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"content": "\u003cp>Starting next week, Norway will become the first country to switch off its nationwide FM radio network and convert completely to digital signals.\u003c/p>\n\u003cp>The change was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/20/401026037/norway-becoming-first-country-to-eliminate-fm-radio\" target=\"_blank\" rel=\"noopener\">announced in 2015\u003c/a>, and will take months to be fully implemented.\u003c/p>\n\u003cp>The Norwegian government decided to make the transition in part because digital radio can provide many more channels for the same price — eight times as many, to be precise.\u003c/p>\n\u003cp>Norway currently has room for just \u003ca href=\"http://eng.nkom.no/technical/broadcast/analog-radio/fm-radio-in-norway\" target=\"_blank\" rel=\"noopener\">five national radio stations\u003c/a> on its FM system — three public broadcasting channels, and two commercial channels. Other national radio stations, as well as some regional and local stations, are already using the digital system.\u003c/p>\n\u003cp>Supporters of the switch also say digital radio will sound clearer than FM, or frequency modulation, and that the signal will be \u003ca href=\"https://www.worlddab.org/system/news/documents/000/000/261/original/Eureka__20issue_205_20lores.pdf?1377939165\" target=\"_blank\" rel=\"noopener\">clearer\u003c/a> in places where fjords and mountains interfere with FM signals.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As we \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/20/401026037/norway-becoming-first-country-to-eliminate-fm-radio\" target=\"_blank\" rel=\"noopener\">reported in 2015\u003c/a>, the Norwegian government also says that digital radio is less likely to fail in extreme conditions, which lawmakers saw as an advantage for emergency preparedness.\u003c/p>\n\u003cp>The CEO of Digitalradio Norway says the country’s FM network is antiquated and would \u003ca href=\"http://radio.no/2016/10/norway-becomes-the-worlds-most-up-to-date-radio-nation/\" target=\"_blank\" rel=\"noopener\">need massive investments\u003c/a> to maintain — so, to allow investment in digital radio, the FM network needs to be shut down.\u003c/p>\n\u003cp>But NPR’s Frank Langfitt reports that the public in general isn’t happy about the decision to abandon FM entirely.\u003c/p>\n\u003cblockquote>\n\u003cp>“A recent poll shows that two-thirds of Norwegians are against ditching FM,” he reports.\u003c/p>\n\u003cp>“Among the concerns: people may miss warnings for emergencies that are broadcast on FM.\u003c/p>\n\u003cp>“In addition, two million cars in Norway — a country of just five million people — don’t have digital audio broadcasting receivers.\u003c/p>\n\u003cp>“A digital adapter for an FM car radio costs about $170.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Reuters reports that the shutdown of FM signals will begin in the northern city of Bodø on Jan. 11, and extend across the country by the end of the year.\u003c/p>\n\u003cp>Some local stations, however, will continue to transmit over FM signals until 2022, \u003ca href=\"http://www.thelocal.no/20161230/norwegians-are-about-to-lose-their-fm-radio-and-theyre-not-happy-about-it\" target=\"_blank\" rel=\"noopener\">The Local reports\u003c/a>.\u003c/p>\n\u003cp>Norway’s transition to an all-digital radio will be closely watched by other countries considering the same move.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Among other nations, the U.K. plans to review the need for a switchover once digital listening reaches 50 per cent,” \u003ca href=\"http://www.cbc.ca/news/world/norway-fm-radio-switch-off-digital-1.3923612\">the CBC reports\u003c/a>. “That could be reached by the end of 2017 on current trends, Digital Radio U.K. spokeswoman Yvette Dore said.” \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=Norway+Will+Be+First+Country+To+Shut+Down+FM+Network%2C+Go+All-Digital&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Starting next week, Norway will become the first country to switch off its nationwide FM radio network and convert completely to digital signals.\u003c/p>\n\u003cp>The change was \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/20/401026037/norway-becoming-first-country-to-eliminate-fm-radio\" target=\"_blank\" rel=\"noopener\">announced in 2015\u003c/a>, and will take months to be fully implemented.\u003c/p>\n\u003cp>The Norwegian government decided to make the transition in part because digital radio can provide many more channels for the same price — eight times as many, to be precise.\u003c/p>\n\u003cp>Norway currently has room for just \u003ca href=\"http://eng.nkom.no/technical/broadcast/analog-radio/fm-radio-in-norway\" target=\"_blank\" rel=\"noopener\">five national radio stations\u003c/a> on its FM system — three public broadcasting channels, and two commercial channels. Other national radio stations, as well as some regional and local stations, are already using the digital system.\u003c/p>\n\u003cp>Supporters of the switch also say digital radio will sound clearer than FM, or frequency modulation, and that the signal will be \u003ca href=\"https://www.worlddab.org/system/news/documents/000/000/261/original/Eureka__20issue_205_20lores.pdf?1377939165\" target=\"_blank\" rel=\"noopener\">clearer\u003c/a> in places where fjords and mountains interfere with FM signals.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As we \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/20/401026037/norway-becoming-first-country-to-eliminate-fm-radio\" target=\"_blank\" rel=\"noopener\">reported in 2015\u003c/a>, the Norwegian government also says that digital radio is less likely to fail in extreme conditions, which lawmakers saw as an advantage for emergency preparedness.\u003c/p>\n\u003cp>The CEO of Digitalradio Norway says the country’s FM network is antiquated and would \u003ca href=\"http://radio.no/2016/10/norway-becomes-the-worlds-most-up-to-date-radio-nation/\" target=\"_blank\" rel=\"noopener\">need massive investments\u003c/a> to maintain — so, to allow investment in digital radio, the FM network needs to be shut down.\u003c/p>\n\u003cp>But NPR’s Frank Langfitt reports that the public in general isn’t happy about the decision to abandon FM entirely.\u003c/p>\n\u003cblockquote>\n\u003cp>“A recent poll shows that two-thirds of Norwegians are against ditching FM,” he reports.\u003c/p>\n\u003cp>“Among the concerns: people may miss warnings for emergencies that are broadcast on FM.\u003c/p>\n\u003cp>“In addition, two million cars in Norway — a country of just five million people — don’t have digital audio broadcasting receivers.\u003c/p>\n\u003cp>“A digital adapter for an FM car radio costs about $170.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Reuters reports that the shutdown of FM signals will begin in the northern city of Bodø on Jan. 11, and extend across the country by the end of the year.\u003c/p>\n\u003cp>Some local stations, however, will continue to transmit over FM signals until 2022, \u003ca href=\"http://www.thelocal.no/20161230/norwegians-are-about-to-lose-their-fm-radio-and-theyre-not-happy-about-it\" target=\"_blank\" rel=\"noopener\">The Local reports\u003c/a>.\u003c/p>\n\u003cp>Norway’s transition to an all-digital radio will be closely watched by other countries considering the same move.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Among other nations, the U.K. plans to review the need for a switchover once digital listening reaches 50 per cent,” \u003ca href=\"http://www.cbc.ca/news/world/norway-fm-radio-switch-off-digital-1.3923612\">the CBC reports\u003c/a>. “That could be reached by the end of 2017 on current trends, Digital Radio U.K. spokeswoman Yvette Dore said.” \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=Norway+Will+Be+First+Country+To+Shut+Down+FM+Network%2C+Go+All-Digital&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>They call it “The Leaning Tower of San Francisco.”\u003c/p>\n\u003cp>But it wasn’t always that way. The luxury skyscraper was billed as “state of the art” when it opened a few years ago. People paid millions for condos there.\u003c/p>\n\u003cp>Now the Millennium Tower is sinking and tilting — about 6 inches to one side. Residents and the city are \u003ca href=\"https://ww2.kqed.org/news/2016/12/29/trapped-at-the-pinnacle-of-luxury-life-at-the-top-of-s-f-s-leaning-tower/\" target=\"_blank\" rel=\"noopener\">suing the developer\u003c/a>.\u003c/p>\n\u003cp>Pamela Buttery lives on the 57th floor. To demonstrate how her home tilts slightly to the left, Buttery \u003ca href=\"https://www.youtube.com/watch?v=kzoaSF42G3I\" target=\"_blank\" rel=\"noopener\">hits a golf ball\u003c/a> straight ahead toward the window.\u003c/p>\n\u003cp>“So there it goes rolling,” she says. “And it kind of picks up speed.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The ball takes a sharp left turn toward the direction of the tilt, and it ends up in the northwest corner of her living room.\u003c/p>\n\u003cp>Buttery bought this unit as the tower was being completed in 2010. But documents obtained by the city show that as early as 2009, developers and city building inspectors knew the tower was settling faster than expected.\u003c/p>\n\u003cp>Buttery and other residents were not told until May 2016, and by then, the building had sunk more than a foot and was leaning 6 inches to the northwest.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kzoaSF42G3I\u003c/p>\n\u003cp>“San Francisco has been in the midst of an unparalleled building boom, the largest building boom we’ve had since World War II, arguably since the Gold Rush,” says San Francisco Supervisor Aaron Peskin. “And we need to make sure that we are building buildings that are safe, that people’s investments are safe.”\u003c/p>\n\u003cp>Peskin is leading what is likely to be a long series of investigative hearings on the troubled tower. Some key questions: Should the city require high-rise developers to drill their foundations into bedrock? Also, why is the building’s frame made of concrete instead of steel?\u003c/p>\n\u003cp>The Millennium Tower’s foundation is anchored into a landfill. Concrete is cheaper, but it’s also much heavier.\u003c/p>\n\u003cp>And what about the massive new train and bus terminal being constructed right next door? Millennium spokesman P.J. Johnston says workers have been pumping out huge amounts of water as they tunnel through the soil. Johnston says that process, known as dewatering, is destabilizing the ground.\u003c/p>\n\u003cp>“We need to stop the dewatering, work together on any remediation that needs to be done to fix any damages,” Johnston says. “And then we’ll sort out all the liabilities later.”\u003c/p>\n\u003cp>Johnston says engineers have inspected the tower and confirm it’s safe. Still, that leaves perhaps the biggest question of them all: How to fix the tower, or at least keep it from leaning even more?\u003c/p>\n\u003cp>Some solutions include pouring a concrete collar around the foundation or building a buttress.\u003c/p>\n\u003cp>Buttery, who is 76, says so much for her peaceful retirement.\u003c/p>\n\u003cp>“I’ve moved on into depression about it,” she says. “So it’s a gloomy feeling.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even her favorite pastime — putting golf balls — doesn’t give her the same joy it once did. No matter which way she hits them, they all end up in the same corner. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=San+Francisco%27s+%27Leaning+Tower%27+Has+Residents+Fuming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They call it “The Leaning Tower of San Francisco.”\u003c/p>\n\u003cp>But it wasn’t always that way. The luxury skyscraper was billed as “state of the art” when it opened a few years ago. People paid millions for condos there.\u003c/p>\n\u003cp>Now the Millennium Tower is sinking and tilting — about 6 inches to one side. Residents and the city are \u003ca href=\"https://ww2.kqed.org/news/2016/12/29/trapped-at-the-pinnacle-of-luxury-life-at-the-top-of-s-f-s-leaning-tower/\" target=\"_blank\" rel=\"noopener\">suing the developer\u003c/a>.\u003c/p>\n\u003cp>Pamela Buttery lives on the 57th floor. To demonstrate how her home tilts slightly to the left, Buttery \u003ca href=\"https://www.youtube.com/watch?v=kzoaSF42G3I\" target=\"_blank\" rel=\"noopener\">hits a golf ball\u003c/a> straight ahead toward the window.\u003c/p>\n\u003cp>“So there it goes rolling,” she says. “And it kind of picks up speed.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The ball takes a sharp left turn toward the direction of the tilt, and it ends up in the northwest corner of her living room.\u003c/p>\n\u003cp>Buttery bought this unit as the tower was being completed in 2010. But documents obtained by the city show that as early as 2009, developers and city building inspectors knew the tower was settling faster than expected.\u003c/p>\n\u003cp>Buttery and other residents were not told until May 2016, and by then, the building had sunk more than a foot and was leaning 6 inches to the northwest.\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/kzoaSF42G3I'\n title='//www.youtube.com/embed/kzoaSF42G3I'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“San Francisco has been in the midst of an unparalleled building boom, the largest building boom we’ve had since World War II, arguably since the Gold Rush,” says San Francisco Supervisor Aaron Peskin. “And we need to make sure that we are building buildings that are safe, that people’s investments are safe.”\u003c/p>\n\u003cp>Peskin is leading what is likely to be a long series of investigative hearings on the troubled tower. Some key questions: Should the city require high-rise developers to drill their foundations into bedrock? Also, why is the building’s frame made of concrete instead of steel?\u003c/p>\n\u003cp>The Millennium Tower’s foundation is anchored into a landfill. Concrete is cheaper, but it’s also much heavier.\u003c/p>\n\u003cp>And what about the massive new train and bus terminal being constructed right next door? Millennium spokesman P.J. Johnston says workers have been pumping out huge amounts of water as they tunnel through the soil. Johnston says that process, known as dewatering, is destabilizing the ground.\u003c/p>\n\u003cp>“We need to stop the dewatering, work together on any remediation that needs to be done to fix any damages,” Johnston says. “And then we’ll sort out all the liabilities later.”\u003c/p>\n\u003cp>Johnston says engineers have inspected the tower and confirm it’s safe. Still, that leaves perhaps the biggest question of them all: How to fix the tower, or at least keep it from leaning even more?\u003c/p>\n\u003cp>Some solutions include pouring a concrete collar around the foundation or building a buttress.\u003c/p>\n\u003cp>Buttery, who is 76, says so much for her peaceful retirement.\u003c/p>\n\u003cp>“I’ve moved on into depression about it,” she says. “So it’s a gloomy feeling.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Even her favorite pastime — putting golf balls — doesn’t give her the same joy it once did. No matter which way she hits them, they all end up in the same corner. \u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=San+Francisco%27s+%27Leaning+Tower%27+Has+Residents+Fuming&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/198407826/john-grant\" target=\"_blank\" rel=\"noopener\">John Grant\u003c/a> is not your run-of-the-mill singer-songwriter. He’s a superstar overseas, but he’s relatively unknown in the U.S., where he was born. He lives in Iceland and speaks four languages. He’s openly gay. And he’s HIV positive, as well as a recovering alcoholic and drug addict.\u003c/p>\n\u003cp>Grant’s journey from obscurity in Buchanan, Mich. to playing sold-out gigs at London’s Royal Albert Hall started in the 1990s with his band The Czars, which released eight albums over 12 years. This was a big deal for Grant, who had come from a home where his parents were convinced he needed to be “fixed” because of his sexual orientation.