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"content": "\u003cp>Artist David Hockney is obsessed with looking. He looks and looks; and then, in his works, he makes \u003cem>us\u003c/em> see what \u003cem>he\u003c/em> sees.\u003c/p>\n\u003cp>The artist says looking and showing are as old as time. “I think the first person to draw an animal on a wall would have perhaps been watched by someone. And then, when he’d got the animal down, the person would’ve grunted or something, and said, ‘I’ve seen something like that.’ ”\u003c/p>\n\u003cp>At nearly 80 years old, Hockney is busier than ever: He’s the subject of a \u003ca href=\"http://www.imdb.com/title/tt4008606/?ref_=ref_ext_NYT\" target=\"_blank\" rel=\"noopener\">new documentary\u003c/a>; he has \u003ca href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/david-hockney\" target=\"_blank\" rel=\"noopener\">a big retrospective\u003c/a> in the works at Tate Britain; and he has a new book, \u003cem>A History of Pictures: From the Cave to the Computer Screen\u003c/em>.\u003c/p>\n\u003cp>Hockney believes making pictures is part of human DNA. “Very young people pick up a crayon and start to draw, don’t they? Very, very young people,” he says. ” … I think the idea of making pictures is deep within us.”\u003c/p>\n\u003cp>Today, swap crayons for smart phones and everyone’s making pictures. They may not be artistic, but technically they’re aces. “You can’t take a bad picture, really,” Hockney says. “You can’t take an underexposed picture; you can’t even take an out of focus picture now. My father’s pictures were — he used to take a lot of photographs and they were always a bit out of focus and underexposed. Always. And he died just before the automatic camera came in and the automatic focus. And he’d have been in his element then.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Picking Favorites\u003c/strong>\u003c/p>\n\u003cp>Hockney’s \u003cem>A History of Pictures\u003c/em> is chock-full of images — a few photos, but mostly reproductions of paintings he’s loved looking at over the years. His favorite is a quick pen and ink drawing Rembrandt made in 1656. (\u003ca href=\"http://www.britishmuseum.org/research/publications/online_research_catalogues/catalogue_image.aspx?objectId=765074&partId=1&orig=%2fresearch%2fpublications%2fonline_research_catalogues%2frussian_icons%2fcatalogue_of_russian_icons.aspx&sortBy=catNumber&numPages=10¤tPage=1&catalogueOnly=True&catparentPageId=27094&output=bibliography%2f!!%2fOR%2f!!%2f5806%2f!%2f%2f!%2fCatalogue+of+Drawings+by+Rembrandt+and+his+School+in+the+British+Museum%2f!%2f%2f!!%2f%2f!!!%2f&asset_id=18374001\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>) It shows a mother, a father and a sister teaching a little child to walk. The jot of a curve makes a shoulder; a flick of the brush shows the father squatting, encouraging the child. Hockney thinks it’s a virtuoso piece.\u003c/p>\n\u003cp>“You see the tenderness of the drawing, I think. But you also see … the marks that made the drawing as well,” he says. “I mean, you can look at the mother and see the little ragged dress she has on, but then you see the marks that were made to do this and how few there are.”\u003c/p>\n\u003cp>The drawing is minimal and universal. “Any person anywhere in the world has seen something like this and experienced it,” Hockney says.\u003c/p>\n\u003cp>In addition to Rembrandt, Hockney is crazy for Pablo Picasso (his hero) and Caravaggio. He credits the late 16th-century Italian painter with inventing Hollywood lighting. For example, Caravaggio’s 1599 painting \u003cem>Judith Beheading Holofernes\u003c/em>: “I mean, this is lighting that’s not natural,” he says. No sun could shine so brightly on Judith’s breast and then disappear to make such dark velvety shadows right behind her. Only movies can illuminate like that.\u003c/p>\n\u003cfigure id=\"attachment_12199182\" class=\"wp-caption aligncenter\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-798x600.jpg\" alt='Hockney says late 16th century Italian painter Caravaggio \"invented Hollywood lighting.\" Above is his 1599 work, \"Judith Beheading Holofernes.\"' width=\"798\" height=\"600\" class=\"size-medium wp-image-12199182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-1180x888.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-1920x1444.