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"title": "Disney's 'Moana' Needs No Prince, Just The Land And Sea",
"headTitle": "Disney’s ‘Moana’ Needs No Prince, Just The Land And Sea | KQED",
"content": "\u003cp>You would be forgiven for getting so lost in the world of \u003cem>Moana\u003c/em> that the story itself becomes merely a distant hum. Disney’s newest animated extravaganza takes as its inspiration the crystal blue waves and lush green island mountains of Polynesia, making the landscape into a 3-D storybook. The computer animation, so much crisper and more vibrant than the all-white X-Y planes of \u003cem>Frozen\u003c/em>, turns the film into a celebration of (bio)diversity. And not a moment too soon for a world that keeps needing to be reminded that this is all worth taking some effort to save.\u003c/p>\n\u003cp>Part of getting lost in \u003cem>Moana\u003c/em>‘s world is honestly appreciating the culture at its center, as the film may be Disney’s most committed effort yet to accurately depict the lifestyle of the setting its animators have parachuted into. The studio recruited Pacific Islander talent and researchers, which it deemed the “\u003ca href=\"http://www.vanityfair.com/hollywood/2016/11/moana-oceanic-trust-disney-controversy-pacific-islanders-polynesia\">Oceanic Trust\u003c/a>,” to aid in its depiction of the region. So characters break into hula or war dances without needing to tell us what they’re doing, and their natural, non-stagey interactions let us feel comfortable among them. The film achieves what the best Disney animated features do: a sense of place that is refined and specific.\u003c/p>\n\u003cp>https://youtu.be/LKFuXETZUsI\u003c/p>\n\u003cp>\u003cem>Hamilton\u003c/em> die-hards likely know Lin-Manuel Miranda co-wrote the original songs for the film with composer Mark Mancina, but the collaborator of arguably more importance is Opetaia Foa’i, the Samoa-born frontman to Oceanic fusion band Te Vaka. Foa’i’s influence is the one felt harder on the resulting sound, which mixes ecstatic marching bass drums with the swooning melodies of tribal chants. When he trades vocals with Miranda to sing about exploring far-reaching territories on the rousing “We Know the Way,” it’s enough to make all budding wayfarers, young and old, grab a telescope and set sail.\u003c/p>\n\u003cp>Luckily, we have a surrogate to do all that adventuring for us, in the spunky preteen Moana (newcomer Auli’i Cravalho), the heir to her father’s chiefdom on the fictional Te Fiti, a remote, isolationist South Pacific island. (She resents the title “princess,” although one hopes she never stumbles across her own face in the Disney Princess marketing materials.) Moana dreams of setting sail for parts unknown, but dad (Temuera Morrison when speaking, and Miranda’s fellow \u003cem>Hamilton\u003c/em> hero Christopher Jackson when singing) keeps dragging her back to parts known, reminding her of her duties to watch over the island tribe and ensure its future.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Still, the ocean calls: “The water is mischievous / I like how it misbehaves,” sings Moana’s feisty grandma (Rachel House), who, with that lovely line, pushes her granddaughter to venture beyond her island’s reef once the lackluster coconut harvest and fish depletion jeopardize the people’s way of life. In fact, the ocean is literally beckoning Moana, as it’s been anthropomorphized like the Disney sidekicks of yore, shooting jets of water for high-fives or to express annoyance.\u003c/p>\n\u003cp>But it’s hard to imbue a wave, no matter how mischievous, with as much personality as, say, Dopey. So we’re grateful once the film introduces a \u003cem>real\u003c/em> foil, the trickster demigod Maui (voiced with puffed-up chest by Dwayne “The Rock” Johnson, \u003cem>People\u003c/em> magazine’s current Sexiest Demigod Alive). A mythical figure in Polynesian mythology, the Maui in this film has the build of a football player and the braggadocio of … well, a football player. He’s a shapeshifter who stole a trinket from Te Fiti’s island god, thus dooming Moana’s people; the girl’s assignment is to drag the headstrong yet thin-skinned Maui back to right his wrong, tattoos and all (his body is covered in them, and they have minds of their own).\u003c/p>\n\u003cp>The story unfolds more or less in the same manner as Disney’s other lone-journey films, like \u003cem>The Lion King\u003c/em> and \u003cem>Hercules\u003c/em>, and the soundtrack provides an easy road map: the introduction song, the yearning song, the goofy-personality song. (We can only hope \u003cem>Moana\u003c/em>‘s numbers will peacefully fade onto Greatest Hits soundtracks before they turn on us like “Let It Go.”) Ron Clements and John Musker, whose previous features include \u003cem>The Little Mermaid\u003c/em> and \u003cem>The Princess and the Frog\u003c/em>, were the driving forces behind \u003cem>Moana\u003c/em>‘s vision. But they’re still two of four credited directors and two of eight credited writers, like the committee-driven nature of all in-house Mouse House productions. Often that approach works, as in the excellent \u003cem>Zootopia\u003c/em> earlier this year. But this story in particular seemed to demand a more idiosyncratic touch. Jemaine Clement as a giant crab who sings a Bowie-esque number about glitter is fun, but did it fit here?\u003c/p>\n\u003cp>Still, with all those names, the matter-of-fact way the film gets to treat its female protagonist is especially heartening. Her adversaries doubt her not because of her gender, but merely because of her youth; and she doesn’t have or need a love interest, a fact that may not even register with you until after the film has ended. Well, that’s not entirely true: Her love interest is the land and sea and its people, and anyone who sees \u003cem>Moana \u003c/em>will become smitten, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A note on the preshow: \u003c/strong>“Inner Workings” is a suspiciously \u003cem>Inside Out\u003c/em>-like short about an office drone’s warring body parts. An overly cautious brain, situated inside the man’s boxy head, prevents his impulsive heart from enjoying all of life’s wonders, until an epiphany forces it to rethink its priorities. The film can’t measure up to the visual or emotional wonder of Disney’s similarly themed 2012 short “Paperman,” but director Leonard Matsuda still finds fascinating things to do with the animation form, particularly in the way he plays with geometric character models.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You would be forgiven for getting so lost in the world of \u003cem>Moana\u003c/em> that the story itself becomes merely a distant hum. Disney’s newest animated extravaganza takes as its inspiration the crystal blue waves and lush green island mountains of Polynesia, making the landscape into a 3-D storybook. The computer animation, so much crisper and more vibrant than the all-white X-Y planes of \u003cem>Frozen\u003c/em>, turns the film into a celebration of (bio)diversity. And not a moment too soon for a world that keeps needing to be reminded that this is all worth taking some effort to save.\u003c/p>\n\u003cp>Part of getting lost in \u003cem>Moana\u003c/em>‘s world is honestly appreciating the culture at its center, as the film may be Disney’s most committed effort yet to accurately depict the lifestyle of the setting its animators have parachuted into. The studio recruited Pacific Islander talent and researchers, which it deemed the “\u003ca href=\"http://www.vanityfair.com/hollywood/2016/11/moana-oceanic-trust-disney-controversy-pacific-islanders-polynesia\">Oceanic Trust\u003c/a>,” to aid in its depiction of the region. So characters break into hula or war dances without needing to tell us what they’re doing, and their natural, non-stagey interactions let us feel comfortable among them. The film achieves what the best Disney animated features do: a sense of place that is refined and specific.\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/LKFuXETZUsI'\n title='//www.youtube.com/embed/LKFuXETZUsI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cem>Hamilton\u003c/em> die-hards likely know Lin-Manuel Miranda co-wrote the original songs for the film with composer Mark Mancina, but the collaborator of arguably more importance is Opetaia Foa’i, the Samoa-born frontman to Oceanic fusion band Te Vaka. Foa’i’s influence is the one felt harder on the resulting sound, which mixes ecstatic marching bass drums with the swooning melodies of tribal chants. When he trades vocals with Miranda to sing about exploring far-reaching territories on the rousing “We Know the Way,” it’s enough to make all budding wayfarers, young and old, grab a telescope and set sail.\u003c/p>\n\u003cp>Luckily, we have a surrogate to do all that adventuring for us, in the spunky preteen Moana (newcomer Auli’i Cravalho), the heir to her father’s chiefdom on the fictional Te Fiti, a remote, isolationist South Pacific island. (She resents the title “princess,” although one hopes she never stumbles across her own face in the Disney Princess marketing materials.) Moana dreams of setting sail for parts unknown, but dad (Temuera Morrison when speaking, and Miranda’s fellow \u003cem>Hamilton\u003c/em> hero Christopher Jackson when singing) keeps dragging her back to parts known, reminding her of her duties to watch over the island tribe and ensure its future.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Still, the ocean calls: “The water is mischievous / I like how it misbehaves,” sings Moana’s feisty grandma (Rachel House), who, with that lovely line, pushes her granddaughter to venture beyond her island’s reef once the lackluster coconut harvest and fish depletion jeopardize the people’s way of life. In fact, the ocean is literally beckoning Moana, as it’s been anthropomorphized like the Disney sidekicks of yore, shooting jets of water for high-fives or to express annoyance.\u003c/p>\n\u003cp>But it’s hard to imbue a wave, no matter how mischievous, with as much personality as, say, Dopey. So we’re grateful once the film introduces a \u003cem>real\u003c/em> foil, the trickster demigod Maui (voiced with puffed-up chest by Dwayne “The Rock” Johnson, \u003cem>People\u003c/em> magazine’s current Sexiest Demigod Alive). A mythical figure in Polynesian mythology, the Maui in this film has the build of a football player and the braggadocio of … well, a football player. He’s a shapeshifter who stole a trinket from Te Fiti’s island god, thus dooming Moana’s people; the girl’s assignment is to drag the headstrong yet thin-skinned Maui back to right his wrong, tattoos and all (his body is covered in them, and they have minds of their own).\u003c/p>\n\u003cp>The story unfolds more or less in the same manner as Disney’s other lone-journey films, like \u003cem>The Lion King\u003c/em> and \u003cem>Hercules\u003c/em>, and the soundtrack provides an easy road map: the introduction song, the yearning song, the goofy-personality song. (We can only hope \u003cem>Moana\u003c/em>‘s numbers will peacefully fade onto Greatest Hits soundtracks before they turn on us like “Let It Go.”) Ron Clements and John Musker, whose previous features include \u003cem>The Little Mermaid\u003c/em> and \u003cem>The Princess and the Frog\u003c/em>, were the driving forces behind \u003cem>Moana\u003c/em>‘s vision. But they’re still two of four credited directors and two of eight credited writers, like the committee-driven nature of all in-house Mouse House productions. Often that approach works, as in the excellent \u003cem>Zootopia\u003c/em> earlier this year. But this story in particular seemed to demand a more idiosyncratic touch. Jemaine Clement as a giant crab who sings a Bowie-esque number about glitter is fun, but did it fit here?\u003c/p>\n\u003cp>Still, with all those names, the matter-of-fact way the film gets to treat its female protagonist is especially heartening. Her adversaries doubt her not because of her gender, but merely because of her youth; and she doesn’t have or need a love interest, a fact that may not even register with you until after the film has ended. Well, that’s not entirely true: Her love interest is the land and sea and its people, and anyone who sees \u003cem>Moana \u003c/em>will become smitten, too.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>A note on the preshow: \u003c/strong>“Inner Workings” is a suspiciously \u003cem>Inside Out\u003c/em>-like short about an office drone’s warring body parts. An overly cautious brain, situated inside the man’s boxy head, prevents his impulsive heart from enjoying all of life’s wonders, until an epiphany forces it to rethink its priorities. The film can’t measure up to the visual or emotional wonder of Disney’s similarly themed 2012 short “Paperman,” but director Leonard Matsuda still finds fascinating things to do with the animation form, particularly in the way he plays with geometric character models.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Death of a Disco Host",
"headTitle": "The Death of a Disco Host | KQED",
"content": "\u003cp>In a society increasingly filled with self-delusion, there are still times when the roles individuals see themselves playing can unlock astonishing insights about who they are. A few weeks ago, \u003ca href=\"http://www.timlawrence.info/articles2/2014/1/4/love-saves-the-day-david-mancuso-and-the-loft-placed-2007\">when speaking with author and disco historian Tim Lawrence about the New York party scene of the 1970s and ’80s\u003c/a>, I off-handedly called David Mancuso — one of that scene’s central figures, who founded the legendary disco happening The Loft and who passed away Monday, after a protracted illness, at the age of 72 — a “DJ.” Lawrence, who over the past two decades had spent many hours interviewing Mancuso, was quick to correct me. “David would not refer to himself as a ‘DJ,'” he said, “but as a ‘musical host.'”\u003c/p>\n\u003cp>It was a funny interjection and fact-check. Mancuso was a host, by the word’s most basic definition, in that for the first 30-plus years of The Loft’s existence, the party took place in his actual home (first on Broadway, then on Spring Street, and then on 3\u003csup>rd\u003c/sup> Street in Alphabet City), and the people he welcomed were not “attendees” or “club members” but invited guests. He was a man who’d spent his early years in a Utica, N.Y., children’s home run by a kindly woman named Sister Alicia, whom he would forever cite as his first musical influence and whose desire to throw dance parties for the home’s orphans sank in deeply. Mancuso’s unwavering focus on the importance of sound and community made him a host in a philosophically Christian sense, too; it whole-heartedly reflected his outlook of the world, one that he wanted to pass on to everyone who came through his doors and participated in his ritual. And the man who studied with Timothy Leary also believed in the spiritual power of the pharmacologically produced sacrament whose acronym was barely hidden in the name of that first Loft gathering — Love Saves the Day, inaugurated on Valentine’s Day 1970 — and which dosed the punch at many future gatherings. A host? Yeah, sure, of course.\u003c/p>\n\u003cp>Thus did David Mancuso lore double pretty naturally as history, which is only noteworthy because few late-20th century creation myths are as absolute as the ones he had a hand in. Mancuso’s is the story of the birth of contemporary dance-music, clubbing and DJ culture — which The Loft most definitely seeded, with a lot of help from three of Mancuso’s most ardent admirers, the DJs Larry Levan, Nicky Siano and Frankie Knuckles, as well as some men in the Bronx then busy inventing hip-hop. Simultaneously, it’s the origin story of the contemporary ideal of New York City’s cultural and creative diversity — which The Loft embodied in its most utopian manifestation. You may not have heard of David Mancuso, but chances are good that you have fed off the body of his work these past few decades.\u003c/p>\n\u003cfigure id=\"attachment_12364616\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1020x765.jpg\" alt=\"The Loft host David Mancuso famously dropped balloons from the ceiling during his dance parties.\" width=\"640\" height=\"480\" class=\"size-large wp-image-12364616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Loft host David Mancuso famously dropped balloons from the ceiling during his dance parties. \u003ccite>(Photo: Kate Glicksberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In retrospect, the recipe for The Loft was rather simple: uplifting décor (the man loved a balloon drop!), people who trusted one another, good rhythmic music delivered over a great sound system, a mild social lubricant and the freedom of dance-floor movement. It also began out of necessity — not just because Mancuso needed to utilize the long-standing, now-lost tradition of the rent party to cover the monthly check to the landlord, but because in 1970, mere months after the Stonewall uprising, there were still laws against men dancing with one another. In fact, the very notion of the modern discotheque hadn’t been invented yet — until The Loft.\u003c/p>\n\u003cp>Mancuso’s “host”-ness — or more precisely, his notion that music could matter as more than just background — was the secret ingredient. His description of a moment of powerful clarity at the first Loft party, from Lawrence’s \u003cem>Love Saves the Day\u003c/em>, speaks volumes:\u003c/p>\n\u003cblockquote>\n\u003cp>“No way did I want to be a disc jockey,” he says. “I only did it because I used to hang out with these people all the time so I knew what kind of music we liked.” However, as the dance floor began to respond to his selections Mancuso realized that he could communicate with his guests after all—through music—and as his apartment started to steam up he ripped off his t-shirt, abandoning himself to the psychic stream of the party. “We were on the same wavelength,” he says.\u003c/p>\n\u003c/blockquote>\n\u003cp>Under Mancuso’s watchful eye, The Loft became a contemporary update on the Dionysian feast, albeit with a definitive layer of ethics and Buddhist aspirations, a mixture of holy spirits and his concept of the “third ear.” And the people who passed through The Loft — not just the endless parade of DJs, but people like Robert Williams, who moved to Chicago and went on to open clubs such as Music Box and The Warehouse, the birthplace of house music — returned to the world armed with its insights.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mancuso was central to other, adjacent breakthroughs in dance-music culture: the invention of the record pool (wherein record companies serviced DJs with 12″ records), the improvement of club sound systems and even his discarding of the mixer as a DJ tool. But all these seem to pale in comparison to The Loft: inside baseball versus the book of rules, ones that he abided by the rest of his life.’\u003c/p>\n\u003caside class=\"pullquote alignright\">\nNo way did I want to be a disc jockey … I only did it because I used to hang out with these people all the time so I knew what kind of music we liked.\u003cbr>\n\u003ccite>David Mancuso\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>Unlike most rule-makers, who begin to revel in a certain kind of influence and power over an audience, Mancuso understood that by keeping his aspirations pure, he’d never be able to turn on the masses. He’d even made peace with it. In 2007, when Lawrence \u003ca href=\"http://www.timlawrence.info/articles2/2014/1/4/love-saves-the-day-david-mancuso-and-the-loft-placed-2007\" target=\"_blank\" rel=\"noopener\">asked him about the importance of keeping The Loft private and intimate\u003c/a>, as opposed to touring it through multiple locations for bigger audiences, the answer was startling. “For me the core is about social progress,” Mancuso said. “How much social progress can there be when you’re in a situation that is repressive? You won’t get much social progress in a nightclub. … It’s also extremely important to me to avoid economic violence … having to pay five dollars for water, never mind ten dollars for a drink.”\u003c/p>\n\u003cp>Even in recent years, after Mancuso pulled himself away from The Loft, the party has retained its soul, with folks who’ve been attending for much of its 46-year run rubbing shoulders with younger generations, some of New York’s best DJs, minor but well-informed celebrities, friends you’d lost touch with. I’d not seen Mancuso play records there in five or six years, but its spirit of dance-floor freedom and connection is still unwavering. It’s now DJ’d by a great cross-section of old Loft-heads, protégés and acolytes, all of whom continue to serve the party’s musical ideals while also updating it ever so slightly. It reflects the moment as only a party founded on ancient roots can.