\u003c/p>\n\u003cp>“When I was young, people were so disgusted by me,” Grant says. “Before I even knew that I was gay … everybody else had it figured out and, you know, they were letting you know.”\u003c/p>\n\u003cp>Even as The Czars gained critical acclaim, Grant submerged self-hatred, dysfunctional relationships and anxiety in an oblivion of alcohol and drugs. “I spent a lot of time caring, and it drove me to really just try and annihilate my brain,” he says. “I just felt that I was going to fall apart if I didn’t learn to be myself.”\u003c/p>\n\u003cp>The Czars split. Grant stopped drinking, and he stopped making music for a couple of years of recovery. He says he began to find the courage to bring out his whole self through his first two solo records. He sang about being HIV positive, and railed against a bad boyfriend.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ultimately, Grant realized he was dealing with severe depression. “Sometimes I still can’t believe how much it can beat me down,” he says.\u003c/p>\n\u003cp>BBC 6 Music Presenter Mary Anne Hobbs says Grant’s songs can be painfully self-aware. “Most songwriting, even if it’s based on a true story … is embellished in some way,” she says. “But John’s lyrics — they’re so true they might as well be written in blood.”\u003c/p>\n\u003cp>Grant says people close to him have questioned whether it’s good to expose so much of himself, but he says he enjoys performing intensely personal music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=nL3f9fAAUq4\u003c/p>\n\u003cp>“Sometimes, you might be feeling like you’re dredging things up, but that isn’t usually what’s happening,” he says. “Usually, you sort of dealt with it and went through it when you wrote the song. And then when you perform it, there’s just the joy of connecting with people.”\u003c/p>\n\u003cp>Pioneering singer and broadcaster Tom Robinson was one of the first rockers to come out as gay and mix music with LGBTQ liberation. He says Grant’s 2015 record, \u003cem>Grey Tickles, Black Pressure,\u003c/em> exudes a powerful confidence.\u003c/p>\n\u003cp>“If I had heard a song like ‘Snug Slacks’ when I was a gay teenager in the ’60s, I think he could have saved me 10 or 15 years of heartache and pain,” Robinson says. “It’s so great to hear somebody making music this unashamed and yet this irresistible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Grant says he wants listeners to hear the fun in his music, because that’s a part of him, too. “I want it to be a mixture of pain and laughter,” he says, “which is a good representation of what life is like.” \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=For+John+Grant%2C+There%27s+Power+In+The+Personal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/198407826/john-grant\" target=\"_blank\" rel=\"noopener\">John Grant\u003c/a> is not your run-of-the-mill singer-songwriter. He’s a superstar overseas, but he’s relatively unknown in the U.S., where he was born. He lives in Iceland and speaks four languages. He’s openly gay. And he’s HIV positive, as well as a recovering alcoholic and drug addict.\u003c/p>\n\u003cp>Grant’s journey from obscurity in Buchanan, Mich. to playing sold-out gigs at London’s Royal Albert Hall started in the 1990s with his band The Czars, which released eight albums over 12 years. This was a big deal for Grant, who had come from a home where his parents were convinced he needed to be “fixed” because of his sexual orientation.\u003c/p>\n\u003cp>“When I was young, people were so disgusted by me,” Grant says. “Before I even knew that I was gay … everybody else had it figured out and, you know, they were letting you know.”\u003c/p>\n\u003cp>Even as The Czars gained critical acclaim, Grant submerged self-hatred, dysfunctional relationships and anxiety in an oblivion of alcohol and drugs. “I spent a lot of time caring, and it drove me to really just try and annihilate my brain,” he says. “I just felt that I was going to fall apart if I didn’t learn to be myself.”\u003c/p>\n\u003cp>The Czars split. Grant stopped drinking, and he stopped making music for a couple of years of recovery. He says he began to find the courage to bring out his whole self through his first two solo records. He sang about being HIV positive, and railed against a bad boyfriend.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ultimately, Grant realized he was dealing with severe depression. “Sometimes I still can’t believe how much it can beat me down,” he says.\u003c/p>\n\u003cp>BBC 6 Music Presenter Mary Anne Hobbs says Grant’s songs can be painfully self-aware. “Most songwriting, even if it’s based on a true story … is embellished in some way,” she says. “But John’s lyrics — they’re so true they might as well be written in blood.”\u003c/p>\n\u003cp>Grant says people close to him have questioned whether it’s good to expose so much of himself, but he says he enjoys performing intensely personal music.\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/nL3f9fAAUq4'\n title='//www.youtube.com/embed/nL3f9fAAUq4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Sometimes, you might be feeling like you’re dredging things up, but that isn’t usually what’s happening,” he says. “Usually, you sort of dealt with it and went through it when you wrote the song. And then when you perform it, there’s just the joy of connecting with people.”\u003c/p>\n\u003cp>Pioneering singer and broadcaster Tom Robinson was one of the first rockers to come out as gay and mix music with LGBTQ liberation. He says Grant’s 2015 record, \u003cem>Grey Tickles, Black Pressure,\u003c/em> exudes a powerful confidence.\u003c/p>\n\u003cp>“If I had heard a song like ‘Snug Slacks’ when I was a gay teenager in the ’60s, I think he could have saved me 10 or 15 years of heartache and pain,” Robinson says. “It’s so great to hear somebody making music this unashamed and yet this irresistible.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Grant says he wants listeners to hear the fun in his music, because that’s a part of him, too. “I want it to be a mixture of pain and laughter,” he says, “which is a good representation of what life is like.” \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=For+John+Grant%2C+There%27s+Power+In+The+Personal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"slug": "how-one-video-game-unflinchingly-tackles-racism-with-history-and-raw-interactions",
"title": "How One Video Game Unflinchingly Tackles Racism With History And Raw Interactions",
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"content": "\u003cp>It’s 1968 in New Bordeaux, La. On the surface all looks tranquil as you drive through the bustling city in your red Pontiac, tapping your foot to Sam Cooke’s “Chain Gang.”\u003c/p>\n\u003cp>But as you take a sharp left down a winding back alley, an alarming sight gives you pause. Behind you, trucks painted with the Confederate flag begin to appear, the white men behind the wheel angry and visceral as they shout racial slurs.\u003c/p>\n\u003cp>Your name is Lincoln Clay. You’re a 23-year-old biracial man — but in this place, this time, you’re black, and instances of racism and bigotry are commonplace.\u003c/p>\n\u003cp>This is Mafia III, an action-adventure \u003ca href=\"https://mafiagame.com/\">video game\u003c/a> developed by Hangar 13 and published by 2K Games.\u003c/p>\n\u003cp>It’s a game that, in a lot of ways, meticulously adopts and adapts from the racial and political history of the era. And it’s \u003ca href=\"https://www.washingtonpost.com/news/comic-riffs/wp/2016/10/27/mafia-3-review-a-cultural-milestone/?utm_term=.f310c55f56af\" target=\"_blank\" rel=\"noopener\">become\u003c/a> a provocative and in some ways \u003ca href=\"https://www.theguardian.com/commentisfree/2016/oct/20/mafia-iii-videogame-racism\" target=\"_blank\" rel=\"noopener\">cathartic\u003c/a> alternate reality that directly confronts gamers of all walks of life with the reimagined raw trials of a protagonist rarely featured by the industry.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The game’s authentic use of past racial tensions isn’t the crux of the plot — its premise is similar to other \u003ca href=\"http://mafiagame.wikia.com/wiki/Mafia_Wiki\" target=\"_blank\" rel=\"noopener\">Mafia\u003c/a> games, in which a protagonist goes up against the mob. But their presentation is heavy and deliberate. Senior writer Charles Webb says the creators wanted to spark players’ consciousness without overindulging in a history lesson.\u003c/p>\n\u003cfigure id=\"attachment_12574677\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-1020x573.png\" alt=\""One of the reasons why I came to 2K was because they're not afraid to take these kind of creative risks," says Mafia III creative director Haden Blackman.\" width=\"640\" height=\"360\" class=\"size-large wp-image-12574677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2.png 1917w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“One of the reasons why I came to 2K was because they’re not afraid to take these kind of creative risks,” says Mafia III creative director Haden Blackman. \u003ccite>(Courtesy of 2K Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of the things I’m really, really proud of is we’ve kind of created this game of empathy,” Webb says. “This is what it was like to occupy this space, as this particular type of person, as a young black man in 1968 in the South.”\u003c/p>\n\u003cp>\u003cstrong>Grounded in history\u003c/strong>\u003c/p>\n\u003cp>As you drive throughout the city or make a pit stop for some quick cash, music of the era — Nina Simone or Janis Joplin — keeps you company. News broadcasts reflect the period, announcing tragedies like the assassination of Dr. Martin Luther King Jr. or the arrests of Freedom Riders.\u003c/p>\n\u003cp>“We attached ourselves to this idea of the documentary. It gets you to think about how have things changed, if at all,” says Creative Director Haden Blackman.\u003c/p>\n\u003cp>The writers say they did extensive research, studying films, documentaries and literature, including \u003cem>The Trials of Muhammad Ali\u003c/em>; \u003cem>The Black Power Mixtape 1967-1975; \u003c/em>the James Baldwin debates with William F. Buckley from 1965; and \u003cem>Matterhorn: A Novel of the Vietnam War. \u003c/em>The writers cited “The Ballot or the Bullet,” speech from April of ’64 by Malcolm X as a primary influence.\u003c/p>\n\u003cp>An invisible character by the name of “The Voice” delivers evidence of this research: As a radio personality, he often speaks directly to the player, providing critical commentary and analysis of the prejudice and injustices within this reimagined narrative.\u003c/p>\n\u003cp>“Being able to have him as this ‘voice of the people’ in the city, especially of the marginalized, specifically black community, at the time — it’s one of those things that really helps tie things together,” says Senior Writer Ed Fowler. “The way that it evokes the time and still resonates today speaks to many things, just in general in our world right now.”\u003c/p>\n\u003cp>\u003cstrong>‘Scared as all get-out’\u003c/strong>\u003c/p>\n\u003cp>With so much history involved, the team admits the game’s subject matter can be, at times, grueling and potent.\u003c/p>\n\u003cp>As Clay, you go on a mission to dismantle the Ku Klux Klan and confront other white supremacists groups on numerous side quests. You hear racial slurs and witness hateful acts against African-Americans. The police watch you — always.\u003c/p>\n\u003cfigure id=\"attachment_12574678\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-1020x573.png\" alt=\"Throughout the game, players encounter instances of direct confrontations between law enforcement authorities and the black populace.\" width=\"640\" height=\"360\" class=\"size-large wp-image-12574678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2.png 1917w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Throughout the game, players encounter instances of direct confrontations between law enforcement authorities and the black populace. \u003ccite>(Courtesy of 2K Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The game’s open world is abundant but you, the player, are not welcome in every aspect of its landscape, simply on the basis that you are you. The ambiance of bigotry — quiet or bombastic — is consistent, whether in hateful glances when you walk through areas reserved for “whites only” or the seemingly increased police presence when you stroll through predominantly white suburbs.\u003c/p>\n\u003cp>The team knew the game had the potential to be polarizing.\u003c/p>\n\u003cp>“I was definitely scared, scared as all get-out,” Webb says. “It was very important to our team as a whole to hammer home to be authentic and true to the period, and that’s a fine line … not only respecting how hostile this space might be toward Lincoln but also figuring out ways to not make it completely repellent to the player.”\u003c/p>\n\u003cp>It all appears to have worked, as Mafia III \u003ca href=\"http://www.ign.com/articles/2016/11/02/mafia-3-shipped-45-million-copies-in-first-week-fastest-selling-in-2k-games-history\" target=\"_blank\" rel=\"noopener\">became the fastest-selling title\u003c/a> by 2K Games, with more than 4 million units shipped in the first week.\u003c/p>\n\u003cp>But despite the game’s positive reception, some reviewers have argued that its excessive and chaotic violence overshadows the abuse black and brown people experienced during the era, as \u003cem>The Verge\u003c/em>‘s Chris Plante \u003ca href=\"http://www.theverge.com/2016/10/13/13263008/mafia-3-racism-shooter-opinion\" target=\"_blank\" rel=\"noopener\">has argued\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“A black man lynching a white man in the American South in 1968 is an arresting image, except its power is undercut by the game’s pace. It takes no time to unpack what we’re seeing, let alone acknowledge that, below the hanging man, fester dozens of other men murdered by Lincoln Clay.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>Female representation\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12574877\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/cassandra_wide.png\" alt=\"Cassandra, the head of the Haitian mob, acts as a prominent decision-maker and immensely helps shapes Clay's narrative.\" width=\"700\" height=\"393\" class=\"size-full wp-image-12574877\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide.png 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide-520x292.png 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Cassandra, the head of the Haitian mob, acts as a prominent decision-maker and immensely helps shapes Clay’s narrative. \u003ccite>(Courtesy of 2K Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Mafia III inches away from the familiar tropes of shoot-’em-up games. One of them is the poor depiction of women, who are often heavily sexualized or subservient to the male protagonist.\u003c/p>\n\u003cp>In Mafia III, women hold their own and serve more than just atmosphere, which Webb says was a deliberate move. There’s Cassandra, the head of the Haitian mob; then Alma Diaz, who runs smuggling operations; and Nicki Burke, a lieutenant in the Irish mob.\u003c/p>\n\u003cp>And then there’s the inner circle of Clay’s friends and family, most of whom are black and help shape the narrative. This batch of characters joins a small group of other individuals of color from recent major games: Marcus Holloway from Watch Dogs 2\u003cem>,\u003c/em> antagonist Nadine Ross from Uncharted 4 and Lee Everett from The Walking Dead Telltale games universe and others.\u003c/p>\n\u003cp>Yet, many groups remain highly underrepresented in the gaming industry, which has faced criticism, for instance, not only for the \u003ca href=\"http://www.npr.org/sections/alltechconsidered/2014/06/13/321673815/critics-renew-calls-for-more-diverse-video-game-characters\" target=\"_blank\" rel=\"noopener\">rarity of protagonists of color\u003c/a>, but also for their voices being performed by white voice actors.