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-960x722.jpg 960w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Hockney says late 16th century Italian painter Caravaggio “invented Hollywood lighting.” Above is his 1599 work, “Judith Beheading Holofernes.” \u003ccite>(Photo: Galleria Nazionale d'Arte Antica, Barberini Palace, Rome/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“I Do Get A Deep Pleasure From Looking”\u003c/strong>\u003c/p>\n\u003cp>Light, and where it comes from, is every painter’s preoccupation. And for Hockney, light on water is a particular fascination. “Say a swimming pool: The water is transparent. How do you paint transparency?” he asks. “It’s always a nice problem to me. … Water in a swimming pool is transparent and it has reflections and things. That’s what [it’s] all about — reflections.”\u003c/p>\n\u003cp>Hockney is known for bright, flat paintings of Los Angeles and vivid English landscapes. His best-known painting — 1967’s \u003cem>A Bigger Splash\u003c/em> — shows a California swimming pool the moment after someone has jumped in. (\u003ca href=\"http://www.tate.org.uk/art/artworks/hockney-a-bigger-splash-t03254\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>) A tan diving board angles in from the bottom right and a lively white splash rises up from the aquamarine water.\u003c/p>\n\u003cp>“I spent longer on the splash than on any other thing in the painting,” Hockney says. “I spent about a week painting it because it’s painted with small brushes. … I mean I didn’t want to just take a brush and splash it like that. I wanted to paint it slowly, and I thought, \u003cem>Then it contradicts the splash, really\u003c/em>.”\u003c/p>\n\u003cp>So many of Hockney’s works are joyful. They feature sundrenched California scenes, British woodlands brimming with fuchsia and neon-green trees, the Grand Canyon in vivid oranges. (When he showed the canyon pieces in London, he put big mirrors in the gallery corners to add dimension to the paintings.)\u003c/p>\n\u003cp>Hockney says the first thing he looks at in anyone’s painting is the surface, “the paint itself and so on. And then you might then see a figure; then you might see something else. But I think, first of all, you see the surface.” It’s a painter’s way of looking. Someone else might look first at the pear, the face, the horse — but not Hockney.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That artist believes painting can change the world. In the midst of all our miseries, he says, art lets us see the world as beautiful, thrilling and mysterious. “I do get a deep pleasure from looking,” he says. “I mean, I can look at a little puddle on a road in Yorkshire and just have the rain falling on it and think it’s marvelous. … I see the world as very beautiful.” \u003c/p>\n\u003cfigure id=\"attachment_12199183\" class=\"wp-caption aligncenter\" style=\"max-width: 717px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-717x600.jpg\" alt='Hockney painted \"Self-Portrait with Blue Guitar\" in 1977.' width=\"717\" height=\"600\" class=\"size-medium wp-image-12199183\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-717x600.jpg 717w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-400x335.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-768x643.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-1180x987.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-1920x1607.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-960x803.jpg 960w\" sizes=\"(max-width: 717px) 100vw, 717px\">\u003cfigcaption class=\"wp-caption-text\">Hockney painted “Self-Portrait with Blue Guitar” in 1977. \u003ccite>(Photo: Richard Schmidt/Museum of Modern Art, Ludwig Foundation, Vienna/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=Artist+David+Hockney+Says+The+Drive+To+Create+Pictures+%27Is+Deep+Within+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Artist David Hockney is obsessed with looking. He looks and looks; and then, in his works, he makes \u003cem>us\u003c/em> see what \u003cem>he\u003c/em> sees.\u003c/p>\n\u003cp>The artist says looking and showing are as old as time. “I think the first person to draw an animal on a wall would have perhaps been watched by someone. And then, when he’d got the animal down, the person would’ve grunted or something, and said, ‘I’ve seen something like that.’ ”\u003c/p>\n\u003cp>At nearly 80 years old, Hockney is busier than ever: He’s the subject of a \u003ca href=\"http://www.imdb.com/title/tt4008606/?ref_=ref_ext_NYT\" target=\"_blank\" rel=\"noopener\">new documentary\u003c/a>; he has \u003ca href=\"http://www.tate.org.uk/whats-on/tate-britain/exhibition/david-hockney\" target=\"_blank\" rel=\"noopener\">a big retrospective\u003c/a> in the works at Tate Britain; and he has a new book, \u003cem>A History of Pictures: From the Cave to the Computer Screen\u003c/em>.