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The last one before Mancuso’s passing took place in mid-October, on the same night as the second presidential debate, which most attendees were obviously trying to escape. Around the time the two candidates were beginning to attack each other, the tag-teaming DJs, Douglas Sherman and Colleen “Cosmo” Murphy, played a two-fer of \u003ca href=\"https://www.youtube.com/watch?v=K94ljpjkChY\">Rare Earth’s live rendition of the Temptations’ “Get Ready”\u003c/a> into the Stones’ “Sympathy for the Devil” to a fiercely intense dance floor. It was an incredible Loft moment, and hence an exquisite Mancuso moment — the record selections speaking to the dancers, the hosts using music to prepare the listeners for whatever life had in store for them. Everybody was smiling. \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=The+Death+Of+A+Disco+Host&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In a society increasingly filled with self-delusion, there are still times when the roles individuals see themselves playing can unlock astonishing insights about who they are. A few weeks ago, \u003ca href=\"http://www.timlawrence.info/articles2/2014/1/4/love-saves-the-day-david-mancuso-and-the-loft-placed-2007\">when speaking with author and disco historian Tim Lawrence about the New York party scene of the 1970s and ’80s\u003c/a>, I off-handedly called David Mancuso — one of that scene’s central figures, who founded the legendary disco happening The Loft and who passed away Monday, after a protracted illness, at the age of 72 — a “DJ.” Lawrence, who over the past two decades had spent many hours interviewing Mancuso, was quick to correct me. “David would not refer to himself as a ‘DJ,'” he said, “but as a ‘musical host.'”\u003c/p>\n\u003cp>It was a funny interjection and fact-check. Mancuso was a host, by the word’s most basic definition, in that for the first 30-plus years of The Loft’s existence, the party took place in his actual home (first on Broadway, then on Spring Street, and then on 3\u003csup>rd\u003c/sup> Street in Alphabet City), and the people he welcomed were not “attendees” or “club members” but invited guests. He was a man who’d spent his early years in a Utica, N.Y., children’s home run by a kindly woman named Sister Alicia, whom he would forever cite as his first musical influence and whose desire to throw dance parties for the home’s orphans sank in deeply. Mancuso’s unwavering focus on the importance of sound and community made him a host in a philosophically Christian sense, too; it whole-heartedly reflected his outlook of the world, one that he wanted to pass on to everyone who came through his doors and participated in his ritual. And the man who studied with Timothy Leary also believed in the spiritual power of the pharmacologically produced sacrament whose acronym was barely hidden in the name of that first Loft gathering — Love Saves the Day, inaugurated on Valentine’s Day 1970 — and which dosed the punch at many future gatherings. A host? Yeah, sure, of course.\u003c/p>\n\u003cp>Thus did David Mancuso lore double pretty naturally as history, which is only noteworthy because few late-20th century creation myths are as absolute as the ones he had a hand in. Mancuso’s is the story of the birth of contemporary dance-music, clubbing and DJ culture — which The Loft most definitely seeded, with a lot of help from three of Mancuso’s most ardent admirers, the DJs Larry Levan, Nicky Siano and Frankie Knuckles, as well as some men in the Bronx then busy inventing hip-hop. Simultaneously, it’s the origin story of the contemporary ideal of New York City’s cultural and creative diversity — which The Loft embodied in its most utopian manifestation. You may not have heard of David Mancuso, but chances are good that you have fed off the body of his work these past few decades.\u003c/p>\n\u003cfigure id=\"attachment_12364616\" class=\"wp-caption aligncenter\" style=\"max-width: 640px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1020x765.jpg\" alt=\"The Loft host David Mancuso famously dropped balloons from the ceiling during his dance parties.\" width=\"640\" height=\"480\" class=\"size-large wp-image-12364616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1020x765.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1920x1440.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/may_2013_081-298dd21704582e173c5c5bc346802426aaf76cf7-520x390.jpg 520w\" sizes=\"(max-width: 640px) 100vw, 640px\">\u003cfigcaption class=\"wp-caption-text\">The Loft host David Mancuso famously dropped balloons from the ceiling during his dance parties. \u003ccite>(Photo: Kate Glicksberg)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In retrospect, the recipe for The Loft was rather simple: uplifting décor (the man loved a balloon drop!), people who trusted one another, good rhythmic music delivered over a great sound system, a mild social lubricant and the freedom of dance-floor movement. It also began out of necessity — not just because Mancuso needed to utilize the long-standing, now-lost tradition of the rent party to cover the monthly check to the landlord, but because in 1970, mere months after the Stonewall uprising, there were still laws against men dancing with one another. In fact, the very notion of the modern discotheque hadn’t been invented yet — until The Loft.\u003c/p>\n\u003cp>Mancuso’s “host”-ness — or more precisely, his notion that music could matter as more than just background — was the secret ingredient. His description of a moment of powerful clarity at the first Loft party, from Lawrence’s \u003cem>Love Saves the Day\u003c/em>, speaks volumes:\u003c/p>\n\u003cblockquote>\n\u003cp>“No way did I want to be a disc jockey,” he says. “I only did it because I used to hang out with these people all the time so I knew what kind of music we liked.” However, as the dance floor began to respond to his selections Mancuso realized that he could communicate with his guests after all—through music—and as his apartment started to steam up he ripped off his t-shirt, abandoning himself to the psychic stream of the party. “We were on the same wavelength,” he says.\u003c/p>\n\u003c/blockquote>\n\u003cp>Under Mancuso’s watchful eye, The Loft became a contemporary update on the Dionysian feast, albeit with a definitive layer of ethics and Buddhist aspirations, a mixture of holy spirits and his concept of the “third ear.” And the people who passed through The Loft — not just the endless parade of DJs, but people like Robert Williams, who moved to Chicago and went on to open clubs such as Music Box and The Warehouse, the birthplace of house music — returned to the world armed with its insights.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mancuso was central to other, adjacent breakthroughs in dance-music culture: the invention of the record pool (wherein record companies serviced DJs with 12″ records), the improvement of club sound systems and even his discarding of the mixer as a DJ tool. But all these seem to pale in comparison to The Loft: inside baseball versus the book of rules, ones that he abided by the rest of his life.’\u003c/p>\n\u003caside class=\"pullquote alignright\">\nNo way did I want to be a disc jockey … I only did it because I used to hang out with these people all the time so I knew what kind of music we liked.\u003cbr>\n\u003ccite>David Mancuso\u003c/cite>\u003cbr>\n\u003c/aside>\n\u003cp>Unlike most rule-makers, who begin to revel in a certain kind of influence and power over an audience, Mancuso understood that by keeping his aspirations pure, he’d never be able to turn on the masses. He’d even made peace with it. In 2007, when Lawrence \u003ca href=\"http://www.timlawrence.info/articles2/2014/1/4/love-saves-the-day-david-mancuso-and-the-loft-placed-2007\" target=\"_blank\" rel=\"noopener\">asked him about the importance of keeping The Loft private and intimate\u003c/a>, as opposed to touring it through multiple locations for bigger audiences, the answer was startling. “For me the core is about social progress,” Mancuso said. “How much social progress can there be when you’re in a situation that is repressive? You won’t get much social progress in a nightclub. … It’s also extremely important to me to avoid economic violence … having to pay five dollars for water, never mind ten dollars for a drink.”\u003c/p>\n\u003cp>Even in recent years, after Mancuso pulled himself away from The Loft, the party has retained its soul, with folks who’ve been attending for much of its 46-year run rubbing shoulders with younger generations, some of New York’s best DJs, minor but well-informed celebrities, friends you’d lost touch with. I’d not seen Mancuso play records there in five or six years, but its spirit of dance-floor freedom and connection is still unwavering. It’s now DJ’d by a great cross-section of old Loft-heads, protégés and acolytes, all of whom continue to serve the party’s musical ideals while also updating it ever so slightly. It reflects the moment as only a party founded on ancient roots can.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The last one before Mancuso’s passing took place in mid-October, on the same night as the second presidential debate, which most attendees were obviously trying to escape. Around the time the two candidates were beginning to attack each other, the tag-teaming DJs, Douglas Sherman and Colleen “Cosmo” Murphy, played a two-fer of \u003ca href=\"https://www.youtube.com/watch?v=K94ljpjkChY\">Rare Earth’s live rendition of the Temptations’ “Get Ready”\u003c/a> into the Stones’ “Sympathy for the Devil” to a fiercely intense dance floor. It was an incredible Loft moment, and hence an exquisite Mancuso moment — the record selections speaking to the dancers, the hosts using music to prepare the listeners for whatever life had in store for them. Everybody was smiling. \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=The+Death+Of+A+Disco+Host&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Paul Verhoeven's 'Elle' is a Brutal, Elegant, Pitch-Black Comedy",
"headTitle": "Paul Verhoeven’s ‘Elle’ is a Brutal, Elegant, Pitch-Black Comedy | KQED",
"content": "\u003cp>At the fancy Christmas dinner she hosts in her posh Paris home, a stylish entrepreneur named Michèle, played to impassive perfection by Isabelle Huppert, verbally abuses her heavily Botoxed elderly mother and her mother’s very-much-younger consort. She inflicts injury on the very-much-younger girlfriend of her former husband. She pokes fun at her ineffectual son, his partner, and their baby. She takes a covert swipe at her pretty Christian neighbor while initiating a game of footsie with that neighbor’s handsome husband, a broker. By way of dessert she indulges, without noticeable pleasure, in some furtive post-prandial sex with her best friend and partner’s husband. ‘Tis the season!\u003c/p>\n\u003cp>I should add that by the time this jolly crew has convened halfway through Paul Verhoeven’s sardonic thriller \u003cem>Elle\u003c/em>, Michèle has been violently raped several times on her living-room floor by a masked intruder clad head-to-toe in black leather or rubber or some other appealing fabric from the sado-masochist runway. The graphically detailed sexual assaults function as little more than a hiccup in Michèle’s busy life as the CEO of a raunchy videogame company that appears to be staffed by callow twelve-year-olds. Oh, and one of these young blades has circulated a creatively pornographic video of Michèle being violated by a monster. I wouldn’t say she doesn’t turn a hair, but Michèle goes about her business while wreaking malicious damage on those who get in her way, and on plenty who don’t.\u003c/p>\n\u003cp>https://youtu.be/gM96ne-XiH0\u003c/p>\n\u003cp>If you saw Huppert in Michael Haneke’s 2001 erotic thriller \u003cem>The Piano Teache\u003c/em>r, you’ll know that she can serve up steely and kinky pretty much on demand. Behind her sustained deadpan in \u003cem>Elle\u003c/em> and the misleading shades of beige in which she’s clad lurks a barely contained ironist and black comedian channeling, with quiet glee, the bracing nihilism of the man who made \u003cem>Robocop\u003c/em>, \u003cem>Basic Instinct\u003c/em> and \u003cem>Showgirls\u003c/em>. Never was such flat affect delivered through such expressive eyes.\u003c/p>\n\u003cp>How you feel about this brutal, elegantly crafted film will depend in part on whether you regard nihilism as a moral/political philosophy or as a film language that gets us to rethink the tired pieties that appeal to our vanity. A provocateur to his core, Verhoeven wades breezily into hot-potato territory, all the while refusing moral judgment. This hasn’t always worked: In \u003cem>Black Book\u003c/em> (2006) he comes \u003cem>this\u003c/em> close to suggesting that, ethically speaking, there was little room between the Nazis and the Dutch resistance. \u003cem>Elle\u003c/em> is a far less blunt instrument, in part because the movie is cunningly ambiguous about what drives the strange woman at its center. The English-language screenplay for \u003cem>Elle\u003c/em>, which Verhoeven had hoped to make in the United States, is adapted by David Birke from a French novel written under the influence of the mass murders committed by Norwegian Anders Behring Breivik. Faux news footage shows Michèle at age ten, staring blankly into the camera at the scene when her now incarcerated father murdered a slew of neighbors who had asked him not to make the sign of the cross on their children’s foreheads.\u003c/p>\n\u003cfigure id=\"attachment_12349839\" class=\"wp-caption aligncenter\" style=\"max-width: 1269px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/2crop.jpg\" alt=\"Still from 'Elle.'\" width=\"1269\" height=\"842\" class=\"size-full wp-image-12349839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop.jpg 1269w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-1180x783.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-520x345.jpg 520w\" sizes=\"(max-width: 1269px) 100vw, 1269px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Elle.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now she’s a successful, ruthless businesswoman who presides over a ludicrously dysfunctional ensemble of family, friends and employees whose loyalty to her is about as dependable as hers to them. Which at the very least brings enjoyably double-edged performances by Charles Berling as Michèle’s hapless husband, Anne Consigny as her best friend and business partner, Judith Magre as her mother, and Laurent Lafitte as her intriguing, handsome neighbor. There’s not a soul in \u003cem>Elle\u003c/em> who’s above cheating and lying as needed, unless you count the lone committed Christian (Virginie Efira). And even she, it turns out, knows more than her blue saucer eyes let on.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>However brutal Michèle’s past, Verhoeven won’t allow us to jump to causal conclusions about her asocial behavior or the cat-and-mouse game she plays with her attacker. If you’re looking for it, there’s ample fodder in Michèle’s venal milieu for social commentary about the nasty post-millennial world we’ve created for ourselves. Humanity doesn’t much impress Verhoeven, but though I could wish he didn’t enjoy shoving the multiple rapes in our faces so much, he’s not endorsing rape and I don’t believe he’s anti-feminist. After all, Michèle’s in charge, even if the director won’t tip his hand about whether she’s a plucky survivor, a complete psycho, or just a woman so blitzed by her childhood that she responds to almost every turn of the screw, her rape included, with the same unruffled calm. Only the sick games she plays with her aggressor seem to get her worked up. “Why did you do it?” she asks him when, fittingly, they end up duking it out in the basement of her house. “It was necessary,” he answers. Over to you.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At the fancy Christmas dinner she hosts in her posh Paris home, a stylish entrepreneur named Michèle, played to impassive perfection by Isabelle Huppert, verbally abuses her heavily Botoxed elderly mother and her mother’s very-much-younger consort. She inflicts injury on the very-much-younger girlfriend of her former husband. She pokes fun at her ineffectual son, his partner, and their baby. She takes a covert swipe at her pretty Christian neighbor while initiating a game of footsie with that neighbor’s handsome husband, a broker. By way of dessert she indulges, without noticeable pleasure, in some furtive post-prandial sex with her best friend and partner’s husband. ‘Tis the season!\u003c/p>\n\u003cp>I should add that by the time this jolly crew has convened halfway through Paul Verhoeven’s sardonic thriller \u003cem>Elle\u003c/em>, Michèle has been violently raped several times on her living-room floor by a masked intruder clad head-to-toe in black leather or rubber or some other appealing fabric from the sado-masochist runway. The graphically detailed sexual assaults function as little more than a hiccup in Michèle’s busy life as the CEO of a raunchy videogame company that appears to be staffed by callow twelve-year-olds. Oh, and one of these young blades has circulated a creatively pornographic video of Michèle being violated by a monster. I wouldn’t say she doesn’t turn a hair, but Michèle goes about her business while wreaking malicious damage on those who get in her way, and on plenty who don’t.\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/gM96ne-XiH0'\n title='//www.youtube.com/embed/gM96ne-XiH0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>If you saw Huppert in Michael Haneke’s 2001 erotic thriller \u003cem>The Piano Teache\u003c/em>r, you’ll know that she can serve up steely and kinky pretty much on demand. Behind her sustained deadpan in \u003cem>Elle\u003c/em> and the misleading shades of beige in which she’s clad lurks a barely contained ironist and black comedian channeling, with quiet glee, the bracing nihilism of the man who made \u003cem>Robocop\u003c/em>, \u003cem>Basic Instinct\u003c/em> and \u003cem>Showgirls\u003c/em>. Never was such flat affect delivered through such expressive eyes.\u003c/p>\n\u003cp>How you feel about this brutal, elegantly crafted film will depend in part on whether you regard nihilism as a moral/political philosophy or as a film language that gets us to rethink the tired pieties that appeal to our vanity. A provocateur to his core, Verhoeven wades breezily into hot-potato territory, all the while refusing moral judgment. This hasn’t always worked: In \u003cem>Black Book\u003c/em> (2006) he comes \u003cem>this\u003c/em> close to suggesting that, ethically speaking, there was little room between the Nazis and the Dutch resistance. \u003cem>Elle\u003c/em> is a far less blunt instrument, in part because the movie is cunningly ambiguous about what drives the strange woman at its center. The English-language screenplay for \u003cem>Elle\u003c/em>, which Verhoeven had hoped to make in the United States, is adapted by David Birke from a French novel written under the influence of the mass murders committed by Norwegian Anders Behring Breivik. Faux news footage shows Michèle at age ten, staring blankly into the camera at the scene when her now incarcerated father murdered a slew of neighbors who had asked him not to make the sign of the cross on their children’s foreheads.\u003c/p>\n\u003cfigure id=\"attachment_12349839\" class=\"wp-caption aligncenter\" style=\"max-width: 1269px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/2crop.jpg\" alt=\"Still from 'Elle.'\" width=\"1269\" height=\"842\" class=\"size-full wp-image-12349839\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop.jpg 1269w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-800x531.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-768x510.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-1020x677.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-1180x783.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-960x637.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-375x249.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/2crop-520x345.jpg 520w\" sizes=\"(max-width: 1269px) 100vw, 1269px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Elle.’ \u003ccite>(Courtesy of Sony Pictures Classics)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Now she’s a successful, ruthless businesswoman who presides over a ludicrously dysfunctional ensemble of family, friends and employees whose loyalty to her is about as dependable as hers to them. Which at the very least brings enjoyably double-edged performances by Charles Berling as Michèle’s hapless husband, Anne Consigny as her best friend and business partner, Judith Magre as her mother, and Laurent Lafitte as her intriguing, handsome neighbor. There’s not a soul in \u003cem>Elle\u003c/em> who’s above cheating and lying as needed, unless you count the lone committed Christian (Virginie Efira). And even she, it turns out, knows more than her blue saucer eyes let on.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>However brutal Michèle’s past, Verhoeven won’t allow us to jump to causal conclusions about her asocial behavior or the cat-and-mouse game she plays with her attacker. If you’re looking for it, there’s ample fodder in Michèle’s venal milieu for social commentary about the nasty post-millennial world we’ve created for ourselves. Humanity doesn’t much impress Verhoeven, but though I could wish he didn’t enjoy shoving the multiple rapes in our faces so much, he’s not endorsing rape and I don’t believe he’s anti-feminist. After all, Michèle’s in charge, even if the director won’t tip his hand about whether she’s a plucky survivor, a complete psycho, or just a woman so blitzed by her childhood that she responds to almost every turn of the screw, her rape included, with the same unruffled calm. Only the sick games she plays with her aggressor seem to get her worked up. “Why did you do it?” she asks him when, fittingly, they end up duking it out in the basement of her house. “It was necessary,” he answers. Over to you.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Leon Russell Dies; Southern Rock Legend was 74",