\u003c/p>\n\u003cp>A \u003ca href=\"http://journals.sagepub.com/doi/pdf/10.1177/1461444809105354\" target=\"_blank\" rel=\"noopener\">2009 study\u003c/a> found that Latinos were virtually unrepresented as playable characters, while African-Americans were largely featured in sports games or similar titles that reinforce stereotypes.\u003c/p>\n\u003cfigure id=\"attachment_12574879\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/announcementtrailer_.png\" alt=\"Mafia III protagonist Lincoln Clay and mob boss Cassandra (center) join a small group of other individuals of color from recent major games.\" width=\"700\" height=\"393\" class=\"size-full wp-image-12574879\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_.png 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_-520x292.png 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Mafia III protagonist Lincoln Clay and mob boss Cassandra (center) join a small group of other individuals of color from recent major games. \u003ccite>(Courtesy of 2K Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A possible harbinger?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://doinginnovation.org/\" target=\"_blank\" rel=\"noopener\">S. Craig Watkins\u003c/a>, a professor at the University of Texas at Austin, says the tech industry is commonly under fire for its lack of diversity, while the video game industry hasn’t been held “nearly as accountable.”\u003c/p>\n\u003cp>The vast majority of game developers are white — the results of a \u003ca href=\"https://c.ymcdn.com/sites/www.igda.org/resource/collection/CB31CE86-F8EE-4AE3-B46A-148490336605/IGDA%20DSS%202015-SummaryReport_Final_Sept15.pdf\" target=\"_blank\" rel=\"noopener\">2015 survey\u003c/a> by the International Game Developers Association suggest that only about 3 percent of video-game makers are African American and 7 percent are Latino. Meanwhile, \u003ca href=\"http://www.northwestern.edu/newscenter/stories/2011/06/media-usa-youth-wartella.html\" target=\"_blank\" rel=\"noopener\">several studies\u003c/a> \u003ca href=\"http://kff.org/other/report/generation-m2-media-in-the-lives-of-8-to-18-year-olds/\" target=\"_blank\" rel=\"noopener\">have found\u003c/a> that black and Latino children and teenagers spend more time per day playing video games.\u003c/p>\n\u003cp>“The statistics are shifting and telling us that who plays games is no longer this imagined idea of the white straight able-bodied adolescent male who is at home in their parents’ basement,” says \u003ca href=\"http://www.edmondchang.com/\">Edmond Chang\u003c/a>, a visiting assistant professor at the University of Oregon. “The industry has really failed in certain ways to catch up.”\u003c/p>\n\u003cp>Watkins says Mafia III could be a harbinger for the industry. “The idea that a studio would even consider investing the resources, the time, the human capital to develop a game like Mafia III,” he says, “that’s a really interesting approach to what the gaming world and experience might look like.”\u003c/p>\n\u003cp>And Blackman, the creative director, says he’s proud of the game sparking important dialogue.\u003c/p>\n\u003cp>“We’re not so naive as to think that a single game could cure racism — and that was never our intent,” Blackman says. “But at the end of the day, if we make people think about race and we make people think about what’s happening today, I think we’ve done something that very few games have done.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Iman Smith is a freelance reporter. You can follow her on Twitter at \u003c/em>\u003ca href=\"https://twitter.com/ImanThePress\">@ImanThePress\u003c/a>\u003cem>.\u003c/em> \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=How+One+Video+Game+Unflinchingly+Tackles+Racism+With+History+And+Raw+Interactions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "Creators of Mafia III, set in a fictionalized Louisiana, took a documentary approach to confronting players with prejudice and bigotry of the 1960s South from the perspective of a black protagonist.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s 1968 in New Bordeaux, La. On the surface all looks tranquil as you drive through the bustling city in your red Pontiac, tapping your foot to Sam Cooke’s “Chain Gang.”\u003c/p>\n\u003cp>But as you take a sharp left down a winding back alley, an alarming sight gives you pause. Behind you, trucks painted with the Confederate flag begin to appear, the white men behind the wheel angry and visceral as they shout racial slurs.\u003c/p>\n\u003cp>Your name is Lincoln Clay. You’re a 23-year-old biracial man — but in this place, this time, you’re black, and instances of racism and bigotry are commonplace.\u003c/p>\n\u003cp>This is Mafia III, an action-adventure \u003ca href=\"https://mafiagame.com/\">video game\u003c/a> developed by Hangar 13 and published by 2K Games.\u003c/p>\n\u003cp>It’s a game that, in a lot of ways, meticulously adopts and adapts from the racial and political history of the era. And it’s \u003ca href=\"https://www.washingtonpost.com/news/comic-riffs/wp/2016/10/27/mafia-3-review-a-cultural-milestone/?utm_term=.f310c55f56af\" target=\"_blank\" rel=\"noopener\">become\u003c/a> a provocative and in some ways \u003ca href=\"https://www.theguardian.com/commentisfree/2016/oct/20/mafia-iii-videogame-racism\" target=\"_blank\" rel=\"noopener\">cathartic\u003c/a> alternate reality that directly confronts gamers of all walks of life with the reimagined raw trials of a protagonist rarely featured by the industry.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The game’s authentic use of past racial tensions isn’t the crux of the plot — its premise is similar to other \u003ca href=\"http://mafiagame.wikia.com/wiki/Mafia_Wiki\" target=\"_blank\" rel=\"noopener\">Mafia\u003c/a> games, in which a protagonist goes up against the mob. But their presentation is heavy and deliberate. Senior writer Charles Webb says the creators wanted to spark players’ consciousness without overindulging in a history lesson.\u003c/p>\n\u003cfigure id=\"attachment_12574677\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-1020x573.png\" alt=\""One of the reasons why I came to 2K was because they're not afraid to take these kind of creative risks," says Mafia III creative director Haden Blackman.\" width=\"640\" height=\"360\" class=\"size-large wp-image-12574677\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_preview_linc_combat_owaandenforceryards_6-6_wide-ae14b24d1f4313e77cfa61cd467e723306c8e00e-2.png 1917w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">“One of the reasons why I came to 2K was because they’re not afraid to take these kind of creative risks,” says Mafia III creative director Haden Blackman. \u003ccite>(Courtesy of 2K Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“One of the things I’m really, really proud of is we’ve kind of created this game of empathy,” Webb says. “This is what it was like to occupy this space, as this particular type of person, as a young black man in 1968 in the South.”\u003c/p>\n\u003cp>\u003cstrong>Grounded in history\u003c/strong>\u003c/p>\n\u003cp>As you drive throughout the city or make a pit stop for some quick cash, music of the era — Nina Simone or Janis Joplin — keeps you company. News broadcasts reflect the period, announcing tragedies like the assassination of Dr. Martin Luther King Jr. or the arrests of Freedom Riders.\u003c/p>\n\u003cp>“We attached ourselves to this idea of the documentary. It gets you to think about how have things changed, if at all,” says Creative Director Haden Blackman.\u003c/p>\n\u003cp>The writers say they did extensive research, studying films, documentaries and literature, including \u003cem>The Trials of Muhammad Ali\u003c/em>; \u003cem>The Black Power Mixtape 1967-1975; \u003c/em>the James Baldwin debates with William F. Buckley from 1965; and \u003cem>Matterhorn: A Novel of the Vietnam War. \u003c/em>The writers cited “The Ballot or the Bullet,” speech from April of ’64 by Malcolm X as a primary influence.\u003c/p>\n\u003cp>An invisible character by the name of “The Voice” delivers evidence of this research: As a radio personality, he often speaks directly to the player, providing critical commentary and analysis of the prejudice and injustices within this reimagined narrative.\u003c/p>\n\u003cp>“Being able to have him as this ‘voice of the people’ in the city, especially of the marginalized, specifically black community, at the time — it’s one of those things that really helps tie things together,” says Senior Writer Ed Fowler. “The way that it evokes the time and still resonates today speaks to many things, just in general in our world right now.”\u003c/p>\n\u003cp>\u003cstrong>‘Scared as all get-out’\u003c/strong>\u003c/p>\n\u003cp>With so much history involved, the team admits the game’s subject matter can be, at times, grueling and potent.\u003c/p>\n\u003cp>As Clay, you go on a mission to dismantle the Ku Klux Klan and confront other white supremacists groups on numerous side quests. You hear racial slurs and witness hateful acts against African-Americans. The police watch you — always.\u003c/p>\n\u003cfigure id=\"attachment_12574678\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-1020x573.png\" alt=\"Throughout the game, players encounter instances of direct confrontations between law enforcement authorities and the black populace.\" width=\"640\" height=\"360\" class=\"size-large wp-image-12574678\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-1020x573.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-800x449.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-768x431.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-1180x663.png 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-960x539.png 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2-520x292.png 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/2k_mafiaiii_screenshot_harrassment_wide-464708fbe764c047f03910207a39bfc64dbe1265-2.png 1917w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">Throughout the game, players encounter instances of direct confrontations between law enforcement authorities and the black populace. \u003ccite>(Courtesy of 2K Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The game’s open world is abundant but you, the player, are not welcome in every aspect of its landscape, simply on the basis that you are you. The ambiance of bigotry — quiet or bombastic — is consistent, whether in hateful glances when you walk through areas reserved for “whites only” or the seemingly increased police presence when you stroll through predominantly white suburbs.\u003c/p>\n\u003cp>The team knew the game had the potential to be polarizing.\u003c/p>\n\u003cp>“I was definitely scared, scared as all get-out,” Webb says. “It was very important to our team as a whole to hammer home to be authentic and true to the period, and that’s a fine line … not only respecting how hostile this space might be toward Lincoln but also figuring out ways to not make it completely repellent to the player.”\u003c/p>\n\u003cp>It all appears to have worked, as Mafia III \u003ca href=\"http://www.ign.com/articles/2016/11/02/mafia-3-shipped-45-million-copies-in-first-week-fastest-selling-in-2k-games-history\" target=\"_blank\" rel=\"noopener\">became the fastest-selling title\u003c/a> by 2K Games, with more than 4 million units shipped in the first week.\u003c/p>\n\u003cp>But despite the game’s positive reception, some reviewers have argued that its excessive and chaotic violence overshadows the abuse black and brown people experienced during the era, as \u003cem>The Verge\u003c/em>‘s Chris Plante \u003ca href=\"http://www.theverge.com/2016/10/13/13263008/mafia-3-racism-shooter-opinion\" target=\"_blank\" rel=\"noopener\">has argued\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“A black man lynching a white man in the American South in 1968 is an arresting image, except its power is undercut by the game’s pace. It takes no time to unpack what we’re seeing, let alone acknowledge that, below the hanging man, fester dozens of other men murdered by Lincoln Clay.”\u003c/p>\n\u003c/blockquote>\n\u003cp>\u003cstrong>Female representation\u003c/strong>\u003c/p>\n\u003cfigure id=\"attachment_12574877\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/cassandra_wide.png\" alt=\"Cassandra, the head of the Haitian mob, acts as a prominent decision-maker and immensely helps shapes Clay's narrative.\" width=\"700\" height=\"393\" class=\"size-full wp-image-12574877\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide.png 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/cassandra_wide-520x292.png 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Cassandra, the head of the Haitian mob, acts as a prominent decision-maker and immensely helps shapes Clay’s narrative. \u003ccite>(Courtesy of 2K Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Still, Mafia III inches away from the familiar tropes of shoot-’em-up games. One of them is the poor depiction of women, who are often heavily sexualized or subservient to the male protagonist.\u003c/p>\n\u003cp>In Mafia III, women hold their own and serve more than just atmosphere, which Webb says was a deliberate move. There’s Cassandra, the head of the Haitian mob; then Alma Diaz, who runs smuggling operations; and Nicki Burke, a lieutenant in the Irish mob.\u003c/p>\n\u003cp>And then there’s the inner circle of Clay’s friends and family, most of whom are black and help shape the narrative. This batch of characters joins a small group of other individuals of color from recent major games: Marcus Holloway from Watch Dogs 2\u003cem>,\u003c/em> antagonist Nadine Ross from Uncharted 4 and Lee Everett from The Walking Dead Telltale games universe and others.\u003c/p>\n\u003cp>Yet, many groups remain highly underrepresented in the gaming industry, which has faced criticism, for instance, not only for the \u003ca href=\"http://www.npr.org/sections/alltechconsidered/2014/06/13/321673815/critics-renew-calls-for-more-diverse-video-game-characters\" target=\"_blank\" rel=\"noopener\">rarity of protagonists of color\u003c/a>, but also for their voices being performed by white voice actors.\u003c/p>\n\u003cp>A \u003ca href=\"http://journals.sagepub.com/doi/pdf/10.1177/1461444809105354\" target=\"_blank\" rel=\"noopener\">2009 study\u003c/a> found that Latinos were virtually unrepresented as playable characters, while African-Americans were largely featured in sports games or similar titles that reinforce stereotypes.\u003c/p>\n\u003cfigure id=\"attachment_12574879\" class=\"wp-caption aligncenter\" style=\"max-width: 700px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/01/announcementtrailer_.png\" alt=\"Mafia III protagonist Lincoln Clay and mob boss Cassandra (center) join a small group of other individuals of color from recent major games.\" width=\"700\" height=\"393\" class=\"size-full wp-image-12574879\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_.png 700w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/01/announcementtrailer_-520x292.png 520w\" sizes=\"(max-width: 700px) 100vw, 700px\">\u003cfigcaption class=\"wp-caption-text\">Mafia III protagonist Lincoln Clay and mob boss Cassandra (center) join a small group of other individuals of color from recent major games. \u003ccite>(Courtesy of 2K Games)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>A possible harbinger?\u003c/strong>\u003c/p>\n\u003cp>\u003ca href=\"http://doinginnovation.org/\" target=\"_blank\" rel=\"noopener\">S. Craig Watkins\u003c/a>, a professor at the University of Texas at Austin, says the tech industry is commonly under fire for its lack of diversity, while the video game industry hasn’t been held “nearly as accountable.”\u003c/p>\n\u003cp>The vast majority of game developers are white — the results of a \u003ca href=\"https://c.ymcdn.com/sites/www.igda.org/resource/collection/CB31CE86-F8EE-4AE3-B46A-148490336605/IGDA%20DSS%202015-SummaryReport_Final_Sept15.pdf\" target=\"_blank\" rel=\"noopener\">2015 survey\u003c/a> by the International Game Developers Association suggest that only about 3 percent of video-game makers are African American and 7 percent are Latino. Meanwhile, \u003ca href=\"http://www.northwestern.edu/newscenter/stories/2011/06/media-usa-youth-wartella.html\" target=\"_blank\" rel=\"noopener\">several studies\u003c/a> \u003ca href=\"http://kff.org/other/report/generation-m2-media-in-the-lives-of-8-to-18-year-olds/\" target=\"_blank\" rel=\"noopener\">have found\u003c/a> that black and Latino children and teenagers spend more time per day playing video games.