\u003c/p>\n\u003cp>Hockney believes making pictures is part of human DNA. “Very young people pick up a crayon and start to draw, don’t they? Very, very young people,” he says. ” … I think the idea of making pictures is deep within us.”\u003c/p>\n\u003cp>Today, swap crayons for smart phones and everyone’s making pictures. They may not be artistic, but technically they’re aces. “You can’t take a bad picture, really,” Hockney says. “You can’t take an underexposed picture; you can’t even take an out of focus picture now. My father’s pictures were — he used to take a lot of photographs and they were always a bit out of focus and underexposed. Always. And he died just before the automatic camera came in and the automatic focus. And he’d have been in his element then.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Picking Favorites\u003c/strong>\u003c/p>\n\u003cp>Hockney’s \u003cem>A History of Pictures\u003c/em> is chock-full of images — a few photos, but mostly reproductions of paintings he’s loved looking at over the years. His favorite is a quick pen and ink drawing Rembrandt made in 1656. (\u003ca href=\"http://www.britishmuseum.org/research/publications/online_research_catalogues/catalogue_image.aspx?objectId=765074&partId=1&orig=%2fresearch%2fpublications%2fonline_research_catalogues%2frussian_icons%2fcatalogue_of_russian_icons.aspx&sortBy=catNumber&numPages=10¤tPage=1&catalogueOnly=True&catparentPageId=27094&output=bibliography%2f!!%2fOR%2f!!%2f5806%2f!%2f%2f!%2fCatalogue+of+Drawings+by+Rembrandt+and+his+School+in+the+British+Museum%2f!%2f%2f!!%2f%2f!!!%2f&asset_id=18374001\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>) It shows a mother, a father and a sister teaching a little child to walk. The jot of a curve makes a shoulder; a flick of the brush shows the father squatting, encouraging the child. Hockney thinks it’s a virtuoso piece.\u003c/p>\n\u003cp>“You see the tenderness of the drawing, I think. But you also see … the marks that made the drawing as well,” he says. “I mean, you can look at the mother and see the little ragged dress she has on, but then you see the marks that were made to do this and how few there are.”\u003c/p>\n\u003cp>The drawing is minimal and universal. “Any person anywhere in the world has seen something like this and experienced it,” Hockney says.\u003c/p>\n\u003cp>In addition to Rembrandt, Hockney is crazy for Pablo Picasso (his hero) and Caravaggio. He credits the late 16th-century Italian painter with inventing Hollywood lighting. For example, Caravaggio’s 1599 painting \u003cem>Judith Beheading Holofernes\u003c/em>: “I mean, this is lighting that’s not natural,” he says. No sun could shine so brightly on Judith’s breast and then disappear to make such dark velvety shadows right behind her. Only movies can illuminate like that.\u003c/p>\n\u003cfigure id=\"attachment_12199182\" class=\"wp-caption aligncenter\" style=\"max-width: 798px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-798x600.jpg\" alt='Hockney says late 16th century Italian painter Caravaggio \"invented Hollywood lighting.\" Above is his 1599 work, \"Judith Beheading Holofernes.\"' width=\"798\" height=\"600\" class=\"size-medium wp-image-12199182\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-798x600.jpg 798w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-400x301.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-768x578.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-1180x888.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-1920x1444.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-62-caravaggio-judith-beheading-holofernes-1599_enl-3aeb1b5bf5fe00f9baed71cb0103c126531c4646-960x722.jpg 960w\" sizes=\"(max-width: 798px) 100vw, 798px\">\u003cfigcaption class=\"wp-caption-text\">Hockney says late 16th century Italian painter Caravaggio “invented Hollywood lighting.” Above is his 1599 work, “Judith Beheading Holofernes.” \u003ccite>(Photo: Galleria Nazionale d'Arte Antica, Barberini Palace, Rome/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>“I Do Get A Deep Pleasure From Looking”\u003c/strong>\u003c/p>\n\u003cp>Light, and where it comes from, is every painter’s preoccupation. And for Hockney, light on water is a particular fascination. “Say a swimming pool: The water is transparent. How do you paint transparency?” he asks. “It’s always a nice problem to me. … Water in a swimming pool is transparent and it has reflections and things. That’s what [it’s] all about — reflections.”