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"content": "\u003cp>Rock and Roll Hall of Famer Leon Russell has died in Nashville at the age of 74. His wife, Jan, said through an intermediary that the legendary musician and songwriter had died Sunday in his sleep in Nashville.\u003c/p>\n\u003cp>Russell “had heart bypass surgery in July and was recovering from that,” his record company tells NPR in confirming Russell’s death. The musician had been hoping to resume touring in January.\u003c/p>\n\u003cp>A native of Oklahoma, Russell’s talents — and his unique ability to span country and gospel, blues and rock — led him to collaborate with many of the finest musicians of the past 50 years, from Joe Cocker and B.B. King to Elton John and Willie Nelson.\u003c/p>\n\u003cp>Russell was inducted into the Songwriter’s Hall of Fame in 2011, and the range of people who recorded his music reflected the breadth of his ability.\u003c/p>\n\u003cp>His hit songs include “This Masquerade” — which was recorded by both George Benson and The Carpenters — and “Superstar,” written with Bonnie Bramlett. Others included “Tight Rope,” “Delta Lady” and “A Song For You” — which was recorded by both Andy Williams and Ray Charles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Back in 2010, Russell embarked on a tour with Elton John, after the pair put out an album together titled \u003cem>The Union\u003c/em>. They had first met in 1970, when Russell saw John play his first U.S. concerts. Forty years later, NPR recorded them playing together at The Beacon Theatre in New York City.\u003c/p>\n\u003cp>“He is my idol,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=130671435\" target=\"_blank\" rel=\"noopener\">John said of Russell\u003c/a> at the time.\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2010/12/07/131848263/elton-john-and-leon-russell-live-from-the-beacon-theatre\" target=\"_blank\" rel=\"noopener\">NPR reported of that concert\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“The evening began with Russell performing six of his classics, beginning with his biggest hit, “Tight Rope.” Then, about 26 minutes in, the duo ran through \u003cem>The Union\u003c/em>, hitting a high note with the rowdy ‘Hey Ahab.’ John capped the evening with an hour of his signature hits, which begin around the 1 hour, 33 minute mark after a rousing ovation from the Beacon audience.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It was another live tour and album — Joe Cocker’s \u003cem>Mad Dogs and Englishmen\u003c/em> — that Russell used as a breakthrough in his career. In addition to contributing the songs “Delta Lady” and “Superstar” to the album, Russell led the band on the road, wearing a tophat, long hair and a beard and showing a deep-rooted mastery of soulful music.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=37dw2r45Xzg\u003c/p>\n\u003cp>Russell’s career spanned from Frank Sinatra — who kept armed guards “at every door,” he once told NPR — to Sonic Youth, who covered his song “Superstar.”\u003c/p>\n\u003cp>Last year, the pianist and songwriter \u003ca href=\"http://www.pri.org/stories/2015-07-07/hit-musician-leon-russell-credits-injury-birth-setting-him-his-musical-path\" target=\"_blank\" rel=\"noopener\">told PRI’s Studio 360\u003c/a> that he thought he wouldn’t have become the same person if he hadn’t sustained an injury at birth, which left the right side of his body slightly paralyzed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It gave me a very strong sense of duality,” Russell said. “It gave me an outlook into this plane that we live on and if I hadn’t had that, I’d probably be selling cars in Paris, Texas.” \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=Leon+Russell+Dies%3B+Southern+Rock+Legend+Was+74&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rock and Roll Hall of Famer Leon Russell has died in Nashville at the age of 74. His wife, Jan, said through an intermediary that the legendary musician and songwriter had died Sunday in his sleep in Nashville.\u003c/p>\n\u003cp>Russell “had heart bypass surgery in July and was recovering from that,” his record company tells NPR in confirming Russell’s death. The musician had been hoping to resume touring in January.\u003c/p>\n\u003cp>A native of Oklahoma, Russell’s talents — and his unique ability to span country and gospel, blues and rock — led him to collaborate with many of the finest musicians of the past 50 years, from Joe Cocker and B.B. King to Elton John and Willie Nelson.\u003c/p>\n\u003cp>Russell was inducted into the Songwriter’s Hall of Fame in 2011, and the range of people who recorded his music reflected the breadth of his ability.\u003c/p>\n\u003cp>His hit songs include “This Masquerade” — which was recorded by both George Benson and The Carpenters — and “Superstar,” written with Bonnie Bramlett. Others included “Tight Rope,” “Delta Lady” and “A Song For You” — which was recorded by both Andy Williams and Ray Charles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Back in 2010, Russell embarked on a tour with Elton John, after the pair put out an album together titled \u003cem>The Union\u003c/em>. They had first met in 1970, when Russell saw John play his first U.S. concerts. Forty years later, NPR recorded them playing together at The Beacon Theatre in New York City.\u003c/p>\n\u003cp>“He is my idol,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=130671435\" target=\"_blank\" rel=\"noopener\">John said of Russell\u003c/a> at the time.\u003c/p>\n\u003cp>As \u003ca href=\"http://www.npr.org/2010/12/07/131848263/elton-john-and-leon-russell-live-from-the-beacon-theatre\" target=\"_blank\" rel=\"noopener\">NPR reported of that concert\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“The evening began with Russell performing six of his classics, beginning with his biggest hit, “Tight Rope.” Then, about 26 minutes in, the duo ran through \u003cem>The Union\u003c/em>, hitting a high note with the rowdy ‘Hey Ahab.’ John capped the evening with an hour of his signature hits, which begin around the 1 hour, 33 minute mark after a rousing ovation from the Beacon audience.”\u003c/p>\n\u003c/blockquote>\n\u003cp>It was another live tour and album — Joe Cocker’s \u003cem>Mad Dogs and Englishmen\u003c/em> — that Russell used as a breakthrough in his career. In addition to contributing the songs “Delta Lady” and “Superstar” to the album, Russell led the band on the road, wearing a tophat, long hair and a beard and showing a deep-rooted mastery of soulful 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/37dw2r45Xzg'\n title='//www.youtube.com/embed/37dw2r45Xzg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Russell’s career spanned from Frank Sinatra — who kept armed guards “at every door,” he once told NPR — to Sonic Youth, who covered his song “Superstar.”\u003c/p>\n\u003cp>Last year, the pianist and songwriter \u003ca href=\"http://www.pri.org/stories/2015-07-07/hit-musician-leon-russell-credits-injury-birth-setting-him-his-musical-path\" target=\"_blank\" rel=\"noopener\">told PRI’s Studio 360\u003c/a> that he thought he wouldn’t have become the same person if he hadn’t sustained an injury at birth, which left the right side of his body slightly paralyzed.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“It gave me a very strong sense of duality,” Russell said. “It gave me an outlook into this plane that we live on and if I hadn’t had that, I’d probably be selling cars in Paris, Texas.” \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=Leon+Russell+Dies%3B+Southern+Rock+Legend+Was+74&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'We've Always Had a Seat at the Table': Solange on Conversations That Heal",
"headTitle": "‘We’ve Always Had a Seat at the Table’: Solange on Conversations That Heal | KQED",
"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/174513704/solange\" target=\"_blank\" rel=\"noopener\">Solange Knowles\u003c/a>‘ newest album, \u003cem>A Seat At The Table\u003c/em>, is her most commercially successful yet — it hit No. 1 on the \u003cem>Billboard\u003c/em> charts last month. It’s also her most political. On the record, Solange explores what it means to be black in America today. The songs in this album celebrate black culture, confront prejudice and explore the trauma of witnessing black people killed.\u003c/p>\n\u003cp>This is Solange’s most personal work yet, too. The album includes interviews she conducted with her parents, and she wrote most of the lyrics in the town of New Iberia, La., where her family has roots. “I wanted to reclaim that space,” she says. “I wanted to be able to go back as a descendant of my grandparents and stake my claim and create work that honored them.”\u003c/p>\n\u003cp>Solange shared stories about her family and about the healing process of making \u003cem>A Seat At The Table \u003c/em>with NPR’s Ari Shapiro. Read an edited transcript of their conversation below; hear an abridged version at the audio link.\u003c/p>\n\u003cp>\u003cstrong>Ari Shapiro: This album seems to reach into a lot of history: There’s personal history, there’s family history, there’s national history. And you wrote some of it in a place in Louisiana called New Iberia, which sort of taps into all these threads. Tell me about this place.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Solange Knowles:\u003c/strong> So, New Iberia is where my maternal grandparents are from. And they built their home there, their family life there, they were really grounded there. And there was a series of really, really awful events, to where essentially, in the middle of the night, they got pushed out of town.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>What was that about?\u003c/strong>\u003c/p>\n\u003cp>Well, it’s a really long story, but my grandfather was actually a miner, and there was a big explosion that happened; a lot of people really tragically died. They basically just kind of left him for dead, assuming that he had died, because most people did die. My family all got together and said, you know, “We will not just settle for you telling us that he’s passed” — and believe it or not, my mother’s cousins went in the middle of the night and they went and saved him.\u003c/p>\n\u003cp>\u003cstrong>They dug him out.\u003c/strong>\u003c/p>\n\u003cp>They did. And so, there were obviously a lot of people embarrassed by the situation – it was kind of a town scandal, and it became a little bit of a race war, and my grandparents essentially left in the middle of the night … And they fled to Galveston and they set roots there.\u003c/p>\n\u003cp>\u003cstrong>In Texas.\u003c/strong>\u003c/p>\n\u003cp>In Texas. So the album has a lot of layers, but one of those, and one of the important reasons that I wanted to write the lyrics specifically there, is because I wanted to reclaim that space. I wanted to be able to go back as a descendant of my grandparents and stake my claim and create work that honored them and honored their strength and their resilience and their fight — basically say, “No one’s pushing me out of town. No one is going to stop me from telling my story, our story.” And there was a lot of power that I found in that: It felt really good, and it also felt really good to just connect to my lineage. New Iberia has a lot of rich culture and Creole and Cajun culture. Growing up in Houston, I would travel to Louisiana a lot, but I never really got to experience that at the core of it. And it was something really great about just shutting myself off from the outside world. I actually wrote the album in a house that was on a sugar plantation, and a lot of my family were actually caners. So there were just a lot a lot of links in that way that really, really empowered me. And it felt great to be there and to have the freedom now to again, just reclaim the space and do it in that way.\u003c/p>\n\u003cp>\u003cstrong>What is New Iberia like today? And how were you welcomed there when you returned? Did people know the story that had driven your grandparents away from there?\u003c/strong>\u003c/p>\n\u003cp>You know, what’s wild is I actually went there with the intention of connecting with all of this family — and my family actually still owns a cemetery there, which I did visit a couple of times. But I actually got really, really lost in the isolation there, which I think really helped me to write this record in the most true way and honest way. I think that if I would have just really immersed myself too much, then I might have gotten distracted.\u003c/p>\n\u003cp>Because it really was a fun time, the times that I went out. There’s still a lot of traditional zydeco and Cajun music. I actually went to a place in Mamou, Louisiana, that was not far from New Iberia that actually still has a radio show that’s been running, I think, for 30 years. It starts at, I believe, six in the morning, and it’s live in a club. And you go there around eight in the morning and it’s full-on Cajun dancing, and it’s still done in French. All of the music is still performed in French. And so I did that, but I also went to a lot of zydeco clubs — I had experience growing up going to a lot of zydecos. And that was really, really, really fun. And then also, obviously the food was — killing me, it was so good. So at a certain point, I had to just say, “I need to keep my ass in the house for four days and write this bridge that I’ve been stuck on for the last week.”\u003c/p>\n\u003cp>\u003cstrong>I feel like people listening to you describe that might expect to hear a washboard and a harmonica on this album. And there is none of that. There is no zydeco. Where do you hear the sounds of the place — even if it’s not in a literal way — where do you hear on this album something that wouldn’t have come out if you hadn’t been in New Iberia?\u003c/strong>\u003c/p>\n\u003cp>There are a lot of aspects of the album that draw so much from Louisiana culture, specifically the horn sounds. I think that there was a certain sense of triumph and glory and radiance and also regality that I wanted to convey with the horn sounds. And so much of that comes from me living in New Orleans and Louisiana and just brass bands and those brass sounds being sort of just the backdrop of the city. And then obviously with Master P narrating the album, I think he tells that through the lens very much so as a New Orleans self-made black man from the South. And I think overall the album feels very, very Southern in my storytelling, I feel.\u003c/p>\n\u003cp>\u003cstrong>What makes the storytelling Southern, especially?\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=S0qrinhNnOM\u003c/p>\n\u003cp>Well, I think there’s a certain sense of growing up in the South, I feel like storytelling is obviously universal — you know, we all share that. But there’s something about the way that Southern men and women and aunties and uncles take their time with telling stories. And I think sometimes it becomes a matter of not caring how long it takes or how much you reiterate the message. I got concerned a lot of times that some of my lyrics and themes felt a little repetitious. But I think that that’s something I grew up hearing so much from all of my family — the same story told in a thousand different ways.\u003c/p>\n\u003cp>\u003cstrong>Repetitious in what way?\u003c/strong>\u003c/p>\n\u003cp>Well, I think that I was concerned initially that maybe it wasn’t as expansive as I wanted it to be initially — I had all of these feelings and thoughts that I wanted to work out while creating the album, and sometimes, you know, I would be working on \u003ca href=\"https://www.youtube.com/watch?v=BTqNemB6mio\" target=\"_blank\" rel=\"noopener\">“Mad”\u003c/a> and then I’d be working on “Don’t Touch My Hair” and I’d feel like — wait, are these the same messages? But that was my truth at the time, and that was what I felt, and so it was really about figuring out the different nuances in the way of telling those.\u003c/p>\n\u003cp>\u003cstrong>I want to continue this thought about the place of New Iberia and the history that you’re wrestling with while you’re also wrestling with the present-day reality of black people being shot in the street and protest and the sense that maybe things have not changed as much since your grandparents’ time as you might have hoped. When you got to New Iberia, did you know the story of exactly what had happened to your grandparents or did you learn any of that while you were there?\u003c/strong>\u003c/p>\n\u003cp>I knew a little bit of it … And when I interviewed my parents for this album, as you hear them on “Don’t Touch My Hair” and “Mad,” that was actually about a three-hour interview, both for just myself and me really wanting to close all of these chapters. I did it at the very end of the album.\u003c/p>\n\u003cp>\u003cstrong>Wow, really?\u003c/strong>\u003c/p>\n\u003cp>Yes.\u003c/p>\n\u003cp>\u003cstrong>And did you know at the time that you were going to include excerpts of these interviews in the album?\u003c/strong>\u003c/p>\n\u003cp>It was an idea that I had. I didn’t know what would come out of the interviews.\u003c/p>\n\u003cp>\u003cstrong>And was it only at that point that you learned the full story of what had happened to your grandparents?\u003c/strong>\u003c/p>\n\u003cp>Yes, yes. So it was really, really, really powerful. I think having been there for so long and, you know, really getting down to the nitty gritty. It was a really, really long — and, even me telling it now, I shortened it and left out some of the details — but it was really shocking.\u003c/p>\n\u003cp>\u003cstrong>You know, I guess one thing that I wonder, given what your grandparents went through, given that your father integrated his school and got all kinds of abuse in the process, given that you have experienced acts of racism yourself and now you have a son — do you feel like this is a cycle from generation to generation that is doomed to continue repeating?\u003c/strong>\u003c/p>\n\u003cp>I think that while making the album, I actually gave a great deal of thought to how much responsibility I had to express optimism and hope. And ultimately, I decided that me expressing optimism and me expressing hope came from telling the truth — that gave me optimism that I was able to be explicitly honest about my feelings. And for it to have the reception that it’s had, and for me to have people share with me that they listen to the album first thing when they wake up to empower them to get through their day and the micro-aggressions that we experience and the healing that, you know, they’re expressing that they’re feeling — that is the optimism. I think the optimism is in having the conversation and being able to have the conversation now. And people being open to having that conversation.\u003c/p>\n\u003cp>\u003cstrong>One of the tracks is called \u003ca href=\"https://www.youtube.com/watch?v=Njp2vaBzgto\" target=\"_blank\" rel=\"noopener\">“F.U.B.U.,”\u003c/a> which stands for “For us by us.” I read that your working title for the song was “Be Very Afraid.” When you talk about choosing optimism over pessimism, “For us by us” versus “Be very afraid” is a pretty stark contrast.\u003c/strong>\u003c/p>\n\u003cp>It is, it is. And to be honest, “F.U.B.U.” was the song I had the hardest time writing in terms of conceptualizing. Before, that song specifically was about people being afraid of us and fear being at the root of so many murders from policemen, so many murders that we have constantly seen in the past few years. And it was really, really hard for me to put that in a four-minute song. And I kept trying, and I kept trying, and it hurt so much and it was so painful for me and it was so sad. And one day, I put on the track again, probably the fifth or sixth variation of the song, and I swear it just felt like God speaking through me. I wrote it probably in six minutes. And it was just one of those moments where it really did not feel like it was just me.