\u003c/p>\n\u003cp>“The statistics are shifting and telling us that who plays games is no longer this imagined idea of the white straight able-bodied adolescent male who is at home in their parents’ basement,” says \u003ca href=\"http://www.edmondchang.com/\">Edmond Chang\u003c/a>, a visiting assistant professor at the University of Oregon. “The industry has really failed in certain ways to catch up.”\u003c/p>\n\u003cp>Watkins says Mafia III could be a harbinger for the industry. “The idea that a studio would even consider investing the resources, the time, the human capital to develop a game like Mafia III,” he says, “that’s a really interesting approach to what the gaming world and experience might look like.”\u003c/p>\n\u003cp>And Blackman, the creative director, says he’s proud of the game sparking important dialogue.\u003c/p>\n\u003cp>“We’re not so naive as to think that a single game could cure racism — and that was never our intent,” Blackman says. “But at the end of the day, if we make people think about race and we make people think about what’s happening today, I think we’ve done something that very few games have done.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Iman Smith is a freelance reporter. You can follow her on Twitter at \u003c/em>\u003ca href=\"https://twitter.com/ImanThePress\">@ImanThePress\u003c/a>\u003cem>.\u003c/em> \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=How+One+Video+Game+Unflinchingly+Tackles+Racism+With+History+And+Raw+Interactions&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Ben Johnston doesn’t follow the rules of music. Sure, he’s got degrees from two colleges and a conservatory. But from an early age, Johnston heard music differently. When he was growing up in Georgia, he questioned the standard scales he was taught in school. “I played by ear and I invented my own chords,” he says.\u003c/p>\n\u003cp>In Western music, we’re taught that there are set notes in scales, but there is actually an infinite number of pitches in between those notes. They’re called microtones, and those are the notes Johnston likes to work with.\u003c/p>\n\u003cp>“String Quartet No. 4,” Johnston’s take on “Amazing Grace,” is probably his best-known and most-performed work. At his home in Madison, Wis., surrounded by a flock of peacocks and a herd of barn cats, the 90-year-old composer says the work has its roots in his childhood, in slavery and in his desire to hear what the song might have sounded like if Beethoven had covered it late in his career.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=ReHIe0WDvNs\u003c/p>\n\u003cp>It was actually Johnston’s love of the Glenn Miller Orchestra and Broadway show tunes that made him want to be a composer. Then, during World War II, he heard \u003ca href=\"http://www.npr.org/artists/136362007/stan-kenton\" target=\"_blank\" rel=\"noopener\">Stan Kenton’s\u003c/a> band. “It was the first time I heard real jazz improvisation,” Johnston says. “Immediately, I could get it by ear. It changed my whole approach to harmony.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>After the war, he apprenticed with the iconoclastic American composer and instrument-maker Harry Partch and studied with composers Darius Milhaud and \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a>. All of them encouraged him to follow his own path.\u003c/p>\n\u003cp>Johnston later became a mentor himself — he taught at the University of Illinois for over three decades. Composer Larry Polansky, who studied under Johnston there, says Johnston’s work is groundbreaking and necessary. “We need Jackson Pollock, we need John Ashbery, we need James Joyce and we need Ben Johnston,” he says, “because they do question something that generally goes unquestioned.”\u003c/p>\n\u003cp>Polansky, who went on to become a professor himself, says Johnston taught him there was more to music than the standard Western scale. “To enforce and entrain a very specific set of pitches and reify them as somehow natural … just doesn’t make any sense,” he says.\u003c/p>\n\u003cp>Johnston has used all of the notes he can wrangle in dance music, percussion pieces and orchestral work, but he spent the bulk of his career — almost four decades — composing 10 unique string quartets. Johnston, who celebrated his 90th birthday this year, recently received a special present: the completion of a more than decade-long effort to record them all.\u003c/p>\n\u003cp>The Kepler Quartet formed in 2002 with the specific intention to record these compositions — and it took 14 years of rehearsing and recording to get them all down. Eric Segnitz, the group’s second violinist, says the rehearsal process required both learning and unlearning. “There was a fair amount of invention and learning curve and getting rid of any preconception of what a chord actually sounds like,” he says.\u003c/p>\n\u003cp>Segnitz says what struck him even more than the complexity of the music was the way Johnston has never veered from his vision. “There are all sorts of pressures on modern composers to reach an audience, to be popular — it’s like high school, basically,” he says. “So the fact that someone has cut through all that is very meaningful.”\u003c/p>\n\u003cp>That doesn’t mean the composer can’t be playful. In his “String Quartet No. 10,” Johnston subtly teases a traditional tune through four movements. “You build up this enormous expectation until finally you get to the end and … we reveal the tune,” he says. “It turns out to be ‘Danny Boy!’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Johnston now wants musicians to take his ideas into the future. He sees his string quartets as a foundation, and he wants others to build upon his tunings — and keep making what he calls the “sounds that people never thought they wanted to hear.” \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=Ben+Johnston+Hears+The+Notes+Between+The+Notes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Ben Johnston doesn’t follow the rules of music. Sure, he’s got degrees from two colleges and a conservatory. But from an early age, Johnston heard music differently. When he was growing up in Georgia, he questioned the standard scales he was taught in school. “I played by ear and I invented my own chords,” he says.\u003c/p>\n\u003cp>In Western music, we’re taught that there are set notes in scales, but there is actually an infinite number of pitches in between those notes. They’re called microtones, and those are the notes Johnston likes to work with.\u003c/p>\n\u003cp>“String Quartet No. 4,” Johnston’s take on “Amazing Grace,” is probably his best-known and most-performed work. At his home in Madison, Wis., surrounded by a flock of peacocks and a herd of barn cats, the 90-year-old composer says the work has its roots in his childhood, in slavery and in his desire to hear what the song might have sounded like if Beethoven had covered it late in his career.\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/ReHIe0WDvNs'\n title='//www.youtube.com/embed/ReHIe0WDvNs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It was actually Johnston’s love of the Glenn Miller Orchestra and Broadway show tunes that made him want to be a composer. Then, during World War II, he heard \u003ca href=\"http://www.npr.org/artists/136362007/stan-kenton\" target=\"_blank\" rel=\"noopener\">Stan Kenton’s\u003c/a> band. “It was the first time I heard real jazz improvisation,” Johnston says. “Immediately, I could get it by ear. It changed my whole approach to harmony.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>After the war, he apprenticed with the iconoclastic American composer and instrument-maker Harry Partch and studied with composers Darius Milhaud and \u003ca href=\"http://www.npr.org/artists/91576532/john-cage\" target=\"_blank\" rel=\"noopener\">John Cage\u003c/a>. All of them encouraged him to follow his own path.\u003c/p>\n\u003cp>Johnston later became a mentor himself — he taught at the University of Illinois for over three decades. Composer Larry Polansky, who studied under Johnston there, says Johnston’s work is groundbreaking and necessary. “We need Jackson Pollock, we need John Ashbery, we need James Joyce and we need Ben Johnston,” he says, “because they do question something that generally goes unquestioned.”\u003c/p>\n\u003cp>Polansky, who went on to become a professor himself, says Johnston taught him there was more to music than the standard Western scale. “To enforce and entrain a very specific set of pitches and reify them as somehow natural … just doesn’t make any sense,” he says.\u003c/p>\n\u003cp>Johnston has used all of the notes he can wrangle in dance music, percussion pieces and orchestral work, but he spent the bulk of his career — almost four decades — composing 10 unique string quartets. Johnston, who celebrated his 90th birthday this year, recently received a special present: the completion of a more than decade-long effort to record them all.\u003c/p>\n\u003cp>The Kepler Quartet formed in 2002 with the specific intention to record these compositions — and it took 14 years of rehearsing and recording to get them all down. Eric Segnitz, the group’s second violinist, says the rehearsal process required both learning and unlearning. “There was a fair amount of invention and learning curve and getting rid of any preconception of what a chord actually sounds like,” he says.\u003c/p>\n\u003cp>Segnitz says what struck him even more than the complexity of the music was the way Johnston has never veered from his vision. “There are all sorts of pressures on modern composers to reach an audience, to be popular — it’s like high school, basically,” he says. “So the fact that someone has cut through all that is very meaningful.”\u003c/p>\n\u003cp>That doesn’t mean the composer can’t be playful. In his “String Quartet No. 10,” Johnston subtly teases a traditional tune through four movements. “You build up this enormous expectation until finally you get to the end and … we reveal the tune,” he says. “It turns out to be ‘Danny Boy!’ ”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Johnston now wants musicians to take his ideas into the future. He sees his string quartets as a foundation, and he wants others to build upon his tunings — and keep making what he calls the “sounds that people never thought they wanted to hear.” \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=Ben+Johnston+Hears+The+Notes+Between+The+Notes&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Carrie Fisher, the actress who became a pop culture icon for her performance as Princess Leia in \u003cem>Star Wars, \u003c/em>has died at age 60.\u003c/p>\n\u003cp>Fisher had suffered a massive heart attack last week on a flight from London to Los Angeles. On Sunday, her family said she was in stable condition.\u003c/p>\n\u003cp>[contextly_sidebar id=”HdET9py3QPXa92bYSG2wy8sT9dwsMWbT”]\u003c/p>\n\u003cp>A representative of Fisher’s daughter, Bille Lourd, confirmed that Fisher died on Tuesday morning.\u003c/p>\n\u003cp>Fisher shot to fame at the age of 19, when she took on her instantly iconic role in \u003cem>Star Wars. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As Leia Organa, she seemed to be taking on the role of damsel in distress — appearing as a hologram begging for help. But she was no helpless heroine: Princess Leia was an indomitable, independent rebel leader.\u003c/p>\n\u003cp>When the \u003cem>Star Wars \u003c/em>franchise returned last year in \u003cem>The Force Awakens, \u003c/em>Fisher’s role reflected the strength she’d always given her character: Princess Leia was now General Organa.\u003c/p>\n\u003cp>But it was her appearance in the original films that cemented Fisher’s status as a pop culture icon. Her legendary role came with instantly-recognizable outfits: Those cinnamon-roll braids; that drapey white dress; and, of course, that famous gold bikini.\u003c/p>\n\u003cp>A few weeks ago, she spoke with Terry Gross about that uncomfortable-looking out she wore while Princess Leia was enslaved by Jabba the Hutt in \u003cem>Return of the Jedi.\u003c/em>\u003c/p>\n\u003cp>“Nearly naked” was not her preferred aesthetic, she said. “It wasn’t my choice … it made me very nervous. I had to sit very straight because I couldn’t have lines on my sides, like little creases. No creases were allowed, so I had to sit very, very rigid straight.\u003c/p>\n\u003cp>“What redeems it is I get to kill him, which was so enjoyable. … I sawed his neck off with that chain that I killed him with. I really relished that because I hated wearing that outfit and sitting there rigid straight, and I couldn’t wait to kill him.”\u003c/p>\n\u003cp>In the popular imagination, Fisher was inextricably tied to that most famous role. But her life, of course, was much larger.\u003c/p>\n\u003cp>She was a writer of both memoirs and novels — her first book, the semi-autobiographical \u003cem>Postcards from the Edge, \u003c/em>was a bit of both. \u003c/p>\n\u003cp>Carrie Fisher shared her approach to life in her 2008 HBO special \u003cem>Wishful Drinking.\u003c/em>\u003c/p>\n\u003cp>“Let’s say something happens, right, and from a certain slant maybe it’s tragic, even a little bit shocking,” she said. “And then time passes, and you go to the funny slant, and now that very same thing can no longer do you any harm.”\u003c/p>\n\u003cp>As Andrew reports, Fisher lived by that wisdom.\u003c/p>\n\u003cp>“She was born in 1956 to two huge stars — the singer Eddie Fisher and award winning actress Debbie Reynolds,” Andrew says. “From a certain slant being born to two famous people — who ended up famously divorcing — can be tragic. Time passes, and it has to be funny.”\u003c/p>\n\u003cp>Fisher was “out and open about her issues with drugs and alcohol, and mental illness and treatment,” Andrew notes. “She told NPR’s \u003cem>Fresh Air\u003c/em> that getting all of this out there and speaking about the baggage was a way for her to understand herself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It creates community when you talk about private things and you can find other people that have the same things,” Fisher told Terry Gross. “Otherwise I felt very lonely with some of the issues that I had.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Carrie+Fisher%2C+Actress+Beloved+For+Playing+Princess+Leia%2C+Dies+At+60&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As Leia Organa, she seemed to be taking on the role of damsel in distress — appearing as a hologram begging for help. But she was no helpless heroine: Princess Leia was an indomitable, independent rebel leader.\u003c/p>\n\u003cp>When the \u003cem>Star Wars \u003c/em>franchise returned last year in \u003cem>The Force Awakens, \u003c/em>Fisher’s role reflected the strength she’d always given her character: Princess Leia was now General Organa.\u003c/p>\n\u003cp>But it was her appearance in the original films that cemented Fisher’s status as a pop culture icon. Her legendary role came with instantly-recognizable outfits: Those cinnamon-roll braids; that drapey white dress; and, of course, that famous gold bikini.\u003c/p>\n\u003cp>A few weeks ago, she spoke with Terry Gross about that uncomfortable-looking out she wore while Princess Leia was enslaved by Jabba the Hutt in \u003cem>Return of the Jedi.\u003c/em>\u003c/p>\n\u003cp>“Nearly naked” was not her preferred aesthetic, she said. “It wasn’t my choice … it made me very nervous. I had to sit very straight because I couldn’t have lines on my sides, like little creases. No creases were allowed, so I had to sit very, very rigid straight.\u003c/p>\n\u003cp>“What redeems it is I get to kill him, which was so enjoyable. … I sawed his neck off with that chain that I killed him with. I really relished that because I hated wearing that outfit and sitting there rigid straight, and I couldn’t wait to kill him.”\u003c/p>\n\u003cp>In the popular imagination, Fisher was inextricably tied to that most famous role. But her life, of course, was much larger.\u003c/p>\n\u003cp>She was a writer of both memoirs and novels — her first book, the semi-autobiographical \u003cem>Postcards from the Edge, \u003c/em>was a bit of both. \u003c/p>\n\u003cp>Carrie Fisher shared her approach to life in her 2008 HBO special \u003cem>Wishful Drinking.\u003c/em>\u003c/p>\n\u003cp>“Let’s say something happens, right, and from a certain slant maybe it’s tragic, even a little bit shocking,” she said. “And then time passes, and you go to the funny slant, and now that very same thing can no longer do you any harm.”\u003c/p>\n\u003cp>As Andrew reports, Fisher lived by that wisdom.\u003c/p>\n\u003cp>“She was born in 1956 to two huge stars — the singer Eddie Fisher and award winning actress Debbie Reynolds,” Andrew says. “From a certain slant being born to two famous people — who ended up famously divorcing — can be tragic. Time passes, and it has to be funny.”\u003c/p>\n\u003cp>Fisher was “out and open about her issues with drugs and alcohol, and mental illness and treatment,” Andrew notes. “She told NPR’s \u003cem>Fresh Air\u003c/em> that getting all of this out there and speaking about the baggage was a way for her to understand herself.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It creates community when you talk about private things and you can find other people that have the same things,” Fisher told Terry Gross. “Otherwise I felt very lonely with some of the issues that I had.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Carrie+Fisher%2C+Actress+Beloved+For+Playing+Princess+Leia%2C+Dies+At+60&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'Fences': A Major American Play Finally Makes It To Screen; It Was Worth The Wait",