\u003c/p>\n\u003cp>Hockney is known for bright, flat paintings of Los Angeles and vivid English landscapes. His best-known painting — 1967’s \u003cem>A Bigger Splash\u003c/em> — shows a California swimming pool the moment after someone has jumped in. (\u003ca href=\"http://www.tate.org.uk/art/artworks/hockney-a-bigger-splash-t03254\" target=\"_blank\" rel=\"noopener\">You can see it here.\u003c/a>) A tan diving board angles in from the bottom right and a lively white splash rises up from the aquamarine water.\u003c/p>\n\u003cp>“I spent longer on the splash than on any other thing in the painting,” Hockney says. “I spent about a week painting it because it’s painted with small brushes. … I mean I didn’t want to just take a brush and splash it like that. I wanted to paint it slowly, and I thought, \u003cem>Then it contradicts the splash, really\u003c/em>.”\u003c/p>\n\u003cp>So many of Hockney’s works are joyful. They feature sundrenched California scenes, British woodlands brimming with fuchsia and neon-green trees, the Grand Canyon in vivid oranges. (When he showed the canyon pieces in London, he put big mirrors in the gallery corners to add dimension to the paintings.)\u003c/p>\n\u003cp>Hockney says the first thing he looks at in anyone’s painting is the surface, “the paint itself and so on. And then you might then see a figure; then you might see something else. But I think, first of all, you see the surface.” It’s a painter’s way of looking. Someone else might look first at the pear, the face, the horse — but not Hockney.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That artist believes painting can change the world. In the midst of all our miseries, he says, art lets us see the world as beautiful, thrilling and mysterious. “I do get a deep pleasure from looking,” he says. “I mean, I can look at a little puddle on a road in Yorkshire and just have the rain falling on it and think it’s marvelous. … I see the world as very beautiful.” \u003c/p>\n\u003cfigure id=\"attachment_12199183\" class=\"wp-caption aligncenter\" style=\"max-width: 717px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-717x600.jpg\" alt='Hockney painted \"Self-Portrait with Blue Guitar\" in 1977.' width=\"717\" height=\"600\" class=\"size-medium wp-image-12199183\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-717x600.jpg 717w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-400x335.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-768x643.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-1180x987.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-1920x1607.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/pg-6-david-hockney-self-portrait-with-blue-guitar-1977_enl-e15bf7bf26d64dd2714c6f2db41fe64108e9345e-960x803.jpg 960w\" sizes=\"(max-width: 717px) 100vw, 717px\">\u003cfigcaption class=\"wp-caption-text\">Hockney painted “Self-Portrait with Blue Guitar” in 1977. \u003ccite>(Photo: Richard Schmidt/Museum of Modern Art, Ludwig Foundation, Vienna/Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\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=Artist+David+Hockney+Says+The+Drive+To+Create+Pictures+%27Is+Deep+Within+Us%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a> has won the 2016 Nobel Prize in literature. The prolific musician is the first Nobel winner to have forged a career primarily as a singer-songwriter. What’s more, he’s also the first American to have won the prize in more than two decades. Not since novelist Toni Morrison won in 1993 has an American claimed the prize.\u003c/p>\n\u003cp>Dylan earned the prize “for having created new poetic expressions within the great American song tradition,” according to the citation by the Swedish Academy, the committee that annually decides the recipient of the Nobel Prize. The academy’s permanent secretary, Sara Danius, announced the news Thursday.\u003c/p>\n\u003cp>The win comes as something of a shock. As usual, the Swedish Academy did not announce a shortlist of nominees, leaving the betting markets to their best guesses. And while Dylan has enjoyed perennial favor as an outside shot for the award, the prospect that the musician would be the one to break the Americans’ long dry spell was \u003ca href=\"https://newrepublic.com/article/137496/will-win-2016-nobel-prize-literature\">regarded as far-fetched\u003c/a> — not least because he made his career foremost on the stage, not the printed page.\u003c/p>\n\u003cp>Yet few would argue Dylan has been anything but influential, both in the U.S. and beyond its borders. The prolific singer, songwriter and multi-instrumentalist has produced dozens of albums, including \u003cem>The Freewheelin’ Bob Dylan\u003c/em>, \u003cem>Highway 61 Revisited\u003c/em> and \u003cem>Blood on the Tracks\u003c/em>. His track “Like a Rolling Stone” has taken on mythic standing in the decades since its release; many, including Dylan himself, have pointed to it as emblematic of \u003ca href=\"http://www.npr.org/2000/11/09/1113686/like-a-rolling-stone\">a sea change\u003c/a> in American music.