\u003c/p>\n\u003cp>And that is where I drew “For us by us.” Because not only did I mean it, you know, in the obvious way. But it really was written by us. These are incidents that all of my friends go through on a daily basis. These are incidents that, by the way, you know, Oprah and \u003ca href=\"http://www.npr.org/artists/15594870/dr-dre\" target=\"_blank\" rel=\"noopener\">Dr. Dre\u003c/a> have expressed that they’re going through — and they’re billionaires … And also there’s a certain tonality of that song that also speaks to — when you exist as an unafraid and powerful black presence in this country, what happens as a result of that? And kind of the breaking down that people try to do on a daily basis when you present yourself in that way, which is something that I’ve really struggled with.\u003c/p>\n\u003cp>\u003cstrong>I was going to ask whether you thought about who the audience was. This album is obviously from a black perspective, and a black female perspective. But there are some songs, like “F.U.B.U.,” that sound like you are singing to an audience of black listeners. And then there are other songs, like “Don’t Touch My Hair,” which clearly seem directed at a white person.\u003c/strong>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YTtrnDbOQAU\u003c/p>\n\u003cp>I think that honestly while writing the record, I was writing for myself, to be honest. I was writing for my family and my friends. I was wanting to be the voice of my group text chat. I was wanting to be the voice of my grandparents. I was wanting to be the voice of my son, my niece. So I think that’s really the audience that I was writing from the perspective of. Some songs are received in a certain way, but I honestly was writing them for myself and for my healing and for my self-discovery. On some moments, that can be universal. And then some moments, I feel like that is for us, by us, and we deserve to have that moment.\u003c/p>\n\u003cp>\u003cstrong>Can we talk about “Don’t Touch My Hair?” Your mother was a hair stylist — I guess you kind of grew up, almost, in a hair salon. The cover art for this album, your hair is this ornamented halo. Talk about the significance of this song — there’s this lyric, “Don’t touch my hair, it’s the feelings I wear.”\u003c/strong>\u003c/p>\n\u003cp>That is a really good observation in connecting my mother’s hair salon with all of this. I think overall, black hair has such a significance in black culture. And also, it’s such an insular experience. Growing up, being a young girl, transitioning to junior high school, then into adulthood, the hair journey of a black woman is so specific, and it’s really hard. Your hair can send so many different messages to so many different people in the world that it becomes political. It becomes social. And I think that, you know, the hair part of the song is not just about hair, obviously. It encompasses a much bigger conversation of appropriation, of ownership, of protected space. And that all comes through in those things that I speak about.\u003c/p>\n\u003cp>But again, it’s a broader message for black empowerment. And I think my mother’s segment that happens before, her interlude that happens before that song is so powerful, and I think that she articulates what I’m trying to say in a totally different way, in a wonderful and powerful way … Allow us to be pro-black. Allow us to be beautiful and take pride in that. Being pro-black does not mean being anti-white. Stop making the parallels and the analogies of black history month vs. all of the other months in the year. Allow us to have that moment and, just like the album, really take pride and celebrate our journey and look at where we came from and look at where we are today. That was not that long ago. Let us relish in that and celebrate that. And so “Don’t Touch My Hair” is really a moment to do that.\u003c/p>\n\u003cp>I can’t even put into words how overwhelmed I’ve been with the imagery, even Halloween — I had so many people send me photos. And the album cover itself, it was much deeper than that. It was, you know, the functionality of putting those clips into your hair to transition into another style and then also saying, “No, I’m actually gonna live in this transition.” And live in all of the moving parts that gets to the result. Because I feel like that’s what this album is — it’s me working through all of the moving parts — the ugly, the beautiful, the fear, the brave, all of that, to get to the end result.\u003c/p>\n\u003cfigure id=\"attachment_12333307\" 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/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-800x800.jpg\" alt=\"Solange on the cover of her new album, 'A Seat At The Table.'\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12333307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange on the cover of her new album, ‘A Seat At The Table.’ \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So is that cover image you getting ready for something or you deciding that that in-between place is an okay place to stay?\u003c/strong>\u003c/p>\n\u003cp>It’s literally, I was getting ready to shoot the album cover and we put the clips in my hair to prep for the waves that I wanted in my hair, and that helps to set the waves, those clips. And I actually just said, “Wait a minute. Let’s actually shoot this.” And everyone was kind of confused and scratching their heads for a minute, and that was really, again about me living and working through the transition and saying it’s okay to expose yourself and the awkwardness and the uncomfortableness of working through the transition. Everybody always wants us to be packaged and ready-made and healed instantly from these instances and these traumas. And that was about me saying, “Hey, I’m working through this transition.”\u003c/p>\n\u003cp>And I think that there’s a thread of, again, regality that I was yearning for throughout creating the visuals of this album. I knew mood-wise that I wanted to project this almost Mona Lisa — black Mona Lisa — type mood and imagery and power and also vulnerability, but the clips just happened to be the transition point. And after that I was like, that’s actually the cover there. We don’t need to take these out.\u003c/p>\n\u003cp>\u003cstrong>Solange, you are really good at writing a perfect, radio-friendly, three-minute pop hit or a dance-y club track. \u003c/strong>\u003c/p>\n\u003cp>Thank you.\u003c/p>\n\u003cp>\u003cstrong>This album is not that kind of music.\u003c/strong>\u003c/p>\n\u003cp>No, it is not.\u003c/p>\n\u003cp>\u003cstrong>And then it goes on to be the first album you’ve had hit No. 1 on the \u003cem>Billboard\u003c/em> charts. So this is something that is specific and challenging and comes from a particular perspective and has a lot of talking. And yet, it’s the biggest success you’ve ever had. What does that tell you?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. I’m still working through that — just like the clips, I’m still working through that! As a songwriter, I started writing professionally, I guess you would say, at 15. And I always took a lot of pride and joy in my versatility as a writer, but I think that yeah, most people would say that a lot of my strength lay in writing more pop-oriented songs. But in a sense, I feel like these are pop songs.\u003c/p>\n\u003cp>\u003cstrong>Really? Explain that to me. Show me the pop song on this track list.\u003c/strong>\u003c/p>\n\u003cp>I feel like that term, in the literal sense, it literally means popular music. And when I think of the trajectory of popular music over a three-year span, I mean, \u003ca href=\"http://www.npr.org/artists/370926966/dangelo\" target=\"_blank\" rel=\"noopener\">D’Angelo\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/114242154/lauryn-hill\" target=\"_blank\" rel=\"noopener\">Lauryn Hill\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/36898288/erykah-badu\" target=\"_blank\" rel=\"noopener\">Erykah Badu\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/15402621/kate-bush\" target=\"_blank\" rel=\"noopener\">Kate Bush\u003c/a> was popular music. The list goes on and on. I think it’s really about creating something that reaches people — and not only reaches people, it connects with them. And I don’t think that this album is alienating in that way sonically.\u003c/p>\n\u003cp>\u003cstrong>But I guess what I’m trying to get at is — you created this album out of a personal need for self-healing, family healing, ancestral healing. And now it has hit No. 1 on the \u003cem>Billboard\u003c/em> charts, which suggests to me that a lot of other people needed the same kind of healing that you and your family and your ancestors needed. \u003c/strong>\u003c/p>\n\u003cp>Absolutely, absolutely. Timing is a huge part of this album’s success. I think that right now, this generation — we’ve been through a lot. We’ve been through a lot and we are still going through it. And we are still fighting against these internalized messages. We are still fighting for our voices to be heard. And then we’re fighting for action to happen after our voices are heard, after we’re documenting these incidents, after we’re speaking out about them, we’re fighting for action. And I think that it was important for me, throughout the duration of this album, to also feel active in working this stuff out and not just having a platform to vent and cry and mourn.\u003c/p>\n\u003cp>I think Master P did that so beautifully, with the \u003ca href=\"https://www.youtube.com/watch?v=mPrdbH-ly2I\" target=\"_blank\" rel=\"noopener\">“Chosen Ones”\u003c/a> outro, saying, you know, we are chosen, we have been chosen to go through this journey. If you believe in a higher power or some kind of force that’s with us, there has had to have been, for us to go through what we have been through for these centuries. And I feel really good. I feel like the best part about it is just feeling like through my healing that I might have reached someone else that really needed to hear this. And that’s just been the most powerful part of it all.\u003c/p>\n\u003cp>\u003cstrong>So the album is called \u003cem>A Seat At The Table\u003c/em>. At this point, do you feel like you have one?\u003c/strong>\u003c/p>\n\u003cp>Absolutely. By the way, I’ve always had a seat at the table.\u003c/p>\n\u003cp>\u003cstrong>Okay, good. Then explain the title.\u003c/strong>\u003c/p>\n\u003cp>We’ve always had a seat at the table. I think that title has a lot of different subtexts. I think one of the seats at the table is also saying that, you know, I’m inviting \u003cem>you\u003c/em> to have a seat at \u003cem>\u003c/em>\u003cem>my\u003c/em>\u003cem> \u003c/em>table. And it’s an honor to be able to have a seat at our table and for us to open up in this way and for us to feel safe enough to have these conversations and share them with you. I think that, you know, so many times, black people — or any people who are oppressed — have to constantly explain to people what’s right and wrong and what hurts and how to approach this. And I think that even me, I’m still learning so much about other cultures and I think that when you have the opportunity to learn from that, you are gracious and you are appreciative and you listen. And so that was also my way of saying I am opening myself up to everyone to have a seat at this table. We’ve been doing these listening sessions where we set up this literal table and it almost looks like the Last Supper. But the conversations that happen around the table and the sense of pride that happens —\u003c/p>\n\u003cp>\u003cstrong>Is it all black women at these listening sessions?\u003c/strong>\u003c/p>\n\u003cp>No. There’s people of all races, there’s men and women. We had one in New Orleans, we had one in New York and one in L.A., and there’s been all kinds of people. And it’s been interesting to watch the album listening process — L.A. was before the album came out and the other two were after the album came out. And it’s been really funny, a lot of feedback that I had is that most people actually like to hear this album alone. So a lot of these people had not heard the album in a group setting. And some of them really enjoyed that and some of them were like, “Actually, I really think this album is for me, you know. For me to digest and be insular and work through these things.” So it’s interesting how the music is manifesting very differently the experience in everyone.\u003c/p>\n\u003cp>\u003cstrong>Before we wrap up, I want to loop back around. \u003c/strong>\u003cstrong>Tell us about one of the tracks that can take us to this sense of history in New Iberia, Louisiana.\u003c/strong>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I think \u003ca href=\"https://www.youtube.com/watch?v=tyRYwXHWAtM\" target=\"_blank\" rel=\"noopener\">“Rise”\u003c/a> really expresses the need to know where you come from in order to know where you’re going. I think that when I say, “Fall in your ways so you can crumble. Fall in your ways so you can sleep at night. Fall in your ways so you can wake up and rise.” That was really about honoring my lineage, my past, my bloodline in order for me to evolve into the person that I need to be to create this album. And that’s why it’s first on the album, because it’s almost like a cleanser, a meditation to just prepare yourself to go through this journey. And yeah, I honestly feel like when I hear that song, I can feel my roots. It feels very, very spiritual. \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=%27We%27ve+Always+Had+A+Seat+At+The+Table%27%3A+Solange+On+Conversations+That+Heal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"excerpt": "The singer's latest album, \u003cem>A Seat At The Table\u003c/em>, arose from a personal need for healing and empowerment — but it has touched many others. And that, she says, is \"the most powerful part of it all.\"",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/174513704/solange\" target=\"_blank\" rel=\"noopener\">Solange Knowles\u003c/a>‘ newest album, \u003cem>A Seat At The Table\u003c/em>, is her most commercially successful yet — it hit No. 1 on the \u003cem>Billboard\u003c/em> charts last month. It’s also her most political. On the record, Solange explores what it means to be black in America today. The songs in this album celebrate black culture, confront prejudice and explore the trauma of witnessing black people killed.\u003c/p>\n\u003cp>This is Solange’s most personal work yet, too. The album includes interviews she conducted with her parents, and she wrote most of the lyrics in the town of New Iberia, La., where her family has roots. “I wanted to reclaim that space,” she says. “I wanted to be able to go back as a descendant of my grandparents and stake my claim and create work that honored them.”\u003c/p>\n\u003cp>Solange shared stories about her family and about the healing process of making \u003cem>A Seat At The Table \u003c/em>with NPR’s Ari Shapiro. Read an edited transcript of their conversation below; hear an abridged version at the audio link.\u003c/p>\n\u003cp>\u003cstrong>Ari Shapiro: This album seems to reach into a lot of history: There’s personal history, there’s family history, there’s national history. And you wrote some of it in a place in Louisiana called New Iberia, which sort of taps into all these threads. Tell me about this place.\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Solange Knowles:\u003c/strong> So, New Iberia is where my maternal grandparents are from. And they built their home there, their family life there, they were really grounded there. And there was a series of really, really awful events, to where essentially, in the middle of the night, they got pushed out of town.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>What was that about?\u003c/strong>\u003c/p>\n\u003cp>Well, it’s a really long story, but my grandfather was actually a miner, and there was a big explosion that happened; a lot of people really tragically died. They basically just kind of left him for dead, assuming that he had died, because most people did die. My family all got together and said, you know, “We will not just settle for you telling us that he’s passed” — and believe it or not, my mother’s cousins went in the middle of the night and they went and saved him.\u003c/p>\n\u003cp>\u003cstrong>They dug him out.\u003c/strong>\u003c/p>\n\u003cp>They did. And so, there were obviously a lot of people embarrassed by the situation – it was kind of a town scandal, and it became a little bit of a race war, and my grandparents essentially left in the middle of the night … And they fled to Galveston and they set roots there.\u003c/p>\n\u003cp>\u003cstrong>In Texas.\u003c/strong>\u003c/p>\n\u003cp>In Texas. So the album has a lot of layers, but one of those, and one of the important reasons that I wanted to write the lyrics specifically there, is because I wanted to reclaim that space. I wanted to be able to go back as a descendant of my grandparents and stake my claim and create work that honored them and honored their strength and their resilience and their fight — basically say, “No one’s pushing me out of town. No one is going to stop me from telling my story, our story.” And there was a lot of power that I found in that: It felt really good, and it also felt really good to just connect to my lineage. New Iberia has a lot of rich culture and Creole and Cajun culture. Growing up in Houston, I would travel to Louisiana a lot, but I never really got to experience that at the core of it. And it was something really great about just shutting myself off from the outside world. I actually wrote the album in a house that was on a sugar plantation, and a lot of my family were actually caners. So there were just a lot a lot of links in that way that really, really empowered me. And it felt great to be there and to have the freedom now to again, just reclaim the space and do it in that way.\u003c/p>\n\u003cp>\u003cstrong>What is New Iberia like today? And how were you welcomed there when you returned? Did people know the story that had driven your grandparents away from there?\u003c/strong>\u003c/p>\n\u003cp>You know, what’s wild is I actually went there with the intention of connecting with all of this family — and my family actually still owns a cemetery there, which I did visit a couple of times. But I actually got really, really lost in the isolation there, which I think really helped me to write this record in the most true way and honest way. I think that if I would have just really immersed myself too much, then I might have gotten distracted.\u003c/p>\n\u003cp>Because it really was a fun time, the times that I went out. There’s still a lot of traditional zydeco and Cajun music. I actually went to a place in Mamou, Louisiana, that was not far from New Iberia that actually still has a radio show that’s been running, I think, for 30 years. It starts at, I believe, six in the morning, and it’s live in a club. And you go there around eight in the morning and it’s full-on Cajun dancing, and it’s still done in French. All of the music is still performed in French. And so I did that, but I also went to a lot of zydeco clubs — I had experience growing up going to a lot of zydecos. And that was really, really, really fun. And then also, obviously the food was — killing me, it was so good. So at a certain point, I had to just say, “I need to keep my ass in the house for four days and write this bridge that I’ve been stuck on for the last week.”\u003c/p>\n\u003cp>\u003cstrong>I feel like people listening to you describe that might expect to hear a washboard and a harmonica on this album. And there is none of that. There is no zydeco. Where do you hear the sounds of the place — even if it’s not in a literal way — where do you hear on this album something that wouldn’t have come out if you hadn’t been in New Iberia?\u003c/strong>\u003c/p>\n\u003cp>There are a lot of aspects of the album that draw so much from Louisiana culture, specifically the horn sounds. I think that there was a certain sense of triumph and glory and radiance and also regality that I wanted to convey with the horn sounds. And so much of that comes from me living in New Orleans and Louisiana and just brass bands and those brass sounds being sort of just the backdrop of the city. And then obviously with Master P narrating the album, I think he tells that through the lens very much so as a New Orleans self-made black man from the South. And I think overall the album feels very, very Southern in my storytelling, I feel.