamorous as you might think. I was actually in a guest bedroom at my in-laws’, putting together a Pack-and-Play, and I got an email. …\u003c/p>\n\u003cp>“What I’m looking for are these very unique character names Whitman had written out — Wigglesworth, Smytthe … and the first thing I see on the page are those names. … It was surreal.”\u003c/p>\n\u003cp>Turpin describes the book as, among other things, Dickensian. “It’s also a sentimental novel; it’s also city mystery novel. It’s multifaceted, let’s put it that way.”\u003c/p>\n\u003cp>As for how \u003cem>Jack Engle\u003c/em> intersects \u003cem>Leaves of Grass\u003c/em>, Turpin says, “They’re apples and oranges. You have certain passages like [those excerpted below] that are remarkably similar, that presages … \u003cem>Leaves of Grass,\u003c/em> which he was probably writing simultaneously. … There are also elements that are wildly different — chases across New York and romances and scheming, mustache-twisting villains are not the stuff of \u003cem>Leaves of Grass,\u003c/em> but these are the stuff of Whitman’s long and storied fiction career, and career as a journalist.”\u003c/p>\n\u003cp>As for what Turpin thinks of the the work itself, he says, “I’m really blown away by this book. … It’s all things to all men. It’s weird, it’s wild, it’s beautiful and hilarious, and turns on a dime in ways that are both great and terrible. It’s truly phenomenal, and I think something that everyone will enjoy picking up.”\u003c/p>\n\u003cp>It’s the second time in as many years Turpin has made such a discovery. Previously, he found another Whitman manuscript, a series of articles offering tips for a healthy and vigorous lifestyle, in another newspaper.\u003c/p>\n\u003cp>Asked if historians should respect Whitman’s wish for his early work to “be dropped in oblivion,” Turpin says, “I respect that … on the other hand, Whitman’s greatest wish was to be the greatest and most famous poet in America.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>In this excerpt, the narrator stops into the graveyard of Manhattan’s Trinity Church and muses about mortality. Turpin and other Whitman scholars believe this section offers a glimpse of the poet engaging with some of the same language and themes that would define \u003cem>Leaves of Grass:\u003c/em>\u003c/p>\n\u003cblockquote>\n\u003cp>“Truly, life is sweet to the young man.—Such bounding and swelling capacities for joy reside within him, and such ambitious yearnings. Health and unfettered spirits are his staff and mantle. He learns unthinkingly to love—that glorious privilege of youth! Out of the tiny fractions of his experience, he builds beautiful imaginings, and confidently looks for the future to realize them. And then he is so sure of those future years. …\u003c/p>\n\u003cp>“Out there in the fashionable thoroughfare, how bustling was life, and how jauntily it wandered close along the side of those warnings of its inevitable end. How gay that throng along the walk! Light laughs come from them, and jolly talk — those groups of well-dressed young men — those merry boys returning from school — clerks going home from their labors — and many a form, too, of female grace and elegance.\u003c/p>\n\u003cp>“Could it be that coffins, six feet below where I stood, enclosed the ashes of like young men, whose vestments, during life, had engrossed the same anxious care — and schoolboys and beautiful women; for they too were buried here, as well as the aged and infirm.\u003c/p>\n\u003cp>“But onward rolled the broad, bright current, and troubled themselves not yet with gloomy thoughts; and that showed more philosophy in them perhaps than such sentimental meditations as any the reader has been perusing.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Grad+Student+Discovers+A+Lost+Novel+Written+By+Walt+Whitman++&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>Updated at 4:10 p.m. ET\u003c/strong>\u003c/p>\n\u003cp>A literary treasure buried for more than a century has been unearthed by Zachary Turpin, a grad student at the University of Houston.\u003c/p>\n\u003cp>It’s a work of short fiction: a 36,000-word novella published anonymously, in six parts, in a New York newspaper in 1852. The discursive nature of the manuscript’s full title — \u003cem>Life and Adventures of Jack Engle: An Auto-Biography; In Which The Reader Will Find Some Familiar Characters —\u003c/em> places it squarely in its literary era, as does its subtitle, \u003cem>A Story of New York at the Present Time\u003c/em>.