\u003c/p>\n\u003cp>“Tin Pan Alley is gone,” Dylan proclaimed in 1985, referring the dominant conventions established by music publishers of the early 20th century. “I put an end to it. People can record their own songs now.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Dylan, who was born Robert Allen Zimmerman in 1941, “has the status of an icon,” the Swedish Academy wrote in a \u003ca href=\"https://www.nobelprize.org/nobel_prizes/literature/laureates/2016/bio-bibl.pdf\">biographical note\u003c/a>. “His influence on contemporary music is profound, and he is the object of a steady stream of secondary literature.”\u003c/p>\n\u003cp>In an interview following the announcement, Danius elaborated on the Swedish Academy’s decision: “He is a great poet in the English-speaking tradition, and he is a wonderful sampler — a very original sampler,” Danius explained. “For 54 years now he has been at it and reinventing himself, constantly creating a new identity.”\u003c/p>\n\u003cp>And for his work, he has been amply recognized by critical community. Dylan has won Grammys, an Academy Award, a Golden Globe and a Medal of Freedom, the highest civilian honor in the U.S. Now, to that trove of honors Dylan has added a Nobel.\u003c/p>\n\u003cp>The Nobel Prize in literature has been awarded since 1901 to writers who have produced “the most outstanding work in an ideal direction.” In that time, 109 prizes have been distributed to 113 writers. This year, the prize carries with it a purse of approximately $900,000 and, as usual, inclusion on literature’s most illustrious list — the pantheon of Nobel winners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 75-year-old artist will receive his award in Stockholm on Dec. 10.\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=Bob+Dylan%2C+Titan+Of+American+Music%2C+Wins+2016+Nobel+Prize+In+Literature&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://www.npr.org/artists/15193203/bob-dylan\">Bob Dylan\u003c/a> has won the 2016 Nobel Prize in literature. The prolific musician is the first Nobel winner to have forged a career primarily as a singer-songwriter. What’s more, he’s also the first American to have won the prize in more than two decades. Not since novelist Toni Morrison won in 1993 has an American claimed the prize.\u003c/p>\n\u003cp>Dylan earned the prize “for having created new poetic expressions within the great American song tradition,” according to the citation by the Swedish Academy, the committee that annually decides the recipient of the Nobel Prize. The academy’s permanent secretary, Sara Danius, announced the news Thursday.\u003c/p>\n\u003cp>The win comes as something of a shock. As usual, the Swedish Academy did not announce a shortlist of nominees, leaving the betting markets to their best guesses. And while Dylan has enjoyed perennial favor as an outside shot for the award, the prospect that the musician would be the one to break the Americans’ long dry spell was \u003ca href=\"https://newrepublic.com/article/137496/will-win-2016-nobel-prize-literature\">regarded as far-fetched\u003c/a> — not least because he made his career foremost on the stage, not the printed page.\u003c/p>\n\u003cp>Yet few would argue Dylan has been anything but influential, both in the U.S. and beyond its borders. The prolific singer, songwriter and multi-instrumentalist has produced dozens of albums, including \u003cem>The Freewheelin’ Bob Dylan\u003c/em>, \u003cem>Highway 61 Revisited\u003c/em> and \u003cem>Blood on the Tracks\u003c/em>. His track “Like a Rolling Stone” has taken on mythic standing in the decades since its release; many, including Dylan himself, have pointed to it as emblematic of \u003ca href=\"http://www.npr.org/2000/11/09/1113686/like-a-rolling-stone\">a sea change\u003c/a> in American music.\u003c/p>\n\u003cp>“Tin Pan Alley is gone,” Dylan proclaimed in 1985, referring the dominant conventions established by music publishers of the early 20th century. “I put an end to it. People can record their own songs now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Dylan, who was born Robert Allen Zimmerman in 1941, “has the status of an icon,” the Swedish Academy wrote in a \u003ca href=\"https://www.nobelprize.org/nobel_prizes/literature/laureates/2016/bio-bibl.pdf\">biographical note\u003c/a>. “His influence on contemporary music is profound, and he is the object of a steady stream of secondary literature.”