\u003c/p>\n\u003cp>\u003cstrong>What makes the storytelling Southern, especially?\u003c/strong>\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/S0qrinhNnOM'\n title='//www.youtube.com/embed/S0qrinhNnOM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Well, I think there’s a certain sense of growing up in the South, I feel like storytelling is obviously universal — you know, we all share that. But there’s something about the way that Southern men and women and aunties and uncles take their time with telling stories. And I think sometimes it becomes a matter of not caring how long it takes or how much you reiterate the message. I got concerned a lot of times that some of my lyrics and themes felt a little repetitious. But I think that that’s something I grew up hearing so much from all of my family — the same story told in a thousand different ways.\u003c/p>\n\u003cp>\u003cstrong>Repetitious in what way?\u003c/strong>\u003c/p>\n\u003cp>Well, I think that I was concerned initially that maybe it wasn’t as expansive as I wanted it to be initially — I had all of these feelings and thoughts that I wanted to work out while creating the album, and sometimes, you know, I would be working on \u003ca href=\"https://www.youtube.com/watch?v=BTqNemB6mio\" target=\"_blank\" rel=\"noopener\">“Mad”\u003c/a> and then I’d be working on “Don’t Touch My Hair” and I’d feel like — wait, are these the same messages? But that was my truth at the time, and that was what I felt, and so it was really about figuring out the different nuances in the way of telling those.\u003c/p>\n\u003cp>\u003cstrong>I want to continue this thought about the place of New Iberia and the history that you’re wrestling with while you’re also wrestling with the present-day reality of black people being shot in the street and protest and the sense that maybe things have not changed as much since your grandparents’ time as you might have hoped. When you got to New Iberia, did you know the story of exactly what had happened to your grandparents or did you learn any of that while you were there?\u003c/strong>\u003c/p>\n\u003cp>I knew a little bit of it … And when I interviewed my parents for this album, as you hear them on “Don’t Touch My Hair” and “Mad,” that was actually about a three-hour interview, both for just myself and me really wanting to close all of these chapters. I did it at the very end of the album.\u003c/p>\n\u003cp>\u003cstrong>Wow, really?\u003c/strong>\u003c/p>\n\u003cp>Yes.\u003c/p>\n\u003cp>\u003cstrong>And did you know at the time that you were going to include excerpts of these interviews in the album?\u003c/strong>\u003c/p>\n\u003cp>It was an idea that I had. I didn’t know what would come out of the interviews.\u003c/p>\n\u003cp>\u003cstrong>And was it only at that point that you learned the full story of what had happened to your grandparents?\u003c/strong>\u003c/p>\n\u003cp>Yes, yes. So it was really, really, really powerful. I think having been there for so long and, you know, really getting down to the nitty gritty. It was a really, really long — and, even me telling it now, I shortened it and left out some of the details — but it was really shocking.\u003c/p>\n\u003cp>\u003cstrong>You know, I guess one thing that I wonder, given what your grandparents went through, given that your father integrated his school and got all kinds of abuse in the process, given that you have experienced acts of racism yourself and now you have a son — do you feel like this is a cycle from generation to generation that is doomed to continue repeating?\u003c/strong>\u003c/p>\n\u003cp>I think that while making the album, I actually gave a great deal of thought to how much responsibility I had to express optimism and hope. And ultimately, I decided that me expressing optimism and me expressing hope came from telling the truth — that gave me optimism that I was able to be explicitly honest about my feelings. And for it to have the reception that it’s had, and for me to have people share with me that they listen to the album first thing when they wake up to empower them to get through their day and the micro-aggressions that we experience and the healing that, you know, they’re expressing that they’re feeling — that is the optimism. I think the optimism is in having the conversation and being able to have the conversation now. And people being open to having that conversation.\u003c/p>\n\u003cp>\u003cstrong>One of the tracks is called \u003ca href=\"https://www.youtube.com/watch?v=Njp2vaBzgto\" target=\"_blank\" rel=\"noopener\">“F.U.B.U.,”\u003c/a> which stands for “For us by us.” I read that your working title for the song was “Be Very Afraid.” When you talk about choosing optimism over pessimism, “For us by us” versus “Be very afraid” is a pretty stark contrast.\u003c/strong>\u003c/p>\n\u003cp>It is, it is. And to be honest, “F.U.B.U.” was the song I had the hardest time writing in terms of conceptualizing. Before, that song specifically was about people being afraid of us and fear being at the root of so many murders from policemen, so many murders that we have constantly seen in the past few years. And it was really, really hard for me to put that in a four-minute song. And I kept trying, and I kept trying, and it hurt so much and it was so painful for me and it was so sad. And one day, I put on the track again, probably the fifth or sixth variation of the song, and I swear it just felt like God speaking through me. I wrote it probably in six minutes. And it was just one of those moments where it really did not feel like it was just me.\u003c/p>\n\u003cp>And that is where I drew “For us by us.” Because not only did I mean it, you know, in the obvious way. But it really was written by us. These are incidents that all of my friends go through on a daily basis. These are incidents that, by the way, you know, Oprah and \u003ca href=\"http://www.npr.org/artists/15594870/dr-dre\" target=\"_blank\" rel=\"noopener\">Dr. Dre\u003c/a> have expressed that they’re going through — and they’re billionaires … And also there’s a certain tonality of that song that also speaks to — when you exist as an unafraid and powerful black presence in this country, what happens as a result of that? And kind of the breaking down that people try to do on a daily basis when you present yourself in that way, which is something that I’ve really struggled with.\u003c/p>\n\u003cp>\u003cstrong>I was going to ask whether you thought about who the audience was. This album is obviously from a black perspective, and a black female perspective. But there are some songs, like “F.U.B.U.,” that sound like you are singing to an audience of black listeners. And then there are other songs, like “Don’t Touch My Hair,” which clearly seem directed at a white person.\u003c/strong>\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/YTtrnDbOQAU'\n title='//www.youtube.com/embed/YTtrnDbOQAU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>I think that honestly while writing the record, I was writing for myself, to be honest. I was writing for my family and my friends. I was wanting to be the voice of my group text chat. I was wanting to be the voice of my grandparents. I was wanting to be the voice of my son, my niece. So I think that’s really the audience that I was writing from the perspective of. Some songs are received in a certain way, but I honestly was writing them for myself and for my healing and for my self-discovery. On some moments, that can be universal. And then some moments, I feel like that is for us, by us, and we deserve to have that moment.\u003c/p>\n\u003cp>\u003cstrong>Can we talk about “Don’t Touch My Hair?” Your mother was a hair stylist — I guess you kind of grew up, almost, in a hair salon. The cover art for this album, your hair is this ornamented halo. Talk about the significance of this song — there’s this lyric, “Don’t touch my hair, it’s the feelings I wear.”\u003c/strong>\u003c/p>\n\u003cp>That is a really good observation in connecting my mother’s hair salon with all of this. I think overall, black hair has such a significance in black culture. And also, it’s such an insular experience. Growing up, being a young girl, transitioning to junior high school, then into adulthood, the hair journey of a black woman is so specific, and it’s really hard. Your hair can send so many different messages to so many different people in the world that it becomes political. It becomes social. And I think that, you know, the hair part of the song is not just about hair, obviously. It encompasses a much bigger conversation of appropriation, of ownership, of protected space. And that all comes through in those things that I speak about.\u003c/p>\n\u003cp>But again, it’s a broader message for black empowerment. And I think my mother’s segment that happens before, her interlude that happens before that song is so powerful, and I think that she articulates what I’m trying to say in a totally different way, in a wonderful and powerful way … Allow us to be pro-black. Allow us to be beautiful and take pride in that. Being pro-black does not mean being anti-white. Stop making the parallels and the analogies of black history month vs. all of the other months in the year. Allow us to have that moment and, just like the album, really take pride and celebrate our journey and look at where we came from and look at where we are today. That was not that long ago. Let us relish in that and celebrate that. And so “Don’t Touch My Hair” is really a moment to do that.\u003c/p>\n\u003cp>I can’t even put into words how overwhelmed I’ve been with the imagery, even Halloween — I had so many people send me photos. And the album cover itself, it was much deeper than that. It was, you know, the functionality of putting those clips into your hair to transition into another style and then also saying, “No, I’m actually gonna live in this transition.” And live in all of the moving parts that gets to the result. Because I feel like that’s what this album is — it’s me working through all of the moving parts — the ugly, the beautiful, the fear, the brave, all of that, to get to the end result.\u003c/p>\n\u003cfigure id=\"attachment_12333307\" 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/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-800x800.jpg\" alt=\"Solange on the cover of her new album, 'A Seat At The Table.'\" width=\"800\" height=\"800\" class=\"size-medium wp-image-12333307\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333-150x150.jpg 150w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solange_sq-8b2e15439cdcae65f1bc2ee5079da356ae98b333.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Solange on the cover of her new album, ‘A Seat At The Table.’ \u003ccite>(Photo: Courtesy of the artist)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>So is that cover image you getting ready for something or you deciding that that in-between place is an okay place to stay?\u003c/strong>\u003c/p>\n\u003cp>It’s literally, I was getting ready to shoot the album cover and we put the clips in my hair to prep for the waves that I wanted in my hair, and that helps to set the waves, those clips. And I actually just said, “Wait a minute. Let’s actually shoot this.” And everyone was kind of confused and scratching their heads for a minute, and that was really, again about me living and working through the transition and saying it’s okay to expose yourself and the awkwardness and the uncomfortableness of working through the transition. Everybody always wants us to be packaged and ready-made and healed instantly from these instances and these traumas. And that was about me saying, “Hey, I’m working through this transition.”\u003c/p>\n\u003cp>And I think that there’s a thread of, again, regality that I was yearning for throughout creating the visuals of this album. I knew mood-wise that I wanted to project this almost Mona Lisa — black Mona Lisa — type mood and imagery and power and also vulnerability, but the clips just happened to be the transition point. And after that I was like, that’s actually the cover there. We don’t need to take these out.\u003c/p>\n\u003cp>\u003cstrong>Solange, you are really good at writing a perfect, radio-friendly, three-minute pop hit or a dance-y club track. \u003c/strong>\u003c/p>\n\u003cp>Thank you.\u003c/p>\n\u003cp>\u003cstrong>This album is not that kind of music.\u003c/strong>\u003c/p>\n\u003cp>No, it is not.\u003c/p>\n\u003cp>\u003cstrong>And then it goes on to be the first album you’ve had hit No. 1 on the \u003cem>Billboard\u003c/em> charts. So this is something that is specific and challenging and comes from a particular perspective and has a lot of talking. And yet, it’s the biggest success you’ve ever had. What does that tell you?\u003c/strong>\u003c/p>\n\u003cp>I don’t know. I’m still working through that — just like the clips, I’m still working through that! As a songwriter, I started writing professionally, I guess you would say, at 15. And I always took a lot of pride and joy in my versatility as a writer, but I think that yeah, most people would say that a lot of my strength lay in writing more pop-oriented songs. But in a sense, I feel like these are pop songs.\u003c/p>\n\u003cp>\u003cstrong>Really? Explain that to me. Show me the pop song on this track list.\u003c/strong>\u003c/p>\n\u003cp>I feel like that term, in the literal sense, it literally means popular music. And when I think of the trajectory of popular music over a three-year span, I mean, \u003ca href=\"http://www.npr.org/artists/370926966/dangelo\" target=\"_blank\" rel=\"noopener\">D’Angelo\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/114242154/lauryn-hill\" target=\"_blank\" rel=\"noopener\">Lauryn Hill\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/36898288/erykah-badu\" target=\"_blank\" rel=\"noopener\">Erykah Badu\u003c/a> was popular music. \u003ca href=\"http://www.npr.org/artists/15402621/kate-bush\" target=\"_blank\" rel=\"noopener\">Kate Bush\u003c/a> was popular music. The list goes on and on. I think it’s really about creating something that reaches people — and not only reaches people, it connects with them. And I don’t think that this album is alienating in that way sonically.\u003c/p>\n\u003cp>\u003cstrong>But I guess what I’m trying to get at is — you created this album out of a personal need for self-healing, family healing, ancestral healing. And now it has hit No. 1 on the \u003cem>Billboard\u003c/em> charts, which suggests to me that a lot of other people needed the same kind of healing that you and your family and your ancestors needed. \u003c/strong>\u003c/p>\n\u003cp>Absolutely, absolutely. Timing is a huge part of this album’s success. I think that right now, this generation — we’ve been through a lot. We’ve been through a lot and we are still going through it. And we are still fighting against these internalized messages. We are still fighting for our voices to be heard. And then we’re fighting for action to happen after our voices are heard, after we’re documenting these incidents, after we’re speaking out about them, we’re fighting for action. And I think that it was important for me, throughout the duration of this album, to also feel active in working this stuff out and not just having a platform to vent and cry and mourn.\u003c/p>\n\u003cp>I think Master P did that so beautifully, with the \u003ca href=\"https://www.youtube.com/watch?v=mPrdbH-ly2I\" target=\"_blank\" rel=\"noopener\">“Chosen Ones”\u003c/a> outro, saying, you know, we are chosen, we have been chosen to go through this journey. If you believe in a higher power or some kind of force that’s with us, there has had to have been, for us to go through what we have been through for these centuries. And I feel really good. I feel like the best part about it is just feeling like through my healing that I might have reached someone else that really needed to hear this. And that’s just been the most powerful part of it all.\u003c/p>\n\u003cp>\u003cstrong>So the album is called \u003cem>A Seat At The Table\u003c/em>. At this point, do you feel like you have one?\u003c/strong>\u003c/p>\n\u003cp>Absolutely. By the way, I’ve always had a seat at the table.\u003c/p>\n\u003cp>\u003cstrong>Okay, good. Then explain the title.\u003c/strong>\u003c/p>\n\u003cp>We’ve always had a seat at the table. I think that title has a lot of different subtexts. I think one of the seats at the table is also saying that, you know, I’m inviting \u003cem>you\u003c/em> to have a seat at \u003cem>\u003c/em>\u003cem>my\u003c/em>\u003cem> \u003c/em>table. And it’s an honor to be able to have a seat at our table and for us to open up in this way and for us to feel safe enough to have these conversations and share them with you. I think that, you know, so many times, black people — or any people who are oppressed — have to constantly explain to people what’s right and wrong and what hurts and how to approach this. And I think that even me, I’m still learning so much about other cultures and I think that when you have the opportunity to learn from that, you are gracious and you are appreciative and you listen. And so that was also my way of saying I am opening myself up to everyone to have a seat at this table. We’ve been doing these listening sessions where we set up this literal table and it almost looks like the Last Supper. But the conversations that happen around the table and the sense of pride that happens —\u003c/p>\n\u003cp>\u003cstrong>Is it all black women at these listening sessions?\u003c/strong>\u003c/p>\n\u003cp>No. There’s people of all races, there’s men and women. We had one in New Orleans, we had one in New York and one in L.A., and there’s been all kinds of people. And it’s been interesting to watch the album listening process — L.A. was before the album came out and the other two were after the album came out. And it’s been really funny, a lot of feedback that I had is that most people actually like to hear this album alone. So a lot of these people had not heard the album in a group setting. And some of them really enjoyed that and some of them were like, “Actually, I really think this album is for me, you know. For me to digest and be insular and work through these things.” So it’s interesting how the music is manifesting very differently the experience in everyone.\u003c/p>\n\u003cp>\u003cstrong>Before we wrap up, I want to loop back around. \u003c/strong>\u003cstrong>Tell us about one of the tracks that can take us to this sense of history in New Iberia, Louisiana.\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>I think \u003ca href=\"https://www.youtube.com/watch?v=tyRYwXHWAtM\" target=\"_blank\" rel=\"noopener\">“Rise”\u003c/a> really expresses the need to know where you come from in order to know where you’re going. I think that when I say, “Fall in your ways so you can crumble. Fall in your ways so you can sleep at night. Fall in your ways so you can wake up and rise.” That was really about honoring my lineage, my past, my bloodline in order for me to evolve into the person that I need to be to create this album. And that’s why it’s first on the album, because it’s almost like a cleanser, a meditation to just prepare yourself to go through this journey. And yeah, I honestly feel like when I hear that song, I can feel my roots. It feels very, very spiritual. \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=%27We%27ve+Always+Had+A+Seat+At+The+Table%27%3A+Solange+On+Conversations+That+Heal&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The title \u003cem>Loving\u003c/em> may seem a rough fit for a movie made by Jeff Nichols, whose previous work includes \u003cem>Take Shelter\u003c/em> and \u003cem>Mud\u003c/em>. But Richard and Mildred Loving were the names of the real-life couple who inspired his new film; in the late 1950s they were forbidden to love and marry by the state of Virginia. And Nichols, who has elastic gifts, has made a gracefully classical film about the Lovings, who were arrested because they were an interracial couple living in a state that still had on its books an anti-miscegenation statute that many whites believed was decreed by God himself.\u003c/p>\n\u003cp>How the couple, with help from two canny ACLU lawyers working pro bono, managed to overturn that statute and in the process change the U.S. Constitution makes a great story. But though Bobby Kennedy does get on the blower for a quick message to Mildred, \u003cem>Loving\u003c/em> is the furthest thing from a triumphalist courtroom thriller. It’s an intimate domestic drama about race in America, not Race in America, via a large-hearted portrait of two profoundly apolitical people who wanted to live with the same basic rights as those enjoyed by white Americans. Like them, \u003cem>Loving\u003c/em> is modest, quiet and deep. Like all Nichols’ work with his longtime cinematographer, Adam Stone, the film highlights the lush beauty of the rural American South.