"headTitle": "‘Fences’: A Major American Play Finally Makes It To Screen; It Was Worth The Wait | KQED",
"content": "\u003cp>All his life, playwright August Wilson resisted any efforts to mount a screen adaptation of \u003cem>Fences\u003c/em>, his Pulitzer Prize-winning 1987 work, because he insisted it could only be helmed by a black director. Looking at the dynamics in the play, Wilson’s need to see a filmmaker understand them as he did was understandable. \u003cem>Fences\u003c/em> gives us a working-class black family in the 1950s, with particular focus on a father whose own rough go at life informs but doesn’t fully excuse his behavior in his own household. For it to work onscreen, a director needs to see this character as fully formed, not merely a product of his environment or a vehicle for sermonizing. We must see him as a man who bleeds, heavily, and often from self-inflicted wounds.\u003c/p>\n\u003cp>Eleven years after his 2005 death, Wilson finally gets his wish in perhaps the most widely acclaimed black actor of a generation. Denzel Washington is behind the chair, his third go-around as a director after \u003cem>Antwone Fisher\u003c/em> and \u003cem>The Great Debaters\u003c/em>. His approach is that of devoted student trying to learn from a long-gone mentor. Every choice he makes as a director here is designed to underline, rather than complement, the script, which is so faithful it bears only Wilson’s name.\u003c/p>\n\u003cp>https://youtu.be/spCxVd9ctFs\u003c/p>\n\u003cp>As he did onstage in the recent Broadway revival, Washington embodies the lead role of Troy, a former baseball player in the Negro League, now working as a garbage collector in Pittsburgh. (The character was originally portrayed on Broadway by James Earl Jones.) Troy and his dreams have had a hard time: after outrunning an abusive childhood and a troublemaking past for a shot at athletic glory, he aged out of his prime before Major League Baseball could integrate. Over the years, this has burrowed under Troy’s skin to the point where he becomes infuriated when someone suggests he was simply born at the wrong time: “There ought not never have been no time called too early!” he thunders, a passionate outburst that paints a life defined by prejudice and bad breaks. In that line we understand the central tragedy of Wilson’s play with remarkable clarity: the sense that a rising tide is leaving you behind, and the ways such a realization can undo even the sturdiest among us, even the ones who have wrestled with Death.\u003c/p>\n\u003cp>But the beauty of the play (and the film) lies not in its lessons but in the moral complexities of its characters, all of whom make compromises with each other and within themselves just to get through the days. Troy is emotionally manipulative to his two sons, channeling the pains of his workaday life to sour their dreams of escaping the same, and he confers upon himself the right to lie to his wife Rose (Viola Davis), who knows, deep down, that her onetime reasons for marrying this man are falling by the wayside. Over the course of a few months in their house, mostly in the backyard that is Troy’s domain and the kitchen that is Rose’s, we see some of these resentments from the past come to a head, be they through the man’s unfulfilled promises to erect a fence on the perimeter of their property or a far more insidious broken trust.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Washington has a charisma that leaves lesser performers quaking at his feet, and he’s justly celebrated as one of the few Capital-A Actors alive today. (Comedians W. Kamau Bell and Kevin Avery host a podcast called \u003cem>Denzel Washington Is The Greatest Actor Of All Time Period\u003c/em>, and it’s hard to argue.) In his baggy work pants and cap, with that devilish grin on his face challenging anyone who dares step to him, Washington’s Troy is a masterful construct of self-delusion, a man who can wrench sympathy from his stories even once we learn they’re not true. Opposite him, Davis demonstrates once again why she is such an essential artist, never wasting even a single moment of detail. She’s always juggling some kitchen prop or another, and builds more heartbreak for how matter-of-fact Rose’s predicament seems. She can unleash a moment of righteous indignation at a husband who’s taken her for granted several times too many — and still be bound to keep putting dinner on the table.\u003c/p>\n\u003cp>The supporting cast is uniformly excellent, as well. Jovan Adepo is tremendous as Troy’s younger son Cory, a football star who wants to play in college but must fight his father’s veiled efforts to hog the family sports glory for himself; when the two go toe-to-toe, with the father snarling that there’s no law on the books demanding he must like his son, it’s a Biblical standoff. Russell Hornsby, as Troy’s older son, and Stephen Henderson, as his best friend, have quieter roles but remind us that, in plays, there are no wasted parts — everyone who will eventually shine does better when they’ve spent their non-shiny moments fitting naturally into the environment. Fitting less naturally is Mykelti Williamson as Troy’s too-aptly-named brother Gabriel, who suffered a head injury in WWII and is now convinced he fights off the devil with his trumpet and “chases hellhounds” down the street. Gabriel is the one weak link in Wilson’s vision, a too-writerly expression of God’s tenuous presence in this world.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Fences\u003c/em> is moviemaking as public service, like PBS’s Masterpiece Theater: an accessible adaptation of a necessary literary work that few will ever have the opportunity to see onstage. Washington keeps us entrenched in the claustrophobic house and declines to gussy things up with the cinematic flourishes we might expect. It’s a choice that will make serious film types fidgety, but the workmanlike approach is the best way to channel the simple power of the language itself, its repetitions and folksy rhythms, and the force of the message contained within. As such, it’s the approach Wilson was holding out for. They say in the film that fences can keep people out or keep people in, but for an adaptation like this, it’s best to have no fences at all. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>All his life, playwright August Wilson resisted any efforts to mount a screen adaptation of \u003cem>Fences\u003c/em>, his Pulitzer Prize-winning 1987 work, because he insisted it could only be helmed by a black director. Looking at the dynamics in the play, Wilson’s need to see a filmmaker understand them as he did was understandable. \u003cem>Fences\u003c/em> gives us a working-class black family in the 1950s, with particular focus on a father whose own rough go at life informs but doesn’t fully excuse his behavior in his own household. For it to work onscreen, a director needs to see this character as fully formed, not merely a product of his environment or a vehicle for sermonizing. We must see him as a man who bleeds, heavily, and often from self-inflicted wounds.\u003c/p>\n\u003cp>Eleven years after his 2005 death, Wilson finally gets his wish in perhaps the most widely acclaimed black actor of a generation. Denzel Washington is behind the chair, his third go-around as a director after \u003cem>Antwone Fisher\u003c/em> and \u003cem>The Great Debaters\u003c/em>. His approach is that of devoted student trying to learn from a long-gone mentor. Every choice he makes as a director here is designed to underline, rather than complement, the script, which is so faithful it bears only Wilson’s name.\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/spCxVd9ctFs'\n title='//www.youtube.com/embed/spCxVd9ctFs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>As he did onstage in the recent Broadway revival, Washington embodies the lead role of Troy, a former baseball player in the Negro League, now working as a garbage collector in Pittsburgh. (The character was originally portrayed on Broadway by James Earl Jones.) Troy and his dreams have had a hard time: after outrunning an abusive childhood and a troublemaking past for a shot at athletic glory, he aged out of his prime before Major League Baseball could integrate. Over the years, this has burrowed under Troy’s skin to the point where he becomes infuriated when someone suggests he was simply born at the wrong time: “There ought not never have been no time called too early!” he thunders, a passionate outburst that paints a life defined by prejudice and bad breaks. In that line we understand the central tragedy of Wilson’s play with remarkable clarity: the sense that a rising tide is leaving you behind, and the ways such a realization can undo even the sturdiest among us, even the ones who have wrestled with Death.\u003c/p>\n\u003cp>But the beauty of the play (and the film) lies not in its lessons but in the moral complexities of its characters, all of whom make compromises with each other and within themselves just to get through the days. Troy is emotionally manipulative to his two sons, channeling the pains of his workaday life to sour their dreams of escaping the same, and he confers upon himself the right to lie to his wife Rose (Viola Davis), who knows, deep down, that her onetime reasons for marrying this man are falling by the wayside. Over the course of a few months in their house, mostly in the backyard that is Troy’s domain and the kitchen that is Rose’s, we see some of these resentments from the past come to a head, be they through the man’s unfulfilled promises to erect a fence on the perimeter of their property or a far more insidious broken trust.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Washington has a charisma that leaves lesser performers quaking at his feet, and he’s justly celebrated as one of the few Capital-A Actors alive today. (Comedians W. Kamau Bell and Kevin Avery host a podcast called \u003cem>Denzel Washington Is The Greatest Actor Of All Time Period\u003c/em>, and it’s hard to argue.) In his baggy work pants and cap, with that devilish grin on his face challenging anyone who dares step to him, Washington’s Troy is a masterful construct of self-delusion, a man who can wrench sympathy from his stories even once we learn they’re not true. Opposite him, Davis demonstrates once again why she is such an essential artist, never wasting even a single moment of detail. She’s always juggling some kitchen prop or another, and builds more heartbreak for how matter-of-fact Rose’s predicament seems. She can unleash a moment of righteous indignation at a husband who’s taken her for granted several times too many — and still be bound to keep putting dinner on the table.\u003c/p>\n\u003cp>The supporting cast is uniformly excellent, as well. Jovan Adepo is tremendous as Troy’s younger son Cory, a football star who wants to play in college but must fight his father’s veiled efforts to hog the family sports glory for himself; when the two go toe-to-toe, with the father snarling that there’s no law on the books demanding he must like his son, it’s a Biblical standoff. Russell Hornsby, as Troy’s older son, and Stephen Henderson, as his best friend, have quieter roles but remind us that, in plays, there are no wasted parts — everyone who will eventually shine does better when they’ve spent their non-shiny moments fitting naturally into the environment. Fitting less naturally is Mykelti Williamson as Troy’s too-aptly-named brother Gabriel, who suffered a head injury in WWII and is now convinced he fights off the devil with his trumpet and “chases hellhounds” down the street. Gabriel is the one weak link in Wilson’s vision, a too-writerly expression of God’s tenuous presence in this world.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Fences\u003c/em> is moviemaking as public service, like PBS’s Masterpiece Theater: an accessible adaptation of a necessary literary work that few will ever have the opportunity to see onstage. Washington keeps us entrenched in the claustrophobic house and declines to gussy things up with the cinematic flourishes we might expect. It’s a choice that will make serious film types fidgety, but the workmanlike approach is the best way to channel the simple power of the language itself, its repetitions and folksy rhythms, and the force of the message contained within. As such, it’s the approach Wilson was holding out for. They say in the film that fences can keep people out or keep people in, but for an adaptation like this, it’s best to have no fences at all. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "When Private Grief Meets Public Duty: The Intimate, Hypnotic 'Jackie'",