\u003c/p>\n\u003cp>The find was announced on Monday as the full book was \u003ca href=\"http://ir.uiowa.edu/wwqr/vol34/iss3/3/\">published online\u003c/a> in the literary journal \u003cem>Walt Whitman Quarterly Review;\u003c/em> the University of Iowa Press is releasing it in book form.\u003c/p>\n\u003cp>What’s notable about the novella is its author — the beloved American poet Walt Whitman — and its place in Whitman’s literary career. Just three years after \u003cem>Jack Engle\u003c/em> saw print, Whitman would publish the work that would enshrine him in the American canon: \u003cem>Leaves of Grass\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Prior to Monday’s announcement, it was believed Whitman spent the early 1850s at work on that magnum opus, publishing little of note.\u003c/p>\n\u003cp>In 1842, Whitman had published another work of fiction, a harrowing “temperance novel” about a stouthearted young man whose life is nearly destroyed by alcohol. Whitman distanced himself from that early work and never publicly acknowledged authorship of \u003cem>Jack Engle.\u003c/em>\u003c/p>\n\u003cp>Turpin spoke to NPR about his discovery, made when he was scouring a vast online database of 19th century newspapers for names found in Whitman’s notebooks.\u003c/p>\n\u003cp>“It was wild,” he told \u003cem>All Things Considered\u003c/em>‘s Ari Shapiro. “The literary research that I do isn’t as glamorous as you might think. I was actually in a guest bedroom at my in-laws’, putting together a Pack-and-Play, and I got an email. …\u003c/p>\n\u003cp>“What I’m looking for are these very unique character names Whitman had written out — Wigglesworth, Smytthe … and the first thing I see on the page are those names. … It was surreal.”\u003c/p>\n\u003cp>Turpin describes the book as, among other things, Dickensian. “It’s also a sentimental novel; it’s also city mystery novel. It’s multifaceted, let’s put it that way.”\u003c/p>\n\u003cp>As for how \u003cem>Jack Engle\u003c/em> intersects \u003cem>Leaves of Grass\u003c/em>, Turpin says, “They’re apples and oranges. You have certain passages like [those excerpted below] that are remarkably similar, that presages … \u003cem>Leaves of Grass,\u003c/em> which he was probably writing simultaneously. … There are also elements that are wildly different — chases across New York and romances and scheming, mustache-twisting villains are not the stuff of \u003cem>Leaves of Grass,\u003c/em> but these are the stuff of Whitman’s long and storied fiction career, and career as a journalist.”\u003c/p>\n\u003cp>As for what Turpin thinks of the the work itself, he says, “I’m really blown away by this book. … It’s all things to all men. It’s weird, it’s wild, it’s beautiful and hilarious, and turns on a dime in ways that are both great and terrible. It’s truly phenomenal, and I think something that everyone will enjoy picking up.”\u003c/p>\n\u003cp>It’s the second time in as many years Turpin has made such a discovery. Previously, he found another Whitman manuscript, a series of articles offering tips for a healthy and vigorous lifestyle, in another newspaper.\u003c/p>\n\u003cp>Asked if historians should respect Whitman’s wish for his early work to “be dropped in oblivion,” Turpin says, “I respect that … on the other hand, Whitman’s greatest wish was to be the greatest and most famous poet in America.”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>In this excerpt, the narrator stops into the graveyard of Manhattan’s Trinity Church and muses about mortality. Turpin and other Whitman scholars believe this section offers a glimpse of the poet engaging with some of the same language and themes that would define \u003cem>Leaves of Grass:\u003c/em>\u003c/p>\n\u003cblockquote>\n\u003cp>“Truly, life is sweet to the young man.—Such bounding and swelling capacities for joy reside within him, and such ambitious yearnings. Health and unfettered spirits are his staff and mantle. He learns unthinkingly to love—that glorious privilege of youth! Out of the tiny fractions of his experience, he builds beautiful imaginings, and confidently looks for the future to realize them. And then he is so sure of those future years. …\u003c/p>\n\u003cp>“Out there in the fashionable thoroughfare, how bustling was life, and how jauntily it wandered close along the side of those warnings of its inevitable end. How gay that throng along the walk! Light laughs come from them, and jolly talk — those groups of well-dressed young men — those merry boys returning from school — clerks going home from their labors — and many a form, too, of female grace and elegance.\u003c/p>\n\u003cp>“Could it be that coffins, six feet below where I stood, enclosed the ashes of like young men, whose vestments, during life, had engrossed the same anxious care — and schoolboys and beautiful women; for they too were buried here, as well as the aged and infirm.\u003c/p>\n\u003cp>“But onward rolled the broad, bright current, and troubled themselves not yet with gloomy thoughts; and that showed more philosophy in them perhaps than such sentimental meditations as any the reader has been perusing.”\u003c/p>\n\u003c/blockquote>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Grad+Student+Discovers+A+Lost+Novel+Written+By+Walt+Whitman++&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "After Comments on Pedophilia, Breitbart Editor Milo Yiannopoulos Resigns",