\u003c/p>\n\u003cp>https://youtu.be/bQMF5MSohPA\u003c/p>\n\u003cp>Nichols tells this stirring story with a Southerner’s rich feel for the complexities of a region too often dismissed as a capital of crude racism. Bigots have their day in \u003cem>Loving,\u003c/em> but in the film’s tranquil opening scenes, the director sets up the casually integrated community of Central Point that’s home to Richard (Joel Edgerton), a white bricklayer, and Mildred (Ruth Negga), a homemaker who’s half black and half Native American. Their ethnically mixed peers take Mildred’s pregnancy and their marriage (in that order) in stride. Poverty in \u003cem>Loving\u003c/em> is never treated as disabling; the Lovings get on with their plans, helped without fanfare by family and friends. But the misgivings of their parents (Sharon Blackwood is wonderfully spare as Richard’s dour mother) are confirmed when sheriff’s deputies show up in the middle of the night to arrest them.\u003c/p>\n\u003cp>Thrown into jail and then banished for 25 years from the Comonwealth of Virginia by a judge, the two move to Washington, D.C., where they raise three children. But Mildred constantly pines for home and family, and it’s here that Nichols subtly shifts our attention from Richard, a loving husband nevertheless possessed of his mother’s stubbornly taciturn temperament, to Mildred, beautifully underplayed by Negga as an unassuming but steely activist who is more willing than her husband to solicit help and compromise where needed. Comedians Nick Kroll and Jon Bass are mischievously cast as the ACLU lawyers who leap on this opportunity to score big with the Supreme Court, and the long and thorny obstacle race to victory quickens the pace but never strays from the point of view of the Lovings. Michael Shannon, by this point a virtual muse for Nichols, gets in a puckish quickie as the \u003cem>Life\u003c/em> photographer who catches the money shot of Richard and Mildred on the couch, giggling at a television sitcom in a rare moment of unguarded happiness.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That photo became a famous \u003cem>Life\u003c/em> cover, but not famous enough to make the Lovings’ fight a textbook case today. Given the import of \u003cem>Loving v. Virginia\u003c/em> for the civil rights of minority Americans (on June 12, 1967, the Supreme Court struck down all anti-miscegenation laws), its disappearance from the history books is hard to explain. Nichols is not the first to make a film about the Lovings; in fact the idea for \u003cem>Loving\u003c/em> sprang from Nancy Buirski’s HBO documentary \u003cem>The Loving Story\u003c/em>. With this lovely, empathetic account of their struggle, Nichols restores the couple’s brave moment to history.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The title \u003cem>Loving\u003c/em> may seem a rough fit for a movie made by Jeff Nichols, whose previous work includes \u003cem>Take Shelter\u003c/em> and \u003cem>Mud\u003c/em>. But Richard and Mildred Loving were the names of the real-life couple who inspired his new film; in the late 1950s they were forbidden to love and marry by the state of Virginia. And Nichols, who has elastic gifts, has made a gracefully classical film about the Lovings, who were arrested because they were an interracial couple living in a state that still had on its books an anti-miscegenation statute that many whites believed was decreed by God himself.\u003c/p>\n\u003cp>How the couple, with help from two canny ACLU lawyers working pro bono, managed to overturn that statute and in the process change the U.S. Constitution makes a great story. But though Bobby Kennedy does get on the blower for a quick message to Mildred, \u003cem>Loving\u003c/em> is the furthest thing from a triumphalist courtroom thriller. It’s an intimate domestic drama about race in America, not Race in America, via a large-hearted portrait of two profoundly apolitical people who wanted to live with the same basic rights as those enjoyed by white Americans. Like them, \u003cem>Loving\u003c/em> is modest, quiet and deep. Like all Nichols’ work with his longtime cinematographer, Adam Stone, the film highlights the lush beauty of the rural American South.\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/bQMF5MSohPA'\n title='//www.youtube.com/embed/bQMF5MSohPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nichols tells this stirring story with a Southerner’s rich feel for the complexities of a region too often dismissed as a capital of crude racism. Bigots have their day in \u003cem>Loving,\u003c/em> but in the film’s tranquil opening scenes, the director sets up the casually integrated community of Central Point that’s home to Richard (Joel Edgerton), a white bricklayer, and Mildred (Ruth Negga), a homemaker who’s half black and half Native American. Their ethnically mixed peers take Mildred’s pregnancy and their marriage (in that order) in stride. Poverty in \u003cem>Loving\u003c/em> is never treated as disabling; the Lovings get on with their plans, helped without fanfare by family and friends. But the misgivings of their parents (Sharon Blackwood is wonderfully spare as Richard’s dour mother) are confirmed when sheriff’s deputies show up in the middle of the night to arrest them.\u003c/p>\n\u003cp>Thrown into jail and then banished for 25 years from the Comonwealth of Virginia by a judge, the two move to Washington, D.C., where they raise three children. But Mildred constantly pines for home and family, and it’s here that Nichols subtly shifts our attention from Richard, a loving husband nevertheless possessed of his mother’s stubbornly taciturn temperament, to Mildred, beautifully underplayed by Negga as an unassuming but steely activist who is more willing than her husband to solicit help and compromise where needed. Comedians Nick Kroll and Jon Bass are mischievously cast as the ACLU lawyers who leap on this opportunity to score big with the Supreme Court, and the long and thorny obstacle race to victory quickens the pace but never strays from the point of view of the Lovings. Michael Shannon, by this point a virtual muse for Nichols, gets in a puckish quickie as the \u003cem>Life\u003c/em> photographer who catches the money shot of Richard and Mildred on the couch, giggling at a television sitcom in a rare moment of unguarded happiness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Care Bears didn’t make the cut; neither did Transformers or Uno. But it’s a good day for Little People — first produced by Fisher-Price in 1959 — as the Toy Hall of Fame announces its 2016 class of inductees.\u003c/p>\n\u003cp>Also getting the nod: Dungeons & Dragons, which was praised for creating a system of imaginative play that has entranced both kids and adults; and the humble swing, which in the past 100 years has grown from its ancient roots to become a playground favorite.\u003c/p>\n\u003cp>The nomination process for the Toy Hall of Fame is open to the public — but to get in, a toy has to be approved by “historians, educators, and other individuals who exemplify learning, creativity, and discovery through their lives and careers,” according to its host, \u003ca href=\"http://www.museumofplay.org/press/releases/2016/11/3002-2016-national-toy-hall-fame-inductees-announced\" target=\"_blank\" rel=\"noopener\">The Strong National Museum of Play\u003c/a> in Rochester, N.Y.\u003c/p>\n\u003cp>The list of 12 finalists for this year’s honors had included bubble wrap, Care Bears, Clue, the coloring book, Nerf ball, pinball, Rock ‘Em Sock ‘Em Robots, Transformers and Uno.\u003c/p>\n\u003cp>In previous years, the Hall of Fame’s inductees have ranged from \u003ca href=\"http://www.npr.org/2015/11/08/455206559/toy-hall-fame\" target=\"_blank\" rel=\"noopener\">Twister and the puppet\u003c/a> (2015) to \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/11/06/362132399/rubik-s-cube-bubbles-and-green-army-men-join-toy-hall-of-fame\" target=\"_blank\" rel=\"noopener\">green army men, the Rubik’s Cube, and bubbles\u003c/a> (2014).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>When it emerged in 1974, Dungeons & Dragons was groundbreaking, says curator Nic Ricketts of The Strong. In addition to its own merits, the game created by Gary Gygax and Dave Arneson established a pattern for how similar role-playing games might work — both on table-tops and, eventually, on computers and other devices.\u003c/p>\n\u003cp>As Ricketts says, the game’s mechanics “lent themselves to computer applications, and it had a direct impact on hugely successful electronic games like World of Warcraft.”\u003c/p>\n\u003cp>The swing, which has been seen in artifacts from ancient Greece and other historic sources, was chosen for the combination of joy and physical learning that it embodies.\u003c/p>\n\u003cp>“Though the equipment has evolved with the centuries, the pleasure children and adults find in swinging has hardly changed at all,” curator Patricia Hogan says. “Swinging requires physical exertion, muscle coordination, and a rudimentary instinct for, if not understanding of, kinetic energy, inertia, and gravity. It’s the perfect vehicle for outdoor play.”\u003c/p>\n\u003cp>Of Little People, Chris Bensch, The Strong’s vice president for collections, says:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Little People have been a fixture—albeit a small one—in many American playrooms for more than 50 years. More than two billion Little People have been sold since 1959, and they have helped generations of small children imagine big adventures in play sets representing farms, schools, airports, and other fascinating places in their worlds.” \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=Toy+Hall+Of+Fame%3A+Dungeons+%26+Dragons%2C+Little+People+Honored%3B+So+Are+Swings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Care Bears didn’t make the cut; neither did Transformers or Uno. But it’s a good day for Little People — first produced by Fisher-Price in 1959 — as the Toy Hall of Fame announces its 2016 class of inductees.\u003c/p>\n\u003cp>Also getting the nod: Dungeons & Dragons, which was praised for creating a system of imaginative play that has entranced both kids and adults; and the humble swing, which in the past 100 years has grown from its ancient roots to become a playground favorite.\u003c/p>\n\u003cp>The nomination process for the Toy Hall of Fame is open to the public — but to get in, a toy has to be approved by “historians, educators, and other individuals who exemplify learning, creativity, and discovery through their lives and careers,” according to its host, \u003ca href=\"http://www.museumofplay.org/press/releases/2016/11/3002-2016-national-toy-hall-fame-inductees-announced\" target=\"_blank\" rel=\"noopener\">The Strong National Museum of Play\u003c/a> in Rochester, N.Y.\u003c/p>\n\u003cp>The list of 12 finalists for this year’s honors had included bubble wrap, Care Bears, Clue, the coloring book, Nerf ball, pinball, Rock ‘Em Sock ‘Em Robots, Transformers and Uno.\u003c/p>\n\u003cp>In previous years, the Hall of Fame’s inductees have ranged from \u003ca href=\"http://www.npr.org/2015/11/08/455206559/toy-hall-fame\" target=\"_blank\" rel=\"noopener\">Twister and the puppet\u003c/a> (2015) to \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/11/06/362132399/rubik-s-cube-bubbles-and-green-army-men-join-toy-hall-of-fame\" target=\"_blank\" rel=\"noopener\">green army men, the Rubik’s Cube, and bubbles\u003c/a> (2014).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>When it emerged in 1974, Dungeons & Dragons was groundbreaking, says curator Nic Ricketts of The Strong. In addition to its own merits, the game created by Gary Gygax and Dave Arneson established a pattern for how similar role-playing games might work — both on table-tops and, eventually, on computers and other devices.\u003c/p>\n\u003cp>As Ricketts says, the game’s mechanics “lent themselves to computer applications, and it had a direct impact on hugely successful electronic games like World of Warcraft.”\u003c/p>\n\u003cp>The swing, which has been seen in artifacts from ancient Greece and other historic sources, was chosen for the combination of joy and physical learning that it embodies.\u003c/p>\n\u003cp>“Though the equipment has evolved with the centuries, the pleasure children and adults find in swinging has hardly changed at all,” curator Patricia Hogan says. “Swinging requires physical exertion, muscle coordination, and a rudimentary instinct for, if not understanding of, kinetic energy, inertia, and gravity. It’s the perfect vehicle for outdoor play.”\u003c/p>\n\u003cp>Of Little People, Chris Bensch, The Strong’s vice president for collections, says:\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Little People have been a fixture—albeit a small one—in many American playrooms for more than 50 years. More than two billion Little People have been sold since 1959, and they have helped generations of small children imagine big adventures in play sets representing farms, schools, airports, and other fascinating places in their worlds.” \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=Toy+Hall+Of+Fame%3A+Dungeons+%26+Dragons%2C+Little+People+Honored%3B+So+Are+Swings&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé And The Dixie Chicks Offer Up Lessons On Country Music's Past (And Future)",
"headTitle": "Beyoncé And The Dixie Chicks Offer Up Lessons On Country Music’s Past (And Future) | KQED",
"content": "\u003cp>In honor of the 50th anniversary of the CMA Awards, show producers worked a truly impressive number of performers into the Nov. 2 telecast, utilizing everything from moving medleys to photo montages and mentions of legends seated in the audience.\u003c/p>\n\u003cp>But no other appearance received half the attention of \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a>‘s “Daddy Lessons” collaboration with the \u003ca href=\"http://www.npr.org/artists/15399450/dixie-chicks\">Dixie Chicks\u003c/a>. As with just about anything Bey-related, the announcement that she would take the stage at Nashville’s Bridgestone Arena during what’s billed as “Country’s Biggest Night” generated a flurry of social media responses voicing a wide array of opinions. At opposing extremes were those exultant about the superstar \u003ca href=\"http://www.thedailybeast.com/articles/2016/11/02/beyonce-slays-the-country-music-awards-a-political-statement-unto-itself.html?via=twitter_page\" target=\"_blank\" rel=\"noopener\">extending her dominance\u003c/a> into an additional corner of the musical landscape and those who declared themselves country fans — but likely represented only a small but vocal minority of the genre’s listenership — and insisted that \u003ca href=\"http://www.tennessean.com/story/entertainment/music/2016/11/02/beyonce-sparks-cma-awards-backlash/93205328/?hootPostID=133a2e1ff28d14a178caca4dc90ac724\" target=\"_blank\" rel=\"noopener\">she didn’t belong there\u003c/a>.\u003c/p>\n\u003cp>The day after the show, a number of blogs joined Beyhive diehards in accusing the Country Music Association of bowing to the more vitriolic, racially charged commenters by erasing all online promotion of the Bey/Chicks segment, a conversation which ultimately amplified the perception that such viewpoints represented the country audience en masse. (The \u003ca href=\"http://www.nytimes.com/2016/11/04/arts/music/beyonce-cma-awards-backlash.html?_r=1\" target=\"_blank\" rel=\"noopener\">plausible explanation\u003c/a> offered by the CMA was that Beyoncé’s representatives were simply selective about what photos and video clips they would approve.) Some of the complaints plucked from Twitter feeds and comment threads on the CMA’s Facebook page had a territorial tone that echoed the “Is it or isn’t it country?” debate \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/7378225/beyonce-daddy-issues-country-music?utm_source=twitter\" target=\"_blank\" rel=\"noopener\">that sprang up\u003c/a> \u003ca href=\"http://www.cmt.com/news/1765408/whats-so-country-about-beyonce/\" target=\"_blank\" rel=\"noopener\">in some corners\u003c/a> after “Daddy Lessons” was released on \u003cem>Lemonade\u003c/em> in April.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/291254039″ params=”color=ff5500″ width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Even so, the feeling in the room when Beyoncé took the stage was that we were watching a precision entertainer consciously recalibrate her delivery for the setting. It was one of the few segments in the show through which the entire arena remained on its feet. The song kicked off with harmonica, rather than the album version’s New Orleans-style horn intro, a down-home touch that hearkened back to country music’s early, and incidentally African-American, harmonica hero \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/deford-bailey\" target=\"_blank\" rel=\"noopener\">Deford Bailey\u003c/a>. Beyoncé struck up a “Texas” chant, then passed it off to Natalie Maines, Emily Robison and Martie Maguire, in acknowledgement of their shared geographical origins in a state rich in countrified storytelling. Between the tweaking of Beyoncé’s usual live instrumentation — less low-end thump, more strumming and light-footed percussion — and the Chicks’ bluegrass underpinnings, they leaned into a string band sound, even briefly veering into a stuttering, second line-ish adaptation of the Chicks’ fiddle romp “\u003ca href=\"https://www.youtube.com/watch?v=2c5b8ZtjwwY\" target=\"_blank\" rel=\"noopener\">Long Time Gone\u003c/a>,” a No. 2 country hit in 2002. And it was no small gesture for an artist whose performances of physicality have become iconic in R&B and pop realms — from her leotards to her magnetic dance choreography — to don a sheer, floor-length gown whose puffy sleeves Loretta Lynn might appreciate and, in a visual display of solidarity, stand next to the Chicks, who were anchored to instruments and mic stands. Beyoncé certainly didn’t squander her official country slot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From a historical angle, her country excursion represents something more like reclamation than invasion, since the genre’s roots entwine with African-American folk, blues, string band and pop contributions. In more recent times, a precedent’s been set for artists from other genres signaling their affinity for country music by \u003ca href=\"http://www.billboard.com/articles/columns/pop/7534100/lady-gaga-joanne-nashville-dive-bar-tour-review\" target=\"_blank\" rel=\"noopener\">making pilgrimages\u003c/a> to Nashville \u003ca href=\"http://nashvillepublicradio.org/post/bob-dylan-was-catalyst-nashville-cats-were-ones-who-changed-music-row#stream/0\" target=\"_blank\" rel=\"noopener\">writing rooms and studios\u003c/a>, \u003ca href=\"https://www.theguardian.com/music/2016/jun/01/beyonce-daddy-lessons-country-music\" target=\"_blank\" rel=\"noopener\">enlisting the talents\u003c/a> of recognized Music Row pros or teaming up with country’s resident stars. It’s nothing new either for the CMA Awards to present crossover pairings that, in a sense, position major country acts to vouch for the country-friendliness of pop heavyweights. (See: last year’s \u003ca href=\"http://www.rollingstone.com/music/news/see-chris-stapleton-and-justin-timberlakes-stunning-cma-awards-duet-20151104\" target=\"_blank\" rel=\"noopener\">much-discussed collab\u003c/a> between Chris Stapleton and Justin Timberlake, or 2013’s \u003ca href=\"http://www.billboard.com/articles/columns/the-615/5800832/zac-brown-band-teams-up-with-dave-grohl\" target=\"_blank\" rel=\"noopener\">between\u003c/a> the Zac Brown Band and Dave Grohl.) But Beyonce’s “Daddy Lessons” was written and recorded entirely independently of the country scene, and her performing partners, the Chicks — who’d been regularly covering her song — no longer have the ambassadorial heft of the format insiders they once were. They’ve kept a safe distance from the Nashville establishment ever since the radio rejection that followed lead singer Natalie Maines’ 2003 on-stage comments about President Bush. \u003ca href=\"http://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener\">Until a few months ago\u003c/a>, they hadn’t headlined Nashville in a decade.\u003c/p>\n\u003cp>When Beyonce, the Chicks and their combined band took the stage deep in the awards show, some may have experienced it as an interruption in the honoring of country stars past and present, especially given that it came immediately before a lifetime achievement nod to Beyonce’s fellow stadium-filler Kenny Chesney, comprised of a speech from Peyton Manning and an admiring tribute video; without a performing component, it couldn’t help but seem subdued in comparison to the high-energy musical interlude that had come just before. But Beyonce’s turn also brought a certain symmetry to the night.