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"content": "\u003cp>The audacious biopic \u003cem>Jackie\u003c/em> opens on the Kennedy Compound in Hyannis Port, Massachusetts in 1963, merely a week after John F. Kennedy was assassinated in Dallas. Though she welcomes a journalist into one of the Kennedy residences along Cape Cod, the now-former First Lady, Jacqueline Bouvier Kennedy, has no permanent home. History has shredded her lease at The White House, which she had controversially renovated during her husband’s time in office, and her belongings had been hastily shuffled to storage, like a college kid taking a break between semesters. “It’s been just one week and already they’re treating him like some dusty old artifact, to be shelved away,” Jackie laments. She understands the country needs to move forward, but she barely had time to pack, much less grieve, before getting whisked away.\u003c/p>\n\u003cp>During the recent Presidential campaign, Hillary Clinton was assailed for a speech to Wall Street in which she expressed the need to have “public and private positions,” referring to Steven Spielberg’s \u003cem>Lincoln\u003c/em> and the political horse-trading necessary to pass the 13th Amendment. \u003cem>Jackie\u003c/em> is about the heartbreaking necessity of having to reconcile private shock and anguish with the stage-management of political theater, which requires a swift and peaceful transfer of power. It honors the unfathomable courage and defiance of a First Lady devoted to public service, even in those instances when she was decried as vain and superficial. The film asserts that her husband wasn’t the only one sacrificed for his country on November 22, 1963.\u003c/p>\n\u003cp>https://youtu.be/g9pW3B8Ycc4\u003c/p>\n\u003cp>Shot in rigorous, semi-experimental close-up, \u003cem>Jackie\u003c/em> frames a national tragedy through an intimate perspective, relying on Natalie Portman’s expressive face to tell much of the story. Director Pablo Larraín, a Chilean director making his English-language debut, carries a fascination with politics and media into a film that examines Jackie’s legacy through different filters. The framing device has Jackie getting interviewed by a reporter (Billy Crudup) in Hyannis Port, often pointedly questioning his questions and battling for control over her own story. It also intersperses footage of Jackie filming the hour-long TV special \u003cem>A Tour of the White House\u003c/em>, which granted CBS viewers a chance to see the work she’d done to enhance “the People’s House.”\u003c/p>\n\u003cp>The bulk of \u003cem>Jackie\u003c/em>, however, is given over to the events of Nov. 22, 1963, when Jackie found herself at the center of a personal and national tragedy. With breathtaking speed, she goes from cradling her dead husband’s head in her lap to witnessing Lyndon Johnson’s swearing-in on Air Force One, all while wearing a pink Chanel dress still caked with blood. In the first of many assertions of will, she refuses to change her outfit because she wants to shame the extremists who threatened her husband during his tour through Texas. Operating from both a strong sense of history and a refusal to succumb to fear, she argues for a large, open funeral procession down the streets of Washington D.C., modeled after Abraham Lincoln after he was assassinated. At the same time, she has to consider her children, who are too young to comprehend the news fully, and her own thorny emotions about a husband who’d grown distant from her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There’s a mesmeric intensity to \u003cem>Jackie\u003c/em> that’s unlike any biopic of its kind, marked by a deliberate effort to narrow the scope to one woman’s actions and reactions over the course of a few fraught days. Much like her extraordinary score for the science fiction film \u003cem>Under The Skin\u003c/em>, composer Mica Levi sets a tone for \u003cem>Jackie\u003c/em> that’s simultaneously discordant and beautiful, with lilting strings punctuated by sharp, ringing woodwinds. There’s an enveloping somberness to the music that complements Portman’s performance, which in quieter moments suggests Jackie as a ghostly figure who’s haunting the wreckage of her own life. “I used to make [men] smile,” she tells the journalist. Now she makes everyone uncomfortable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than merely offering a backstage pass to history, Larraín draws us into the utter uniqueness of a situation where personal loss and national duty collided so violently. No reasonable person could be expected to absorb a tragedy of that magnitude, but Jackie makes shrewd political decisions and stands firmly behind them when others plea for caution. Shock and lucidity would seem to be contradictory responses, but \u003cem>Jackie\u003c/em> makes that duality seem possible and astonishingly heroic. Her abiding sense of patriotism could not be suppressed by an assassin’s bullet.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The audacious biopic \u003cem>Jackie\u003c/em> opens on the Kennedy Compound in Hyannis Port, Massachusetts in 1963, merely a week after John F. Kennedy was assassinated in Dallas. Though she welcomes a journalist into one of the Kennedy residences along Cape Cod, the now-former First Lady, Jacqueline Bouvier Kennedy, has no permanent home. History has shredded her lease at The White House, which she had controversially renovated during her husband’s time in office, and her belongings had been hastily shuffled to storage, like a college kid taking a break between semesters. “It’s been just one week and already they’re treating him like some dusty old artifact, to be shelved away,” Jackie laments. She understands the country needs to move forward, but she barely had time to pack, much less grieve, before getting whisked away.\u003c/p>\n\u003cp>During the recent Presidential campaign, Hillary Clinton was assailed for a speech to Wall Street in which she expressed the need to have “public and private positions,” referring to Steven Spielberg’s \u003cem>Lincoln\u003c/em> and the political horse-trading necessary to pass the 13th Amendment. \u003cem>Jackie\u003c/em> is about the heartbreaking necessity of having to reconcile private shock and anguish with the stage-management of political theater, which requires a swift and peaceful transfer of power. It honors the unfathomable courage and defiance of a First Lady devoted to public service, even in those instances when she was decried as vain and superficial. The film asserts that her husband wasn’t the only one sacrificed for his country on November 22, 1963.\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/g9pW3B8Ycc4'\n title='//www.youtube.com/embed/g9pW3B8Ycc4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Shot in rigorous, semi-experimental close-up, \u003cem>Jackie\u003c/em> frames a national tragedy through an intimate perspective, relying on Natalie Portman’s expressive face to tell much of the story. Director Pablo Larraín, a Chilean director making his English-language debut, carries a fascination with politics and media into a film that examines Jackie’s legacy through different filters. The framing device has Jackie getting interviewed by a reporter (Billy Crudup) in Hyannis Port, often pointedly questioning his questions and battling for control over her own story. It also intersperses footage of Jackie filming the hour-long TV special \u003cem>A Tour of the White House\u003c/em>, which granted CBS viewers a chance to see the work she’d done to enhance “the People’s House.”\u003c/p>\n\u003cp>The bulk of \u003cem>Jackie\u003c/em>, however, is given over to the events of Nov. 22, 1963, when Jackie found herself at the center of a personal and national tragedy. With breathtaking speed, she goes from cradling her dead husband’s head in her lap to witnessing Lyndon Johnson’s swearing-in on Air Force One, all while wearing a pink Chanel dress still caked with blood. In the first of many assertions of will, she refuses to change her outfit because she wants to shame the extremists who threatened her husband during his tour through Texas. Operating from both a strong sense of history and a refusal to succumb to fear, she argues for a large, open funeral procession down the streets of Washington D.C., modeled after Abraham Lincoln after he was assassinated. At the same time, she has to consider her children, who are too young to comprehend the news fully, and her own thorny emotions about a husband who’d grown distant from her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There’s a mesmeric intensity to \u003cem>Jackie\u003c/em> that’s unlike any biopic of its kind, marked by a deliberate effort to narrow the scope to one woman’s actions and reactions over the course of a few fraught days. Much like her extraordinary score for the science fiction film \u003cem>Under The Skin\u003c/em>, composer Mica Levi sets a tone for \u003cem>Jackie\u003c/em> that’s simultaneously discordant and beautiful, with lilting strings punctuated by sharp, ringing woodwinds. There’s an enveloping somberness to the music that complements Portman’s performance, which in quieter moments suggests Jackie as a ghostly figure who’s haunting the wreckage of her own life. “I used to make [men] smile,” she tells the journalist. Now she makes everyone uncomfortable.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>More than merely offering a backstage pass to history, Larraín draws us into the utter uniqueness of a situation where personal loss and national duty collided so violently. No reasonable person could be expected to absorb a tragedy of that magnitude, but Jackie makes shrewd political decisions and stands firmly behind them when others plea for caution. Shock and lucidity would seem to be contradictory responses, but \u003cem>Jackie\u003c/em> makes that duality seem possible and astonishingly heroic. Her abiding sense of patriotism could not be suppressed by an assassin’s bullet.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>When you walk into the Smithsonian’s “\u003ca href=\"http://www.asia.si.edu/exhibitions/current/art-of-the-quran/default.php\" target=\"_blank\" rel=\"noopener\">Art of the Qur’an\u003c/a>” exhibition, you’re met with a book that weighs 150 pounds. The tome, which dates back to the late-1500s, has giant pages that are covered in gold and black Arabic script.\u003c/p>\n\u003cp>“Somebody spent a lot of time, probably years, to complete this manuscript,” says curator Massumeh Farhad. “… The size tells you a great deal about it. I mean, clearly this was not a manuscript that could have been taken out every day for private reading. This was a manuscript that was intended for public display.”\u003c/p>\n\u003cp>That manuscript is among more than 50 centuries-old Qurans on display at the Arthur M. Sackler Gallery in Washington, D.C. The exhibition isn’t about the words of the Quran so much as the people who laboriously copied the book, letter by letter. Some of their names are listed (one manuscript was written by a vizier, or prime minister, of the Ottoman Empire), but most of the creators are unknown.\u003c/p>\n\u003cfigure id=\"attachment_12429393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-800x538.jpg\" alt=\"(Top row left) Artists used burnishers, gum arabic, lapis lazuli and gold leaf for calligraphy and designs. (Right) Artists also covered silk panels with religious invocations, names of God and testaments of faith. (Bottom row left) A 150-pound Quran from 16th century Iran is full of rich details. (Right) Gallery visitor Macks Stacie Corpuz Lazo looks through Quran pages with a magnifying glass.\" width=\"800\" height=\"538\" class=\"size-medium wp-image-12429393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1920x1292.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1180x794.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-960x646.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top row left) Artists used burnishers, gum arabic, lapis lazuli and gold leaf for calligraphy and designs. (Right) Artists also covered silk panels with religious invocations, names of God and testaments of faith. (Bottom row left) A 150-pound Quran from 16th century Iran is full of rich details. (Right) Gallery visitor Macks Stacie Corpuz Lazo looks through Quran pages with a magnifying glass. \u003ccite>(Photo: Raquel Zaldivar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Either way, each of the pages is one of a kind, and Farhad has flipped through all of them. She says it was a meditative experience: “You notice things that, you know, nobody else had noticed. For instance, human fallibility — because God is infallible but humans aren’t. So there are instances where the calligrapher omitted a verse, but then they always found a way around it. … They put a little asterisk where the verse actually fits in.”\u003c/p>\n\u003cp>In one Quran, that asterisk looks like an eyelash; it directs the reader to look for the missing verse on the edge of the page. In another, the writer corrected a wrong word by covering it with gold. “It’s the gold white out,” Farhad says.\u003c/p>\n\u003cfigure id=\"attachment_12429384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-800x541.jpg\" alt='she flipped through all of the books on display. \"Every page is absolutely breathtaking,\" she says.' width=\"800\" height=\"541\" class=\"size-medium wp-image-12429384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1920x1299.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-520x352.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">she flipped through all of the books on display. “Every page is absolutely breathtaking,” she says. \u003ccite>(Photo: Raquel Zaldivar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Quran copies are like little peepholes, allowing us to peer back into the lives of people we never knew. When Farhad flips through the books, she says she’s really flipping through the past. “And every page is absolutely breathtaking.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Quran+Exhibition+Shines+A+Light+On+The+Holy+Books%27+Dedicated+Artists&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The Smithsonian show isn't about the words of the Quran so much as the people who laboriously copied it, letter by letter. When they made a mistake, they fixed it with flourish — and sometimes gold.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When you walk into the Smithsonian’s “\u003ca href=\"http://www.asia.si.edu/exhibitions/current/art-of-the-quran/default.php\" target=\"_blank\" rel=\"noopener\">Art of the Qur’an\u003c/a>” exhibition, you’re met with a book that weighs 150 pounds. The tome, which dates back to the late-1500s, has giant pages that are covered in gold and black Arabic script.\u003c/p>\n\u003cp>“Somebody spent a lot of time, probably years, to complete this manuscript,” says curator Massumeh Farhad. “… The size tells you a great deal about it. I mean, clearly this was not a manuscript that could have been taken out every day for private reading. This was a manuscript that was intended for public display.”\u003c/p>\n\u003cp>That manuscript is among more than 50 centuries-old Qurans on display at the Arthur M. Sackler Gallery in Washington, D.C. The exhibition isn’t about the words of the Quran so much as the people who laboriously copied the book, letter by letter. Some of their names are listed (one manuscript was written by a vizier, or prime minister, of the Ottoman Empire), but most of the creators are unknown.\u003c/p>\n\u003cfigure id=\"attachment_12429393\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-800x538.jpg\" alt=\"(Top row left) Artists used burnishers, gum arabic, lapis lazuli and gold leaf for calligraphy and designs. (Right) Artists also covered silk panels with religious invocations, names of God and testaments of faith. (Bottom row left) A 150-pound Quran from 16th century Iran is full of rich details. (Right) Gallery visitor Macks Stacie Corpuz Lazo looks through Quran pages with a magnifying glass.\" width=\"800\" height=\"538\" class=\"size-medium wp-image-12429393\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-800x538.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-768x517.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1020x686.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1920x1292.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-1180x794.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-960x646.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-240x161.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-375x252.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1-520x350.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/square-composite-quran_custom-1757ffcea5efd41efb15a780dfb81405349883c2-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">(Top row left) Artists used burnishers, gum arabic, lapis lazuli and gold leaf for calligraphy and designs. (Right) Artists also covered silk panels with religious invocations, names of God and testaments of faith. (Bottom row left) A 150-pound Quran from 16th century Iran is full of rich details. (Right) Gallery visitor Macks Stacie Corpuz Lazo looks through Quran pages with a magnifying glass. \u003ccite>(Photo: Raquel Zaldivar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Either way, each of the pages is one of a kind, and Farhad has flipped through all of them. She says it was a meditative experience: “You notice things that, you know, nobody else had noticed. For instance, human fallibility — because God is infallible but humans aren’t. So there are instances where the calligrapher omitted a verse, but then they always found a way around it. … They put a little asterisk where the verse actually fits in.”