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"content": "\u003cp>Breitbart News editor Milo Yiannopoulos has resigned amid a social media backlash over comments he made that appeared to condone pedophilia.\u003c/p>\n\u003cp>In a news conference Tuesday, Yiannopoulos said his resignation was effective immediately and praised the website as “a significant factor in my success.”\u003c/p>\n\u003cp>[contextly_sidebar id=”PE5TQTVM9Cw6UCuEbnBVJDgzBKXnWzJN”]\u003c/p>\n\u003cp>He also explained his views on sex with minors, insisting that he does not condone statutory rape.\u003c/p>\n\u003cp>“I do not believe any change in the legal age of consent is justifiable or desirable,” Yiannopoulos said. He was referring to \u003ca href=\"https://twitter.com/ReaganBattalion/status/833347036644777985\" target=\"_blank\" rel=\"noopener\">comments\u003c/a> in live-streamed interviews more than a year ago in which he said, “We get hung up on this kind of child abuse stuff,” and referenced, “this arbitrary and oppressive idea of consent.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I said some things on those Internet live streams that were simply wrong,” he said Tuesday.\u003c/p>\n\u003cp>He also said that he had been sexually abused as a child.\u003c/p>\n\u003cp>Yiannopoulos’ resignation comes one day after he lost both a prominent speaking gig at a conservative meeting and a book deal.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/02/20/516332666/after-underage-sex-comments-milo-yiannopoulos-loses-cpac-invite-book-deal\" target=\"_blank\" rel=\"noopener\">As The Two Way reported\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“First, Monday afternoon the American Conservative Union rescinded its invitation to the right-wing provocateur — noted for his political posts on the Internet — to speak at its annual Conservative Political Action Conference this upcoming weekend. Then, a few hours later, Simon & Schuster announced that it was canceling the publication of Yiannopoulos’ upcoming book, \u003cem>Dangerous.\u003c/em>\u003c/p>\n\u003cp>“These actions come in the wake of a social media backlash against Yiannopoulos after the conservative news outlet The Reagan Battalion \u003ca href=\"https://twitter.com/ReaganBattalion/status/833347036644777985\" target=\"_blank\" rel=\"noopener\">tweeted videos\u003c/a> on Sunday in which Yiannopoulos appears to condone statutory rape and sexual relationships between boys and men.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Yiannopoulos had tried to clarify his comments Monday on Facebook, defending his remarks and referencing his own sexual history while also blaming his own “sloppy phrasing” and “deceptive” video editing.\u003c/p>\n\u003cp>He said Tuesday that other publishers had expressed interest in his book, and that he expected it to be published this year. He also said he was founding an “independently funded media venture” and would be going on a “live tour in the coming weeks,” including appearances on college campuses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/02/02/513105012/berkeley-students-debate-cancellation-of-milo-yiannopoulos-speech\" target=\"_blank\" rel=\"noopener\">Earlier this month\u003c/a>, a Yiannopoulos speaking engagement at the University of California, Berkeley was canceled after students protests turned violent. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Comments+On+Pedophilia%2C+Breitbart+Editor+Milo+Yiannopoulos+Resigns+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Breitbart News editor Milo Yiannopoulos has resigned amid a social media backlash over comments he made that appeared to condone pedophilia.\u003c/p>\n\u003cp>In a news conference Tuesday, Yiannopoulos said his resignation was effective immediately and praised the website as “a significant factor in my success.”\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>He also explained his views on sex with minors, insisting that he does not condone statutory rape.