\u003c/p>\n\u003cp>Interaction with other forms of popular music — as opposed to isolation from them — is a source of pride, not to mention one among many drivers of stylistic evolution, in the mainstream country world. Crossover impact has been one of the great achievements of the award show’s penultimate honoree, Dolly Parton, who was feted with a medley of hits, like “Here You Come Again” and “9 to 5,” that landed her on the pop charts and a standard, “I Will Always Love You,” that’s had a second life in reinterpretations by pop superstars of color, Beyoncé \u003ca href=\"http://rare.us/story/beyonce-attempts-to-slay-a-dolly-parton-country-classic/\" target=\"_blank\" rel=\"noopener\">included\u003c/a>. It’s worth noting too that two of the five singers paying tribute to Parton, \u003ca href=\"https://www.youtube.com/watch?v=RjWCZB08UW0\" target=\"_blank\" rel=\"noopener\">Reba McEntire\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=6XTXHvae10o\" target=\"_blank\" rel=\"noopener\">Jennifer Nettles\u003c/a>, have also dipped into Beyoncé’s catalog on occasion.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The “Daddy Lessons” performance was preceded earlier in the night by Maren Morris’s explicit incorporation of African-American gospel stylings into her breezy country-pop gem “My Church” and Keith Urban’s smolderingly stark rendition of his throwback soul single “Blue Ain’t Your Color.” And shortly after Beyonce sang with the Chicks, Dwight Yoakam and Chris Stapleton revisited a successful country-soul collaboration with a cover of “Seven Spanish Angels,” a Willie Nelson and Ray Charles duet that became a country hit in the mid-’80s. That wasn’t Charles’s first foray into country music, of course, but it was his highest charting one. (The complexities of Charles’s track record with the genre, and the \u003ca href=\"https://www.dukeupress.edu/segregating-sound\" target=\"_blank\" rel=\"noopener\">impact\u003c/a> of \u003ca href=\"http://uncpress.unc.edu/books/12833.html\" target=\"_blank\" rel=\"noopener\">race\u003c/a> on the \u003ca href=\"http://www.hup.harvard.edu/catalog.php?isbn=9780674416598\" target=\"_blank\" rel=\"noopener\">categorization\u003c/a> of American \u003ca href=\"https://www.dukeupress.edu/Hidden-in-the-Mix/\" target=\"_blank\" rel=\"noopener\">music\u003c/a> in general is too much to wade into here, but there’s plenty of important work on the subject.) To have Beyonce, a contemporary, southern-born, black R&B artist in the mix helped ensure the circle remained unbroken. \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=Beyonc%C3%A9+And+The+Dixie+Chicks+Offer+Up+Lessons+On+Country+Music%27s+Past+%28And+Future%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In honor of the 50th anniversary of the CMA Awards, show producers worked a truly impressive number of performers into the Nov. 2 telecast, utilizing everything from moving medleys to photo montages and mentions of legends seated in the audience.\u003c/p>\n\u003cp>But no other appearance received half the attention of \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a>‘s “Daddy Lessons” collaboration with the \u003ca href=\"http://www.npr.org/artists/15399450/dixie-chicks\">Dixie Chicks\u003c/a>. As with just about anything Bey-related, the announcement that she would take the stage at Nashville’s Bridgestone Arena during what’s billed as “Country’s Biggest Night” generated a flurry of social media responses voicing a wide array of opinions. At opposing extremes were those exultant about the superstar \u003ca href=\"http://www.thedailybeast.com/articles/2016/11/02/beyonce-slays-the-country-music-awards-a-political-statement-unto-itself.html?via=twitter_page\" target=\"_blank\" rel=\"noopener\">extending her dominance\u003c/a> into an additional corner of the musical landscape and those who declared themselves country fans — but likely represented only a small but vocal minority of the genre’s listenership — and insisted that \u003ca href=\"http://www.tennessean.com/story/entertainment/music/2016/11/02/beyonce-sparks-cma-awards-backlash/93205328/?hootPostID=133a2e1ff28d14a178caca4dc90ac724\" target=\"_blank\" rel=\"noopener\">she didn’t belong there\u003c/a>.\u003c/p>\n\u003cp>The day after the show, a number of blogs joined Beyhive diehards in accusing the Country Music Association of bowing to the more vitriolic, racially charged commenters by erasing all online promotion of the Bey/Chicks segment, a conversation which ultimately amplified the perception that such viewpoints represented the country audience en masse. (The \u003ca href=\"http://www.nytimes.com/2016/11/04/arts/music/beyonce-cma-awards-backlash.html?_r=1\" target=\"_blank\" rel=\"noopener\">plausible explanation\u003c/a> offered by the CMA was that Beyoncé’s representatives were simply selective about what photos and video clips they would approve.) Some of the complaints plucked from Twitter feeds and comment threads on the CMA’s Facebook page had a territorial tone that echoed the “Is it or isn’t it country?” debate \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/7378225/beyonce-daddy-issues-country-music?utm_source=twitter\" target=\"_blank\" rel=\"noopener\">that sprang up\u003c/a> \u003ca href=\"http://www.cmt.com/news/1765408/whats-so-country-about-beyonce/\" target=\"_blank\" rel=\"noopener\">in some corners\u003c/a> after “Daddy Lessons” was released on \u003cem>Lemonade\u003c/em> in April.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/291254039″&visual=true&”color=ff5500″'\n title='”https://api.soundcloud.com/tracks/291254039″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Even so, the feeling in the room when Beyoncé took the stage was that we were watching a precision entertainer consciously recalibrate her delivery for the setting. It was one of the few segments in the show through which the entire arena remained on its feet. The song kicked off with harmonica, rather than the album version’s New Orleans-style horn intro, a down-home touch that hearkened back to country music’s early, and incidentally African-American, harmonica hero \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/deford-bailey\" target=\"_blank\" rel=\"noopener\">Deford Bailey\u003c/a>. Beyoncé struck up a “Texas” chant, then passed it off to Natalie Maines, Emily Robison and Martie Maguire, in acknowledgement of their shared geographical origins in a state rich in countrified storytelling. Between the tweaking of Beyoncé’s usual live instrumentation — less low-end thump, more strumming and light-footed percussion — and the Chicks’ bluegrass underpinnings, they leaned into a string band sound, even briefly veering into a stuttering, second line-ish adaptation of the Chicks’ fiddle romp “\u003ca href=\"https://www.youtube.com/watch?v=2c5b8ZtjwwY\" target=\"_blank\" rel=\"noopener\">Long Time Gone\u003c/a>,” a No. 2 country hit in 2002. And it was no small gesture for an artist whose performances of physicality have become iconic in R&B and pop realms — from her leotards to her magnetic dance choreography — to don a sheer, floor-length gown whose puffy sleeves Loretta Lynn might appreciate and, in a visual display of solidarity, stand next to the Chicks, who were anchored to instruments and mic stands. Beyoncé certainly didn’t squander her official country slot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From a historical angle, her country excursion represents something more like reclamation than invasion, since the genre’s roots entwine with African-American folk, blues, string band and pop contributions. In more recent times, a precedent’s been set for artists from other genres signaling their affinity for country music by \u003ca href=\"http://www.billboard.com/articles/columns/pop/7534100/lady-gaga-joanne-nashville-dive-bar-tour-review\" target=\"_blank\" rel=\"noopener\">making pilgrimages\u003c/a> to Nashville \u003ca href=\"http://nashvillepublicradio.org/post/bob-dylan-was-catalyst-nashville-cats-were-ones-who-changed-music-row#stream/0\" target=\"_blank\" rel=\"noopener\">writing rooms and studios\u003c/a>, \u003ca href=\"https://www.theguardian.com/music/2016/jun/01/beyonce-daddy-lessons-country-music\" target=\"_blank\" rel=\"noopener\">enlisting the talents\u003c/a> of recognized Music Row pros or teaming up with country’s resident stars. It’s nothing new either for the CMA Awards to present crossover pairings that, in a sense, position major country acts to vouch for the country-friendliness of pop heavyweights. (See: last year’s \u003ca href=\"http://www.rollingstone.com/music/news/see-chris-stapleton-and-justin-timberlakes-stunning-cma-awards-duet-20151104\" target=\"_blank\" rel=\"noopener\">much-discussed collab\u003c/a> between Chris Stapleton and Justin Timberlake, or 2013’s \u003ca href=\"http://www.billboard.com/articles/columns/the-615/5800832/zac-brown-band-teams-up-with-dave-grohl\" target=\"_blank\" rel=\"noopener\">between\u003c/a> the Zac Brown Band and Dave Grohl.) But Beyonce’s “Daddy Lessons” was written and recorded entirely independently of the country scene, and her performing partners, the Chicks — who’d been regularly covering her song — no longer have the ambassadorial heft of the format insiders they once were. They’ve kept a safe distance from the Nashville establishment ever since the radio rejection that followed lead singer Natalie Maines’ 2003 on-stage comments about President Bush. \u003ca href=\"http://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener\">Until a few months ago\u003c/a>, they hadn’t headlined Nashville in a decade.\u003c/p>\n\u003cp>When Beyonce, the Chicks and their combined band took the stage deep in the awards show, some may have experienced it as an interruption in the honoring of country stars past and present, especially given that it came immediately before a lifetime achievement nod to Beyonce’s fellow stadium-filler Kenny Chesney, comprised of a speech from Peyton Manning and an admiring tribute video; without a performing component, it couldn’t help but seem subdued in comparison to the high-energy musical interlude that had come just before. But Beyonce’s turn also brought a certain symmetry to the night.\u003c/p>\n\u003cp>Interaction with other forms of popular music — as opposed to isolation from them — is a source of pride, not to mention one among many drivers of stylistic evolution, in the mainstream country world. Crossover impact has been one of the great achievements of the award show’s penultimate honoree, Dolly Parton, who was feted with a medley of hits, like “Here You Come Again” and “9 to 5,” that landed her on the pop charts and a standard, “I Will Always Love You,” that’s had a second life in reinterpretations by pop superstars of color, Beyoncé \u003ca href=\"http://rare.us/story/beyonce-attempts-to-slay-a-dolly-parton-country-classic/\" target=\"_blank\" rel=\"noopener\">included\u003c/a>. It’s worth noting too that two of the five singers paying tribute to Parton, \u003ca href=\"https://www.youtube.com/watch?v=RjWCZB08UW0\" target=\"_blank\" rel=\"noopener\">Reba McEntire\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=6XTXHvae10o\" target=\"_blank\" rel=\"noopener\">Jennifer Nettles\u003c/a>, have also dipped into Beyoncé’s catalog on occasion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The “Daddy Lessons” performance was preceded earlier in the night by Maren Morris’s explicit incorporation of African-American gospel stylings into her breezy country-pop gem “My Church” and Keith Urban’s smolderingly stark rendition of his throwback soul single “Blue Ain’t Your Color.” And shortly after Beyonce sang with the Chicks, Dwight Yoakam and Chris Stapleton revisited a successful country-soul collaboration with a cover of “Seven Spanish Angels,” a Willie Nelson and Ray Charles duet that became a country hit in the mid-’80s. That wasn’t Charles’s first foray into country music, of course, but it was his highest charting one. (The complexities of Charles’s track record with the genre, and the \u003ca href=\"https://www.dukeupress.edu/segregating-sound\" target=\"_blank\" rel=\"noopener\">impact\u003c/a> of \u003ca href=\"http://uncpress.unc.edu/books/12833.html\" target=\"_blank\" rel=\"noopener\">race\u003c/a> on the \u003ca href=\"http://www.hup.harvard.edu/catalog.php?isbn=9780674416598\" target=\"_blank\" rel=\"noopener\">categorization\u003c/a> of American \u003ca href=\"https://www.dukeupress.edu/Hidden-in-the-Mix/\" target=\"_blank\" rel=\"noopener\">music\u003c/a> in general is too much to wade into here, but there’s plenty of important work on the subject.) To have Beyonce, a contemporary, southern-born, black R&B artist in the mix helped ensure the circle remained unbroken. \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=Beyonc%C3%A9+And+The+Dixie+Chicks+Offer+Up+Lessons+On+Country+Music%27s+Past+%28And+Future%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A federal jury has found that \u003cem>Rolling Stone\u003c/em>, a reporter and the magazine’s publisher are liable in a defamation lawsuit over a 2014 article about an alleged rape at the University of Virginia.\u003c/p>\n\u003cp>The trial centered on an article by reporter Sabrina Rubin Erdely that told the story of a student identified as “Jackie” who said she was brutally gang raped at a fraternity party.\u003c/p>\n\u003cp>But “several outlets, including The Washington Post, identified major inconsistencies in the reporting,” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/10/17/498242065/defamation-trial-over-rolling-stone-rape-allegation-story-to-begin\" target=\"_blank\" rel=\"noopener\">as The Two-Way has reported\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Soon afterward, \u003cem>Rolling Stone \u003c/em>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/12/05/368748289/rolling-stone-says-trust-in-gang-rape-accuser-was-misplaced\" target=\"_blank\" rel=\"noopener\">retracted the story\u003c/a>, saying the magazine had relied too much on “Jackie’s” account and did not adequately work to confirm her story.\u003c/p>\n\u003cp>“An investigation found that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/05/397696712/report-on-retracted-rolling-stone-rape-story-cites-systematic-failing\" target=\"_blank\" rel=\"noopener\">repeated, systematic failures\u003c/a> within the magazine led to the article’s publication.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Nicole Eramo, a former associate dean of students, sued for $7.85 million over how she was portrayed. As we reported, she “said the article painted her as the ‘chief villain’ of the story, full of indifference toward a sexual assault allegation.”\u003c/p>\n\u003cp>Damages have yet to be assessed. \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=Jury+Finds+%27Rolling+Stone%2C%27+Reporter+Liable+For+Damages+Over+Rape+Allegation+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A federal jury has found that \u003cem>Rolling Stone\u003c/em>, a reporter and the magazine’s publisher are liable in a defamation lawsuit over a 2014 article about an alleged rape at the University of Virginia.\u003c/p>\n\u003cp>The trial centered on an article by reporter Sabrina Rubin Erdely that told the story of a student identified as “Jackie” who said she was brutally gang raped at a fraternity party.\u003c/p>\n\u003cp>But “several outlets, including The Washington Post, identified major inconsistencies in the reporting,” \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/10/17/498242065/defamation-trial-over-rolling-stone-rape-allegation-story-to-begin\" target=\"_blank\" rel=\"noopener\">as The Two-Way has reported\u003c/a>:\u003c/p>\n\u003cblockquote>\n\u003cp>“Soon afterward, \u003cem>Rolling Stone \u003c/em>\u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/12/05/368748289/rolling-stone-says-trust-in-gang-rape-accuser-was-misplaced\" target=\"_blank\" rel=\"noopener\">retracted the story\u003c/a>, saying the magazine had relied too much on “Jackie’s” account and did not adequately work to confirm her story.\u003c/p>\n\u003cp>“An investigation found that \u003ca href=\"http://www.npr.org/sections/thetwo-way/2015/04/05/397696712/report-on-retracted-rolling-stone-rape-story-cites-systematic-failing\" target=\"_blank\" rel=\"noopener\">repeated, systematic failures\u003c/a> within the magazine led to the article’s publication.”\u003c/p>\n\u003c/blockquote>\n\u003cp>Nicole Eramo, a former associate dean of students, sued for $7.85 million over how she was portrayed. As we reported, she “said the article painted her as the ‘chief villain’ of the story, full of indifference toward a sexual assault allegation.”\u003c/p>\n\u003cp>Damages have yet to be assessed. \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=Jury+Finds+%27Rolling+Stone%2C%27+Reporter+Liable+For+Damages+Over+Rape+Allegation+Story&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Gimme Danger': Finding Cool On The Brink Of Catastrophe",
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"content": "\u003cp>Iggy Pop cares very deeply about things that are cool. This is clear throughout \u003cem>Gimme Danger\u003c/em>, the new documentary about the legendary rock band The Stooges, just based on the choices their wild, writhing, frequently shirtless frontman makes at every stage of his career: jumping into the crowd during his shows, squatting in a house in Detroit after the 1967 riots, taking advantage of a post-breakup contract with David Bowie to reunite the band on someone else’s dime. But his love of cool at the expense of all else comes especially into focus during his acceptance speech from The Stooges’ induction into the Rock and Roll Hall of Fame in 2010. “All the poor people who actually started rock-and-roll music are \u003cem>cool\u003c/em>,” he says in the clip.\u003c/p>\n\u003cp>These days the “rockumentary” is big again—not in the \u003cem>Spinal Tap\u003c/em> sense, but in a fully earnest form, where a band in its golden years gazes back on its time in the limelight with a knowing chuckle and embraces every drug-fueled act of rebellion as the moment when music changed forever. As filmmakers run out of Boomer-era acts to profile, some are even turning to \u003ca href=\"http://www.npr.org/2015/04/02/396791393/lambert-and-stamp-the-story-of-the-men-who-helped-make-the-who\" target=\"_blank\" rel=\"noopener\">band managers\u003c/a> instead. But are these kinds of nostalgic exercises “cool”? Or are they, as the arbiter of cool himself says here about the corporate flower-power acts marketed against The Stooges the late-’60s, another form of hijacking poor people’s cred for a quick buck?\u003c/p>\n\u003cp>https://youtu.be/StqNCvQHJnM\u003c/p>\n\u003cp>Well, if anyone could be cool enough to document the Ann Arbor forefathers of punk, it’s Jim Jarmusch. The closest thing to a rock star in American cinema, Jarmusch—a lifelong outside-the-system filmmaker who often casts musicians in his movies—has a deep affinity for the subculture The Stooges helped usher in. It’s noticeable even in films of his that outwardly have nothing to do with music, like the natty comic nihilism of his period Western \u003cem>Dead Man\u003c/em>, but particularly in the ones that do. Jarmusch’s \u003cem>Only Lovers Left Alive\u003c/em>, in which Tom Hiddleston played a reclusive Detroit vampire who’s released centuries’ worth of compositions under famous names, might as well have been an alternative Iggy Pop history: Both men share Michigan ties, long hair, an under-appreciated role in the development of popular music, and the leathery skin and twisty bone structures of the undead.\u003c/p>\n\u003cp>In \u003cem>Gimme Danger\u003c/em>, Jarmusch makes the canny decision to identify Iggy by his birth name, Jim Osterberg, which has the effect of stripping away the artificiality that often plagues rock-docs of this sort. In fact, Jarmusch’s greatest accomplishment here may be that his film looks and feels just as raggedy as the band itself. Title cards in rock-poster font announce major chapters (“Stooges to L.A.!!”), while stories from the bandmates themselves, via interviews largely conducted in laundry rooms and other “undisclosed locations,” are illustrated with jerky animated sequences that could be lunchroom doodles.\u003c/p>\n\u003cfigure id=\"attachment_12286186\" class=\"wp-caption aligncenter\" style=\"max-width: 948px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/gimme1.jpg\" alt=\"Iggy Pop and the Stooges.