\u003c/p>\n\u003cp>In one Quran, that asterisk looks like an eyelash; it directs the reader to look for the missing verse on the edge of the page. In another, the writer corrected a wrong word by covering it with gold. “It’s the gold white out,” Farhad says.\u003c/p>\n\u003cfigure id=\"attachment_12429384\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-800x541.jpg\" alt='she flipped through all of the books on display. \"Every page is absolutely breathtaking,\" she says.' width=\"800\" height=\"541\" class=\"size-medium wp-image-12429384\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1020x690.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1920x1299.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-1180x798.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-375x254.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1-520x352.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/12/2016-11-07_sackler-quran-exhibit_8104_custom-c555032725bb0e5465d4d241f682842d4a3e1a70-1.jpg 2048w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">she flipped through all of the books on display. “Every page is absolutely breathtaking,” she says. \u003ccite>(Photo: Raquel Zaldivar/NPR)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The Quran copies are like little peepholes, allowing us to peer back into the lives of people we never knew. When Farhad flips through the books, she says she’s really flipping through the past. “And every page is absolutely breathtaking.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Quran+Exhibition+Shines+A+Light+On+The+Holy+Books%27+Dedicated+Artists&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Perspective is everything in horror films. The most important decision any scare flick can make is whether it expects the audience to identify with the villain or their victims. To see through the eyes of the prey (as in \u003cem>Rosemary’s Baby\u003c/em>, or this year’s excellent \u003cem>Under the Shadow\u003c/em>) requires only that the director make their situation realistically terrifying, so that we imagine we are frightened for our lives, too.\u003c/p>\n\u003cp>But to assume the eyes of the predator (think of the \u003cem>Dracula\u003c/em> movies, or 2013’s body snatcher \u003cem>Under the Skin\u003c/em>) requires a new set of tools, because the viewpoint challenges us to sympathize with the devil — and to question our own moral compasses in the process. This is a surgical kind of filmmaking that is often unpleasant: giving us eyes we’d rather not have, because we shudder to think what we’ll see through them.\u003c/p>\n\u003cp>The exquisite new horror film \u003cem>The Eyes of My Mother\u003c/em>, from first-time writer-director Nicolas Pesce, is all about showing you what you’d rather not see. This is true on a visceral level, with implied or explicit imagery of human organs being carved out of still-living bodies like meat before slaughter. (Yes, the squeamish should definitely look away while they still can.) But it’s also true on a psychological level, as the film tracks one young woman’s evolution from innocent bystander to a horrific crime into the perpetrator of like-minded ones. Perhaps the depravity has always existed within her, but that’s for her to know and us to grapple with.\u003c/p>\n\u003cp>At a sleek ‘n’ bleak 76 minutes, divided into three chapters, there’s precious little time to waste. We first meet Francisca, the daughter of an American farmer and a Portuguese doctor, as a young girl (Olivia Bond) playing around her remote family farmhouse. (Although the story is set in the modern day, this house is a relic of a distant era, with 50-year-old appliances and floral-patterned wallpaper.) Francisca’s doctor mother (Diana Agostini) is teaching her about the human eye by carving up a cow’s, and holds up each part for her to inspect. “Everything we see passes through this,” she explains.\u003c/p>\n\u003cp>From this compassionate killing comes a decidedly uncompassionate one, as a sinister stranger (Will Brill) coolly walks into the family home and murders Mommy Dearest. When Francisca’s nearly-mute father (Paul Nazak) discovers the crime, he betrays no emotion but ties the man up in their barn, allowing the young girl — who seems to never leave the family stead — to lovingly bond with the captive even as she gets out a knife and practices what her mother taught her. (All of this happens without much explanation; dialogue in the film is sparse, and the little there is may make you wish for even less.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>As an adult, Francisca continues to glide through her farmhouse with the same childlike reserve and terror. She’s played by the brilliant newcomer Kika Malgalhaes, whose glassy-eyed nonchalance to her own actions is more unnerving than the actions themselves. Alone once her father dies, Francisca keeps the stiffening body in the house, continuing to dress and bathe him as she sets three places at dinnertime. And she’s still got her detainee, whom she cradles like an infant as she feeds him in the barn.\u003c/p>\n\u003cp>Francisca’s actions become increasingly brutal as time goes on; soon she finds less deserving victims, and continues her obsession with peepers. But the film, which is shot in black-and-white, has a merciful way of establishing the details without relishing them. Cinematographer Zach Kuperstein’s camera favors the shadows of the barn to the bodies themselves. Often the really nasty stuff happens in the background or in-between cuts, leaving us with mere hints of the aftermath.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At every step there’s a kind of elegance to the way this character remains grounded by a nightmare logic of family psychology, a quilted patchwork of motivations only she understands. It’s a one-upping of the kind of monster-without-motive depiction that came into vogue in the days of \u003cem>Halloween\u003c/em>‘s Michael Myers and never really left. Creating nastiness for its own sake on the horror circuit these days is no longer innovative, but instead comes off as the calling card of the lazy gorehound. \u003cem>The Eyes of My Mother\u003c/em> is the rare entry to give depth to its destructive force, to force those new eyes onto us and make us truly believe the terror of what we see. \u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perspective is everything in horror films. The most important decision any scare flick can make is whether it expects the audience to identify with the villain or their victims. To see through the eyes of the prey (as in \u003cem>Rosemary’s Baby\u003c/em>, or this year’s excellent \u003cem>Under the Shadow\u003c/em>) requires only that the director make their situation realistically terrifying, so that we imagine we are frightened for our lives, too.\u003c/p>\n\u003cp>But to assume the eyes of the predator (think of the \u003cem>Dracula\u003c/em> movies, or 2013’s body snatcher \u003cem>Under the Skin\u003c/em>) requires a new set of tools, because the viewpoint challenges us to sympathize with the devil — and to question our own moral compasses in the process. This is a surgical kind of filmmaking that is often unpleasant: giving us eyes we’d rather not have, because we shudder to think what we’ll see through them.\u003c/p>\n\u003cp>The exquisite new horror film \u003cem>The Eyes of My Mother\u003c/em>, from first-time writer-director Nicolas Pesce, is all about showing you what you’d rather not see. This is true on a visceral level, with implied or explicit imagery of human organs being carved out of still-living bodies like meat before slaughter. (Yes, the squeamish should definitely look away while they still can.) But it’s also true on a psychological level, as the film tracks one young woman’s evolution from innocent bystander to a horrific crime into the perpetrator of like-minded ones. Perhaps the depravity has always existed within her, but that’s for her to know and us to grapple with.\u003c/p>\n\u003cp>At a sleek ‘n’ bleak 76 minutes, divided into three chapters, there’s precious little time to waste. We first meet Francisca, the daughter of an American farmer and a Portuguese doctor, as a young girl (Olivia Bond) playing around her remote family farmhouse. (Although the story is set in the modern day, this house is a relic of a distant era, with 50-year-old appliances and floral-patterned wallpaper.) Francisca’s doctor mother (Diana Agostini) is teaching her about the human eye by carving up a cow’s, and holds up each part for her to inspect. “Everything we see passes through this,” she explains.\u003c/p>\n\u003cp>From this compassionate killing comes a decidedly uncompassionate one, as a sinister stranger (Will Brill) coolly walks into the family home and murders Mommy Dearest. When Francisca’s nearly-mute father (Paul Nazak) discovers the crime, he betrays no emotion but ties the man up in their barn, allowing the young girl — who seems to never leave the family stead — to lovingly bond with the captive even as she gets out a knife and practices what her mother taught her. (All of this happens without much explanation; dialogue in the film is sparse, and the little there is may make you wish for even less.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As an adult, Francisca continues to glide through her farmhouse with the same childlike reserve and terror. She’s played by the brilliant newcomer Kika Malgalhaes, whose glassy-eyed nonchalance to her own actions is more unnerving than the actions themselves. Alone once her father dies, Francisca keeps the stiffening body in the house, continuing to dress and bathe him as she sets three places at dinnertime. And she’s still got her detainee, whom she cradles like an infant as she feeds him in the barn.\u003c/p>\n\u003cp>Francisca’s actions become increasingly brutal as time goes on; soon she finds less deserving victims, and continues her obsession with peepers. But the film, which is shot in black-and-white, has a merciful way of establishing the details without relishing them. Cinematographer Zach Kuperstein’s camera favors the shadows of the barn to the bodies themselves. Often the really nasty stuff happens in the background or in-between cuts, leaving us with mere hints of the aftermath.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>At every step there’s a kind of elegance to the way this character remains grounded by a nightmare logic of family psychology, a quilted patchwork of motivations only she understands. It’s a one-upping of the kind of monster-without-motive depiction that came into vogue in the days of \u003cem>Halloween\u003c/em>‘s Michael Myers and never really left. Creating nastiness for its own sake on the horror circuit these days is no longer innovative, but instead comes off as the calling card of the lazy gorehound. \u003cem>The Eyes of My Mother\u003c/em> is the rare entry to give depth to its destructive force, to force those new eyes onto us and make us truly believe the terror of what we see. \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "William Christenberry, Artist Whose Muse was Rural Alabama, Dies at 80",
"headTitle": "William Christenberry, Artist Whose Muse was Rural Alabama, Dies at 80 | KQED",
"content": "\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/503856796/503870843\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>It was in 1974 that William Christenberry found the little red house.\u003c/p>\n\u003cp>The photographer and painter, a vital chronicler of rural Alabama, came across the building standing alone among the pine trees, deep in the Talladega National Forest. All he had with him was his tiny, no-frills Brownie camera — a long-cherished gift that “Santa brought my sister and me.”\u003c/p>\n\u003cfigure id=\"attachment_12418599\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3.jpg\" alt=\"William Christenberry, Red Building in Forest, Hale County, Alabama, 1996.\" width=\"500\" height=\"375\" class=\"size-full wp-image-12418599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Red Building in Forest, Hale County, Alabama, 1996. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was just infatuated with it proportionally,” Christenberry said during a \u003ca href=\"http://www.npr.org/2006/08/03/5613101/christenberry-photos-capture-the-changing-south\" target=\"_blank\" rel=\"noopener\">2006 interview\u003c/a> with \u003cem>All Things Considered\u003c/em>. “The fact that they took this artificial brick siding, which you can buy in rolls and staple or tack it up there, and somebody who must’ve had a great sense of humor, or was totally ignorant of what he or she was doing, covered the front door and made it look like a brick door!”\u003c/p>\n\u003cp>Christenberry died Monday at the age of 80, from complications related to Alzheimer’s disease, according to his daughter Kate. And among the many pillars of his legacy\u003cstrong> \u003c/strong>is the odd, little house that so fascinated him.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Though he had moved to Washington, D.C., in 1968 to take up a position at the Corcoran College of Art and Design, Christenberry returned every year to rural Alabama, where he had spent his summers as a child. It was a pilgrimage he made for decades. There, he photographed the house — which he later learned was once a one-room schoolhouse — along with small churches and roadside businesses, as they changed with age.\u003c/p>\n\u003cfigure id=\"attachment_12418601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-800x566.jpg\" alt=\"William Christenberry, Church, Sprott, Alabama, 1981.\" width=\"800\" height=\"566\" class=\"size-medium wp-image-12418601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-960x679.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-520x368.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b.jpg 1798w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Church, Sprott, Alabama, 1981. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’d go into that landscape, what I call the landscape of my childhood, and make these snapshots,” he told NPR. “Never did I dream that years later the world of fine art photography would see something in these.”\u003c/p>\n\u003cp>And the world of fine art did indeed take notice.\u003c/p>\n\u003cp>“What was really spectacular about [his work] is that he made that subject matter universal,” Margaret Lynne Ausfeld, senior curator of art at the Montgomery Museum of Fine Arts, told \u003ca href=\"http://www.tuscaloosanews.com/news/20161129/renowned-artist-from-tuscaloosa-dies\" target=\"_blank\" rel=\"noopener\">Tuscaloosa News\u003c/a>. “When you look at his work, what you see is basically the transitory nature of our life and our world and how things are inevitably going to change over time.”\u003c/p>\n\u003cp>Christenberry, who also worked in abstract painting and sculpture, forged an enduring friendship early in his career with another photographer, Walker Evans. Evans’ \u003cem>Let Us Now Praise Famous Men\u003c/em>, a book of photographs that recorded a trip he took with poet James Agee to Hale County, Ala., in 1936 — the year of Christenberry’s birth. After the two photographers met in the early 1960s, Walker’s work and advice helped shape Christenberry’s development.\u003c/p>\n\u003cfigure id=\"attachment_12418602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-800x600.jpg\" alt=\"William Christenberry, Building with False Brick Siding, Warsaw, Alabama, 1991.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12418602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Building with False Brick Siding, Warsaw, Alabama, 1991. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Walker was a great influence. We exchanged ideas until his death, and I like to think there was a lot of cross-influencing,” Christenberry told \u003cem>Afterimage\u003c/em> magazine in 2005.\u003c/p>\n\u003cp>Yet, despite the fact they shared a subject at times, Christenberry said his relationship to Alabama was always different.