\u003c/p>\n\u003cp>“I do not believe any change in the legal age of consent is justifiable or desirable,” Yiannopoulos said. He was referring to \u003ca href=\"https://twitter.com/ReaganBattalion/status/833347036644777985\" target=\"_blank\" rel=\"noopener\">comments\u003c/a> in live-streamed interviews more than a year ago in which he said, “We get hung up on this kind of child abuse stuff,” and referenced, “this arbitrary and oppressive idea of consent.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I said some things on those Internet live streams that were simply wrong,” he said Tuesday.\u003c/p>\n\u003cp>He also said that he had been sexually abused as a child.\u003c/p>\n\u003cp>Yiannopoulos’ resignation comes one day after he lost both a prominent speaking gig at a conservative meeting and a book deal.\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2017/02/20/516332666/after-underage-sex-comments-milo-yiannopoulos-loses-cpac-invite-book-deal\" target=\"_blank\" rel=\"noopener\">As The Two Way reported\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“First, Monday afternoon the American Conservative Union rescinded its invitation to the right-wing provocateur — noted for his political posts on the Internet — to speak at its annual Conservative Political Action Conference this upcoming weekend. Then, a few hours later, Simon & Schuster announced that it was canceling the publication of Yiannopoulos’ upcoming book, \u003cem>Dangerous.\u003c/em>\u003c/p>\n\u003cp>“These actions come in the wake of a social media backlash against Yiannopoulos after the conservative news outlet The Reagan Battalion \u003ca href=\"https://twitter.com/ReaganBattalion/status/833347036644777985\" target=\"_blank\" rel=\"noopener\">tweeted videos\u003c/a> on Sunday in which Yiannopoulos appears to condone statutory rape and sexual relationships between boys and men.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Yiannopoulos had tried to clarify his comments Monday on Facebook, defending his remarks and referencing his own sexual history while also blaming his own “sloppy phrasing” and “deceptive” video editing.\u003c/p>\n\u003cp>He said Tuesday that other publishers had expressed interest in his book, and that he expected it to be published this year. He also said he was founding an “independently funded media venture” and would be going on a “live tour in the coming weeks,” including appearances on college campuses.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"http://www.npr.org/2017/02/02/513105012/berkeley-students-debate-cancellation-of-milo-yiannopoulos-speech\" target=\"_blank\" rel=\"noopener\">Earlier this month\u003c/a>, a Yiannopoulos speaking engagement at the University of California, Berkeley was canceled after students protests turned violent. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=After+Comments+On+Pedophilia%2C+Breitbart+Editor+Milo+Yiannopoulos+Resigns+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Great Wall' Isn't, Particularly",
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"content": "\u003cp>Opening a few miles from its namesake, \u003cem>The Great Wall\u003c/em> introduces a group of European knaves who have somehow trekked to northwestern China during the Song Dynasty (960-1279). Most prominent among these thieves and mercenaries is William (Matt Damon), who’s supposed to be British, although the actor doesn’t further burden his stiff line readings with a feigned brogue. The outlanders’ goal is to acquire some gunpowder, a Chinese invention with solid commercial prospects in war-happy Europe.\u003c/p>\n\u003cp>All the other rascals except Tovar (Chilean actor Pedro Pascal) are quickly dispatched. While being chased, the last two interlopers find their path blocked by that big wall and the troops that protect China from the menaces on the north side of the barrier. There are hundreds of color-coordinated warriors, but the important ones are strategist Wang (Hong Kong cinema lifer Andy Lau) and battalion commander Lin (Jing Tian, soon to be seen in \u003cem>Kong: Skull Island\u003c/em>).\u003c/p>\n\u003cp>https://youtu.be/avF6GHyyk5c\u003c/p>\n\u003cp>A lithe if blank beauty in skin-tight battle togs, Lin seems to have hatched not from Chinese lore but from Japanese anime. That’s appropriate, since she and her cohorts defend China’s capital from the Taotie, ravenous reptilian monsters with a strong family resemblance to Godzilla. (They also have zombie tendencies, and among the many credited writers — all Westerners — is \u003cem>World War Z\u003c/em> author Max Brooks.)