\" width=\"948\" height=\"648\" class=\"size-full wp-image-12286186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1.jpg 948w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-520x355.jpg 520w\" sizes=\"(max-width: 948px) 100vw, 948px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop and the Stooges. \u003ccite>(courtesy Amazon Studios/Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movie opens with the band’s 1973 flameout, brought on by drug abuse and backstage violence. It then jumps back to their already-rickety 1967 beginnings, when Osterberg, along with brothers Ron and Scott Asheton (guitar, drums) and novice musician Dave Alexander (bass), were making up their dirty, primitive sound as they went along, landing a record deal due to their association with the much buzzier MC5. Jarmusch could be arguing that the band’s entire trajectory was its own kind of flameout—one deliberately done for spectacle, like a stuntman’s controlled crash. From the beginning, the band’s nasty, antagonistic tendencies had as much potential to finish them off prematurely as they did to secure their legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where did all that, err, raw power come from? Osterberg himself name-checks early influences for his onstage behavior, including the kids’ clown Soupy Sales, and it was Howdy Doody’s request for his viewers to keep their letters to him short that led to the naked simplicity of Stooges lyrics like “Last year I was 21 / I didn’t have a lot of fun.” The band stayed apolitical even as contemporaries dug into the antiwar movement, a choice that in Osterberg’s telling seems to have been born as much out of sheer apathy as anything else, but nevertheless seems to have freed them to make fools out of themselves. Not that they wouldn’t have done that, anyway.\u003c/p>\n\u003cfigure id=\"attachment_12286188\" class=\"wp-caption aligncenter\" style=\"max-width: 503px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/gimme3.jpg\" alt=\"Iggy Pop and the Stooges.\" width=\"503\" height=\"355\" class=\"size-full wp-image-12286188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3.jpg 503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-375x265.jpg 375w\" sizes=\"(max-width: 503px) 100vw, 503px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop and the Stooges. \u003ccite>(Courtesy Amazon Studios/Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film tells the story almost entirely through The Stooges’ own words, including the now-deceased Ashetons (archival footage for Ron, new interviews with Scott recorded before his 2014 death). A side plot allows for a fun comeback narrative involving guitarist James Williamson, who joined the band for the \u003cem>Raw Power\u003c/em> sessions in 1973 but retreated to a career in Silicon Valley in the intervening years, until Osterberg called him out of the blue to join the reunion tour in the mid-2000s. But even as he drags his veritable encyclopedia into a largely self-indulgent second hour, Jarmusch still leaves things off the table; more live footage of Osterberg in full vampire mode surely would have made his case for musical mischief better than the 69-year-old’s overly heady modern-day recollections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever nebulous value defines “cool” at the end of the day, the hands-down coolest thing about \u003cem>Gimme Danger\u003c/em> is seeing how a weird, self-described “trailer park kid” from the outskirts of Ann Arbor, working with wildly differing levels of musical talent, could influence generations’ worth of the most prominent names in rock. By this value alone, The Stooges may be the biggest secret success story in music. \u003cem>Gimme Danger\u003c/em> preserves their legacy better than any fan might have dared hope: by showing how the “poor people,” imperfections and all, could shock the world through sheer force of will.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iggy Pop cares very deeply about things that are cool. This is clear throughout \u003cem>Gimme Danger\u003c/em>, the new documentary about the legendary rock band The Stooges, just based on the choices their wild, writhing, frequently shirtless frontman makes at every stage of his career: jumping into the crowd during his shows, squatting in a house in Detroit after the 1967 riots, taking advantage of a post-breakup contract with David Bowie to reunite the band on someone else’s dime. But his love of cool at the expense of all else comes especially into focus during his acceptance speech from The Stooges’ induction into the Rock and Roll Hall of Fame in 2010. “All the poor people who actually started rock-and-roll music are \u003cem>cool\u003c/em>,” he says in the clip.\u003c/p>\n\u003cp>These days the “rockumentary” is big again—not in the \u003cem>Spinal Tap\u003c/em> sense, but in a fully earnest form, where a band in its golden years gazes back on its time in the limelight with a knowing chuckle and embraces every drug-fueled act of rebellion as the moment when music changed forever. As filmmakers run out of Boomer-era acts to profile, some are even turning to \u003ca href=\"http://www.npr.org/2015/04/02/396791393/lambert-and-stamp-the-story-of-the-men-who-helped-make-the-who\" target=\"_blank\" rel=\"noopener\">band managers\u003c/a> instead. But are these kinds of nostalgic exercises “cool”? Or are they, as the arbiter of cool himself says here about the corporate flower-power acts marketed against The Stooges the late-’60s, another form of hijacking poor people’s cred for a quick buck?\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/StqNCvQHJnM'\n title='//www.youtube.com/embed/StqNCvQHJnM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Well, if anyone could be cool enough to document the Ann Arbor forefathers of punk, it’s Jim Jarmusch. The closest thing to a rock star in American cinema, Jarmusch—a lifelong outside-the-system filmmaker who often casts musicians in his movies—has a deep affinity for the subculture The Stooges helped usher in. It’s noticeable even in films of his that outwardly have nothing to do with music, like the natty comic nihilism of his period Western \u003cem>Dead Man\u003c/em>, but particularly in the ones that do. Jarmusch’s \u003cem>Only Lovers Left Alive\u003c/em>, in which Tom Hiddleston played a reclusive Detroit vampire who’s released centuries’ worth of compositions under famous names, might as well have been an alternative Iggy Pop history: Both men share Michigan ties, long hair, an under-appreciated role in the development of popular music, and the leathery skin and twisty bone structures of the undead.\u003c/p>\n\u003cp>In \u003cem>Gimme Danger\u003c/em>, Jarmusch makes the canny decision to identify Iggy by his birth name, Jim Osterberg, which has the effect of stripping away the artificiality that often plagues rock-docs of this sort. In fact, Jarmusch’s greatest accomplishment here may be that his film looks and feels just as raggedy as the band itself. Title cards in rock-poster font announce major chapters (“Stooges to L.A.!!”), while stories from the bandmates themselves, via interviews largely conducted in laundry rooms and other “undisclosed locations,” are illustrated with jerky animated sequences that could be lunchroom doodles.\u003c/p>\n\u003cfigure id=\"attachment_12286186\" class=\"wp-caption aligncenter\" style=\"max-width: 948px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/gimme1.jpg\" alt=\"Iggy Pop and the Stooges.\" width=\"948\" height=\"648\" class=\"size-full wp-image-12286186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1.jpg 948w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-520x355.jpg 520w\" sizes=\"(max-width: 948px) 100vw, 948px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop and the Stooges. \u003ccite>(courtesy Amazon Studios/Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movie opens with the band’s 1973 flameout, brought on by drug abuse and backstage violence. It then jumps back to their already-rickety 1967 beginnings, when Osterberg, along with brothers Ron and Scott Asheton (guitar, drums) and novice musician Dave Alexander (bass), were making up their dirty, primitive sound as they went along, landing a record deal due to their association with the much buzzier MC5. Jarmusch could be arguing that the band’s entire trajectory was its own kind of flameout—one deliberately done for spectacle, like a stuntman’s controlled crash. From the beginning, the band’s nasty, antagonistic tendencies had as much potential to finish them off prematurely as they did to secure their legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where did all that, err, raw power come from? Osterberg himself name-checks early influences for his onstage behavior, including the kids’ clown Soupy Sales, and it was Howdy Doody’s request for his viewers to keep their letters to him short that led to the naked simplicity of Stooges lyrics like “Last year I was 21 / I didn’t have a lot of fun.” The band stayed apolitical even as contemporaries dug into the antiwar movement, a choice that in Osterberg’s telling seems to have been born as much out of sheer apathy as anything else, but nevertheless seems to have freed them to make fools out of themselves. Not that they wouldn’t have done that, anyway.\u003c/p>\n\u003cfigure id=\"attachment_12286188\" class=\"wp-caption aligncenter\" style=\"max-width: 503px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/gimme3.jpg\" alt=\"Iggy Pop and the Stooges.\" width=\"503\" height=\"355\" class=\"size-full wp-image-12286188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3.jpg 503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-375x265.jpg 375w\" sizes=\"(max-width: 503px) 100vw, 503px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop and the Stooges. \u003ccite>(Courtesy Amazon Studios/Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film tells the story almost entirely through The Stooges’ own words, including the now-deceased Ashetons (archival footage for Ron, new interviews with Scott recorded before his 2014 death). A side plot allows for a fun comeback narrative involving guitarist James Williamson, who joined the band for the \u003cem>Raw Power\u003c/em> sessions in 1973 but retreated to a career in Silicon Valley in the intervening years, until Osterberg called him out of the blue to join the reunion tour in the mid-2000s. But even as he drags his veritable encyclopedia into a largely self-indulgent second hour, Jarmusch still leaves things off the table; more live footage of Osterberg in full vampire mode surely would have made his case for musical mischief better than the 69-year-old’s overly heady modern-day recollections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever nebulous value defines “cool” at the end of the day, the hands-down coolest thing about \u003cem>Gimme Danger\u003c/em> is seeing how a weird, self-described “trailer park kid” from the outskirts of Ann Arbor, working with wildly differing levels of musical talent, could influence generations’ worth of the most prominent names in rock. By this value alone, The Stooges may be the biggest secret success story in music. \u003cem>Gimme Danger\u003c/em> preserves their legacy better than any fan might have dared hope: by showing how the “poor people,” imperfections and all, could shock the world through sheer force of will.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>They’re officially the coolest kids to come out of Forest Hills High in Queens, N.Y., and that’s saying something. The street where the Ramones — Joey, Johnny, Dee Dee and Tommy — went to high school is now named for them, as they beat out other former students such as Burt Bacharach, Paul Simon and Art Garfunkel.\u003c/p>\n\u003cp>It’s a natural fit for a band that personified street-tough punk rock to have a street named for it — and the band now has two in New York City alone. The new one’s at 67th Ave. and 110th, where hundreds of fans gathered for a renaming ceremony Sunday. Already on the map: Joey Ramone Place on the Lower East Side, near the former home of the CBGB club.\u003c/p>\n\u003cp>For NPR’s Newscast unit, \u003ca href=\"http://allysonmccabe.com/\" target=\"_blank\" rel=\"noopener\">Allyson Mccabe\u003c/a> reports from today’s dedication ceremony in New York:\u003c/p>\n\u003cblockquote>\n\u003cp>“Mickey Leigh, brother of the late Joey Ramone, led the effort to commemorate the band’s origins. Although all of the Ramones’ original members have passed on, among those in attendance today were the Ramones’ former manager, Danny Fields, and the band’s long-time tour manager, Monte Melnick. Melnick, also a Forest Hills High alumnus, says the band’s legacy can be described as succinctly as their songs.\u003c/p>\n\u003cp>” ‘They did what they could with what they had, which was their music. That’s the Ramones way.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>To appreciate their feat of having their old high school’s street named for them, consider that \u003ca href=\"https://en.wikipedia.org/wiki/Forest_Hills_High_School_(New_York)#Notable_alumni\" target=\"_blank\" rel=\"noopener\">other former students\u003c/a> included Bob Keeshan (who portrayed Captain Kangaroo), Radioactive Records founder and music promoter Gary Kurfirst, and current U.S. Treasury Secretary Jack Lew.\u003c/p>\n\u003cp>Another famous product of the Forest Hills neighborhood was Peter Parker, a.k.a. Spiderman, whose Midtown High School is believed to have been based on Forest Hills High.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In honor of Halloween, here’s one of the Ramones’ later hits: “Pet Sematary” — as in “I don’t wanna be buried in a ….”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=F3J0iwwsq-w\u003c/p>\n\u003cp>But if you’re thirsty for the punk-rock edge that the Ramones were famous for, it’s best to check out their London concert from 1977: \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Sp3zaeOyL7Q\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=The+Ramones+Way%3A+Street+At+Rockers%27+High+School+Is+Renamed+For+Band&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>They’re officially the coolest kids to come out of Forest Hills High in Queens, N.Y., and that’s saying something. The street where the Ramones — Joey, Johnny, Dee Dee and Tommy — went to high school is now named for them, as they beat out other former students such as Burt Bacharach, Paul Simon and Art Garfunkel.\u003c/p>\n\u003cp>It’s a natural fit for a band that personified street-tough punk rock to have a street named for it — and the band now has two in New York City alone. The new one’s at 67th Ave. and 110th, where hundreds of fans gathered for a renaming ceremony Sunday. Already on the map: Joey Ramone Place on the Lower East Side, near the former home of the CBGB club.\u003c/p>\n\u003cp>For NPR’s Newscast unit, \u003ca href=\"http://allysonmccabe.com/\" target=\"_blank\" rel=\"noopener\">Allyson Mccabe\u003c/a> reports from today’s dedication ceremony in New York:\u003c/p>\n\u003cblockquote>\n\u003cp>“Mickey Leigh, brother of the late Joey Ramone, led the effort to commemorate the band’s origins. Although all of the Ramones’ original members have passed on, among those in attendance today were the Ramones’ former manager, Danny Fields, and the band’s long-time tour manager, Monte Melnick. Melnick, also a Forest Hills High alumnus, says the band’s legacy can be described as succinctly as their songs.\u003c/p>\n\u003cp>” ‘They did what they could with what they had, which was their music. That’s the Ramones way.'”\u003c/p>\n\u003c/blockquote>\n\u003cp>To appreciate their feat of having their old high school’s street named for them, consider that \u003ca href=\"https://en.wikipedia.org/wiki/Forest_Hills_High_School_(New_York)#Notable_alumni\" target=\"_blank\" rel=\"noopener\">other former students\u003c/a> included Bob Keeshan (who portrayed Captain Kangaroo), Radioactive Records founder and music promoter Gary Kurfirst, and current U.S. Treasury Secretary Jack Lew.\u003c/p>\n\u003cp>Another famous product of the Forest Hills neighborhood was Peter Parker, a.k.a. Spiderman, whose Midtown High School is believed to have been based on Forest Hills High.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In honor of Halloween, here’s one of the Ramones’ later hits: “Pet Sematary” — as in “I don’t wanna be buried in a ….”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/F3J0iwwsq-w'\n title='//www.youtube.com/embed/F3J0iwwsq-w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But if you’re thirsty for the punk-rock edge that the Ramones were famous for, it’s best to check out their London concert from 1977: \u003c/p>\n\u003cp>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Sp3zaeOyL7Q'\n title='//www.youtube.com/embed/Sp3zaeOyL7Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\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=The+Ramones+Way%3A+Street+At+Rockers%27+High+School+Is+Renamed+For+Band&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The landscape is all too familiar: Junkies, dealers, prostitution, poverty, and, here and there, spasms of violence. But \u003cem>Moonlight\u003c/em>, an incandescent second feature from Barry Jenkins (\u003cem>Medicine for Melancholy\u003c/em>), is a “black” movie more by way of Charles Burnett than John Singleton (\u003cem>Boyz n the Hood\u003c/em>) or the Hughes brothers (\u003cem>Menace II Society\u003c/em>). Adapted by Jenkins from a story by playwright Tarell Alvin McCraney and set in the down-at-heel Miami neighborhood where both men grew up, \u003cem>Moonlight\u003c/em> is an elegiac mood piece achingly reminiscent of \u003cem>Killer of Sheep\u003c/em>, Burnett’s 1978 masterpiece about a Los Angeles slaughterhouse worker. Spread over three leisurely chapters, the movie beams a passionately subjective gaze into the heart of a boy named Chiron, who’s played by three soulful actors as he grows into manhood, blindly searching for identity and safety under damaging conditions. By the end, you may long for a fourth chapter.\u003c/p>\n\u003cp>https://youtu.be/9NJj12tJzqc\u003c/p>\n\u003cp>Bullied at school and bereft of adult protection, Chiron, played as a little boy by Alex Hibbert, loves his crack-addicted mother (Naomie Harris). Knowing her limits, though, the youngster hesitantly places his trust in a kindly couple played by Mahershala Ali and R&B performer Janelle Monáe, who’s tamped herself down into a steady nurturer. The two provide him with a second home and the parenting he desperately needs. That one of them happens also to be a local drug kingpin is significant. Jenkins is a close but forgiving observer of human complication. Neither Chiron nor any of the people who orbit him as he grows into adolescence falls neatly on the side of good or evil: Not his mother or his mentor, and certainly not his far less inhibited only friend, Kevin (Jharrel Jerome), who grasps Chiron’s emerging sexuality more clearly than he does himself—and then, under duress, betrays him.\u003c/p>\n\u003cp>Small wonder that Chiron, now a skinny teenager intelligently underplayed by Ashton Sanders, has the habit of wariness down. A terrible loneliness rises from the boy. He’s still being hassled, which he bears with a sullen stoicism that threatens to boil over any minute. When it does, the consequences he suffers seem poised to shift the film into action mode. Emerging from a long spell in prison, the adult Chiron (Trevante Rhodes) is unrecognizable. Toned and muscled, he now goes by Black, drives a dealer’s limo and wears a gold chain, and carries himself with a taciturn assurance learned from the dealer who took him in as a frightened child.\u003c/p>\n\u003cp>Black might look like The Man, but Jenkins doesn’t go there. Instead, he sustains his slow externalization of the inner life of a man who may look as though he has it together, yet still reflexively hides from himself and others. Chiron’s despair and his tenuous hope are filtered through a boldly eclectic soundtrack and a lyrical sense of place. Liberty City appears as a site of cinder-blocked blight, tempered by the consoling beauty of the shimmering beach at night, where the teenage Chiron is given a taste of the man he might become.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Toward the end of \u003cem>Moonlight\u003c/em>, Chiron gets a phone call from Kevin, the friend he hasn’t heard from in years, with good reason. He thinks he’s getting one kind of signal, but when he shows up unannounced at the diner where Kevin works, their reunion plays out quite differently in a delicately realized scene with a wonderfully warm performance by André Holland. Dialogue is spare in \u003cem>Moonlight.\u003c/em> There’s little exposition and no big reveal in which a lost boy smites his forehead and cries, “Dear Lord, I’m \u003cem>that\u003c/em> guy!” Instead, as the grief Chiron has kept at bay all his life gushes forth at long last, we see that the drama we’ve been watching all along is not just (not even, really) a coming-out story, but something at once more ambitious and more generous—an inquiry into masculinity itself. \u003c/p>\n\n",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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},
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
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