\u003c/p>\n\u003cp>“His view was objective. My stance is very subjective,” he told the magazine. “The place is so much a part of me. I can’t escape it and have no desire to escape it. I continue to come to grips with it.”\u003c/p>\n\u003cp>And even as he won fellowships from the National Endowment for the Arts and the Guggenheim Memorial Foundation, Christenberry said the long-beating heart of his art remained the same.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t want my work to be thought of as maudlin or overly sentimental. It’s not. It’s a love affair — a lifetime of involvement with a place. The place is my muse.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=William+Christenberry%2C+Artist+Whose+Muse+Was+Rural+Alabama%2C+Dies+At+80&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ciframe loading=\"lazy\" src=\"https://www.npr.org/player/embed/503856796/503870843\" width=\"100%\" height=\"290\" frameborder=\"0\" scrolling=\"no\" title=\"NPR embedded audio player\">\u003c/iframe>\u003c/p>\n\u003cp>It was in 1974 that William Christenberry found the little red house.\u003c/p>\n\u003cp>The photographer and painter, a vital chronicler of rural Alabama, came across the building standing alone among the pine trees, deep in the Talladega National Forest. All he had with him was his tiny, no-frills Brownie camera — a long-cherished gift that “Santa brought my sister and me.”\u003c/p>\n\u003cfigure id=\"attachment_12418599\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3.jpg\" alt=\"William Christenberry, Red Building in Forest, Hale County, Alabama, 1996.\" width=\"500\" height=\"375\" class=\"size-full wp-image-12418599\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/red-house-1996-efc9de5a795684146ca093a7f7b9877dcd473fa3-375x281.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Red Building in Forest, Hale County, Alabama, 1996. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was just infatuated with it proportionally,” Christenberry said during a \u003ca href=\"http://www.npr.org/2006/08/03/5613101/christenberry-photos-capture-the-changing-south\" target=\"_blank\" rel=\"noopener\">2006 interview\u003c/a> with \u003cem>All Things Considered\u003c/em>. “The fact that they took this artificial brick siding, which you can buy in rolls and staple or tack it up there, and somebody who must’ve had a great sense of humor, or was totally ignorant of what he or she was doing, covered the front door and made it look like a brick door!”\u003c/p>\n\u003cp>Christenberry died Monday at the age of 80, from complications related to Alzheimer’s disease, according to his daughter Kate. And among the many pillars of his legacy\u003cstrong> \u003c/strong>is the odd, little house that so fascinated him.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Though he had moved to Washington, D.C., in 1968 to take up a position at the Corcoran College of Art and Design, Christenberry returned every year to rural Alabama, where he had spent his summers as a child. It was a pilgrimage he made for decades. There, he photographed the house — which he later learned was once a one-room schoolhouse — along with small churches and roadside businesses, as they changed with age.\u003c/p>\n\u003cfigure id=\"attachment_12418601\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-800x566.jpg\" alt=\"William Christenberry, Church, Sprott, Alabama, 1981.\" width=\"800\" height=\"566\" class=\"size-medium wp-image-12418601\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-800x566.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-768x543.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-1020x722.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-1180x835.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-960x679.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-240x170.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-375x265.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b-520x368.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/3_christenberry_church_sprottalabama_19811_custom-16a9c9d64048da1c1e0d26fa0a679d693951cc6b.jpg 1798w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Church, Sprott, Alabama, 1981. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.))\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I’d go into that landscape, what I call the landscape of my childhood, and make these snapshots,” he told NPR. “Never did I dream that years later the world of fine art photography would see something in these.”\u003c/p>\n\u003cp>And the world of fine art did indeed take notice.\u003c/p>\n\u003cp>“What was really spectacular about [his work] is that he made that subject matter universal,” Margaret Lynne Ausfeld, senior curator of art at the Montgomery Museum of Fine Arts, told \u003ca href=\"http://www.tuscaloosanews.com/news/20161129/renowned-artist-from-tuscaloosa-dies\" target=\"_blank\" rel=\"noopener\">Tuscaloosa News\u003c/a>. “When you look at his work, what you see is basically the transitory nature of our life and our world and how things are inevitably going to change over time.”\u003c/p>\n\u003cp>Christenberry, who also worked in abstract painting and sculpture, forged an enduring friendship early in his career with another photographer, Walker Evans. Evans’ \u003cem>Let Us Now Praise Famous Men\u003c/em>, a book of photographs that recorded a trip he took with poet James Agee to Hale County, Ala., in 1936 — the year of Christenberry’s birth. After the two photographers met in the early 1960s, Walker’s work and advice helped shape Christenberry’s development.\u003c/p>\n\u003cfigure id=\"attachment_12418602\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-800x600.jpg\" alt=\"William Christenberry, Building with False Brick Siding, Warsaw, Alabama, 1991.\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12418602\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649-520x390.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/1_christenberry_buildingwithfalsebricksiding_warsawalabama_1991-8913f09d29b3cfb3c8339c621b8f29db416a2649.jpg 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">William Christenberry, Building with False Brick Siding, Warsaw, Alabama, 1991. \u003ccite>(Photo: William Christenberry/Courtesy Hemphill Fine Arts, Washington, D.C.)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“Walker was a great influence. We exchanged ideas until his death, and I like to think there was a lot of cross-influencing,” Christenberry told \u003cem>Afterimage\u003c/em> magazine in 2005.\u003c/p>\n\u003cp>Yet, despite the fact they shared a subject at times, Christenberry said his relationship to Alabama was always different.\u003c/p>\n\u003cp>“His view was objective. My stance is very subjective,” he told the magazine. “The place is so much a part of me. I can’t escape it and have no desire to escape it. I continue to come to grips with it.”\u003c/p>\n\u003cp>And even as he won fellowships from the National Endowment for the Arts and the Guggenheim Memorial Foundation, Christenberry said the long-beating heart of his art remained the same.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“I don’t want my work to be thought of as maudlin or overly sentimental. It’s not. It’s a love affair — a lifetime of involvement with a place. The place is my muse.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=William+Christenberry%2C+Artist+Whose+Muse+Was+Rural+Alabama%2C+Dies+At+80&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Pauline Oliveros, Pioneer of 'Deep Listening,' Dies at 84",
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"content": "\u003cp>Pauline Oliveros, the composer, performer and teacher who developed a theory called “deep listening,” died in her sleep Thursday. She was 84.\u003c/p>\n\u003cp>News of her death was \u003ca href=\"https://www.instagram.com/p/BNPzc8IDAKZ/\" target=\"_blank\" rel=\"noopener\">first shared\u003c/a> by musician Claire Chase on Instagram on Friday. The \u003ca href=\"http://deeplistening.org/site/\" target=\"_blank\" rel=\"noopener\">Deep Listening Institute\u003c/a>, the organization Oliveros founded, confirmed her death to NPR on Saturday.\u003c/p>\n\u003cp>https://www.instagram.com/p/BNPzc8IDAKZ/\u003c/p>\n\u003cp>Oliveros is best known for her experimental approach to music and sound. “Hear with your ears, listen with your heart,” was her guiding principle, according to \u003ca href=\"https://ww2.kqed.org/spark/pauline-oliveros/\" target=\"_blank\" rel=\"noopener\">NPR member station KQED\u003c/a>. The station’s profile of Oliveros accompanied a 2012 \u003cem>Spark\u003c/em> \u003ca href=\"https://www.podcat.com/podcasts/5cbjsh-kqed-spark-art-video-podcast/person/59n4bu-pauline-oliveros\" target=\"_blank\" rel=\"noopener\">podcast episode\u003c/a> about Oliveros’ life and work. It described her as an “Oakland-based teacher, composer, performer and musical ambassador” who was “deeply attuned to the meditative qualities of sound.”\u003c/p>\n\u003cp>In a \u003ca href=\"http://musicmavericks.publicradio.org/features/interview_oliveros.html\" target=\"_blank\" rel=\"noopener\">2003 interview\u003c/a> with American Public Media’s \u003cem>American Mavericks\u003c/em>, she described how sound influenced her from an early age:\u003c/p>\n\u003cblockquote>\n\u003cp>“I lived in Houston, Texas. I was born in 1932 and grew up at a time when humans had less impact on the environment than they do today. I mean, now the frogs are leaving and vanishing. The frogs in my childhood could be heard loud and clear. Then of course, now so much is paved over with asphalt and cement that the cicadas are trapped and can’t get out. But you can still hear wonderful stereophonic cicada sounds in Houston as you walk or drive down the street. And all of those sounds were very important to me in childhood.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Starting in the 1960s, she “pioneered the electronic and improvisational mediums, creating theories of ‘sonic meditation’ and ‘deep listening,’ ” KQED wrote. She co-founded the San Francisco Tape Music Center, which later became \u003ca href=\"https://ww2.kqed.org/arts/2016/10/26/fifty-years-of-limitless-possibility-at-the-center-for-contemporary-music-at-mills-college/\" target=\"_blank\" rel=\"noopener\">the Center for Contemporary Music at Mills College\u003c/a>. There, KQED said, she taught music for years and “practiced deep listening techniques with fellow musicians using her bandoneon (an accordion-like instrument).”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Oliveros’ website \u003ca href=\"http://deeplistening.org/site/content/about\" target=\"_blank\" rel=\"noopener\">defines\u003c/a> deep listening as a way to explore “the difference between the involuntary nature of hearing and the voluntary, selective nature – exclusive and inclusive — of listening.” Part of this listening includes being aware of small sounds, including vibrations.\u003c/p>\n\u003cp>[contextly_sidebar id=”ZLfawufKVorLQOHoLdKIo7DHqAJ3J6oq”]\u003c/p>\n\u003cp>As Lucas Willard of \u003ca href=\"http://wamc.org/post/pioneering-composer-pauline-oliveros-dies\" target=\"_blank\" rel=\"noopener\">member station WAMC\u003c/a> wrote Saturday, Oliveros spoke to the station about the importance of “perceiving vibrations” in May. She said, “Even though the newborn has trillions of neurons, by the time they’re eighteen months old they’ve lost quite a bit, because they’re focusing on exclusive sounds of speech. So that sort of takes you away from the sensation of sound.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A 2012 \u003cem>Guardian\u003c/em> \u003ca href=\"https://www.theguardian.com/music/tomserviceblog/2012/may/07/guide-contemporary-music-pauline-oliveros\" target=\"_blank\" rel=\"noopener\">profile\u003c/a> on Oliveros said her mantra was: “Listen to everything all the time and remind yourself when you are not listening.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Pauline+Oliveros%2C+Pioneer+Of+%27Deep+Listening%2C%27+Dies+At+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Oliveros is best known for her experimental approach to music and sound. “Hear with your ears, listen with your heart,” was her guiding principle, according to \u003ca href=\"https://ww2.kqed.org/spark/pauline-oliveros/\" target=\"_blank\" rel=\"noopener\">NPR member station KQED\u003c/a>. The station’s profile of Oliveros accompanied a 2012 \u003cem>Spark\u003c/em> \u003ca href=\"https://www.podcat.com/podcasts/5cbjsh-kqed-spark-art-video-podcast/person/59n4bu-pauline-oliveros\" target=\"_blank\" rel=\"noopener\">podcast episode\u003c/a> about Oliveros’ life and work. It described her as an “Oakland-based teacher, composer, performer and musical ambassador” who was “deeply attuned to the meditative qualities of sound.”\u003c/p>\n\u003cp>In a \u003ca href=\"http://musicmavericks.publicradio.org/features/interview_oliveros.html\" target=\"_blank\" rel=\"noopener\">2003 interview\u003c/a> with American Public Media’s \u003cem>American Mavericks\u003c/em>, she described how sound influenced her from an early age:\u003c/p>\n\u003cblockquote>\n\u003cp>“I lived in Houston, Texas. I was born in 1932 and grew up at a time when humans had less impact on the environment than they do today. I mean, now the frogs are leaving and vanishing. The frogs in my childhood could be heard loud and clear. Then of course, now so much is paved over with asphalt and cement that the cicadas are trapped and can’t get out. But you can still hear wonderful stereophonic cicada sounds in Houston as you walk or drive down the street. And all of those sounds were very important to me in childhood.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Starting in the 1960s, she “pioneered the electronic and improvisational mediums, creating theories of ‘sonic meditation’ and ‘deep listening,’ ” KQED wrote. She co-founded the San Francisco Tape Music Center, which later became \u003ca href=\"https://ww2.kqed.org/arts/2016/10/26/fifty-years-of-limitless-possibility-at-the-center-for-contemporary-music-at-mills-college/\" target=\"_blank\" rel=\"noopener\">the Center for Contemporary Music at Mills College\u003c/a>. There, KQED said, she taught music for years and “practiced deep listening techniques with fellow musicians using her bandoneon (an accordion-like instrument).”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Oliveros’ website \u003ca href=\"http://deeplistening.org/site/content/about\" target=\"_blank\" rel=\"noopener\">defines\u003c/a> deep listening as a way to explore “the difference between the involuntary nature of hearing and the voluntary, selective nature – exclusive and inclusive — of listening.” Part of this listening includes being aware of small sounds, including vibrations.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003cp>As Lucas Willard of \u003ca href=\"http://wamc.org/post/pioneering-composer-pauline-oliveros-dies\" target=\"_blank\" rel=\"noopener\">member station WAMC\u003c/a> wrote Saturday, Oliveros spoke to the station about the importance of “perceiving vibrations” in May. She said, “Even though the newborn has trillions of neurons, by the time they’re eighteen months old they’ve lost quite a bit, because they’re focusing on exclusive sounds of speech. So that sort of takes you away from the sensation of sound.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A 2012 \u003cem>Guardian\u003c/em> \u003ca href=\"https://www.theguardian.com/music/tomserviceblog/2012/may/07/guide-contemporary-music-pauline-oliveros\" target=\"_blank\" rel=\"noopener\">profile\u003c/a> on Oliveros said her mantra was: “Listen to everything all the time and remind yourself when you are not listening.” \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 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=Pauline+Oliveros%2C+Pioneer+Of+%27Deep+Listening%2C%27+Dies+At+84&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\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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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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