\u003c/p>\n\u003cp>This scenario may make \u003cem>The Great Wall\u003c/em> sound entertainingly demented, but as so-nuts-it’s-good spectacle, the movie disappoints. It’s bonkers in theory, but prosaic in execution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The monsters attack every 60 years, and are “evolving” intelligence at a rate that could make Darwinists reconsider the great man’s theory. Led by their queen, the Taotie intend to breach the wall, attack the capital, and eat the boy emperor and everyone else. By comparison, the Cultural Revolution was a paper cut.\u003c/p>\n\u003cp>Most of the movie is devoted to quick-cut combat and creepy-monster mayhem. Occasionally, the rhythm slows so that Lin can teach William the Chinese virtues of cooperation and self-sacrifice. The lessons transform him, but prove less persuasive to Tovar and another English-speaking rogue who arrived earlier (Willem Dafoe). Those two scurry off to initiate a subplot while arrows fly, spears puncture, and red and green blood gushes.\u003c/p>\n\u003cp>Originally assigned to Edward Zwick, the film was ultimately directed by Zhang Yimou, but it’s not a testament to his skill or sensibility. Zhang has balanced spectacle and social conscience in such powerful dramas as \u003cem>Raise the Red Lantern\u003c/em> and staged dazzling action in fanciful romps such as \u003cem>House of Flying Daggers\u003c/em>. This movie feels closer to a more nationalistic Zhang production: the opening and closing ceremonies of the 2008 Beijing Olympics.\u003c/p>\n\u003cp>The director punctuates the warfare with pageantry: drum troupes, choreographed mass movements, and the release of thousands of airborne lanterns. Sometimes it seems that the Taotie, rather than scramble across the landscape with their jaws open, should march in orderly columns, wearing matching team jackets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the stagiest sequences are visually impressive, much of the movie is not. The 3D images feature lots of camera swoops and ostentatious closeups, and are sometimes as low-def as a holographic ring from a 1960s gumball machine. No one could have expected \u003cem>The Great Wall\u003c/em> to make sense, but that it doesn’t look very good is a nastier surprise than any shock cut of a looming mini-Godzilla. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The monsters attack every 60 years, and are “evolving” intelligence at a rate that could make Darwinists reconsider the great man’s theory. Led by their queen, the Taotie intend to breach the wall, attack the capital, and eat the boy emperor and everyone else. By comparison, the Cultural Revolution was a paper cut.\u003c/p>\n\u003cp>Most of the movie is devoted to quick-cut combat and creepy-monster mayhem. Occasionally, the rhythm slows so that Lin can teach William the Chinese virtues of cooperation and self-sacrifice. The lessons transform him, but prove less persuasive to Tovar and another English-speaking rogue who arrived earlier (Willem Dafoe). Those two scurry off to initiate a subplot while arrows fly, spears puncture, and red and green blood gushes.\u003c/p>\n\u003cp>Originally assigned to Edward Zwick, the film was ultimately directed by Zhang Yimou, but it’s not a testament to his skill or sensibility. Zhang has balanced spectacle and social conscience in such powerful dramas as \u003cem>Raise the Red Lantern\u003c/em> and staged dazzling action in fanciful romps such as \u003cem>House of Flying Daggers\u003c/em>. This movie feels closer to a more nationalistic Zhang production: the opening and closing ceremonies of the 2008 Beijing Olympics.\u003c/p>\n\u003cp>The director punctuates the warfare with pageantry: drum troupes, choreographed mass movements, and the release of thousands of airborne lanterns. Sometimes it seems that the Taotie, rather than scramble across the landscape with their jaws open, should march in orderly columns, wearing matching team jackets.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>While the stagiest sequences are visually impressive, much of the movie is not. The 3D images feature lots of camera swoops and ostentatious closeups, and are sometimes as low-def as a holographic ring from a 1960s gumball machine. No one could have expected \u003cem>The Great Wall\u003c/em> to make sense, but that it doesn’t look very good is a nastier surprise than any shock cut of a looming mini-Godzilla. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2017 NPR. To see more, visit http://www.npr.org/.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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