\u003c/p>\n\u003cp>In an interview following the announcement, Danius elaborated on the Swedish Academy’s decision: “He is a great poet in the English-speaking tradition, and he is a wonderful sampler — a very original sampler,” Danius explained. “For 54 years now he has been at it and reinventing himself, constantly creating a new identity.”\u003c/p>\n\u003cp>And for his work, he has been amply recognized by critical community. Dylan has won Grammys, an Academy Award, a Golden Globe and a Medal of Freedom, the highest civilian honor in the U.S. Now, to that trove of honors Dylan has added a Nobel.\u003c/p>\n\u003cp>The Nobel Prize in literature has been awarded since 1901 to writers who have produced “the most outstanding work in an ideal direction.” In that time, 109 prizes have been distributed to 113 writers. This year, the prize carries with it a purse of approximately $900,000 and, as usual, inclusion on literature’s most illustrious list — the pantheon of Nobel winners.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The 75-year-old artist will receive his award in Stockholm on Dec. 10.\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=Bob+Dylan%2C+Titan+Of+American+Music%2C+Wins+2016+Nobel+Prize+In+Literature&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>On Wednesday, Amazon announced the debut of an on-demand music-streaming service called Amazon Music Unlimited. With a subscription model like Spotify and Apple Music, Amazon will charge standard subscribers $10 per month; for Amazon Prime subscribers, just $8 a month; and for users of its Echo devices, only $4 a month.\u003c/p>\n\u003cp>Amazon has been a first-stop destination for serious music fans wanting to buy physical albums, especially as brick-and-mortar music retailers’ fortunes turned — in part because of the rise of Amazon. In more recent memory, however, Amazon’s grip on the market has been challenged, first by download services like iTunes and then by streaming platforms like Spotify, YouTube and Apple Music.\u003c/p>\n\u003cp>The \u003cem>New York Times\u003c/em> reported this morning that Amazon’s unlimited service will offer \u003ca href=\"http://www.nytimes.com/2016/10/12/business/amazon-music-apple-spotify.html\" target=\"_blank\" rel=\"noopener\">“tens of millions”\u003c/a> of tracks on-demand, which will make it a much more reliable platform for music fans than its previous, \u003ca href=\"http://www.npr.org/sections/therecord/2015/06/04/411963624/why-cant-streaming-services-get-classical-music-right\" target=\"_blank\" rel=\"noopener\">playlist-driven\u003c/a> Prime Music offerings. That service included only 2 million songs.\u003c/p>\n\u003cp>The $8 price point for Amazon Prime users could have been enough to trigger a price war between existing subscription services. Previously, record labels have been \u003ca href=\"http://www.nytimes.com/2015/03/26/technology/apple-and-beats-developing-streaming-music-service-to-rival-spotify.html\">unwilling\u003c/a> to lower their licensing costs, which meant that all the competing ad-free services were stuck at about $10 per month.\u003c/p>\n\u003cp>But Amazon is sweetening the deal even more for owners of its Echo system, a speaker and voice-controlled household computer. For Echo users, the monthly price of Amazon Music Unlimited is just $4 (though it is usable on just one Echo device). Echo is already compatible with other streaming services like Spotify, iHeartRadio and Pandora, as well as with speakers made by other companies like Sonos. However, Amazon Music Unlimited has additional benefits for Echo users, including the ability to request certain songs by lyrics or incomplete song titles.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That Echo tie-in is key. The Amazon Music Unlimited announcement seems to be more than a bid to reclaim market share in music — it’s a way of making the Echo a more central gadget in consumers’ everyday lives. Now, along with resetting thermostats (on purpose or \u003ca href=\"http://www.npr.org/2016/03/06/469383361/listen-up-your-ai-assistant-goes-crazy-for-npr-too\" target=\"_blank\" rel=\"noopener\">inadvertently\u003c/a>), playing the news headlines from NPR, reordering detergent and starting a car, the Echo will pull up some tunes on Amazon’s own service. For the smart-home savvy, a music streaming feature might be just a fun add-on, but for other music services competing for consumers’ monthly subscription dollars, this new Amazon foray could be a game-changer. \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=Amazon+Seeks+To+Recapture+Music+Fans+With+New+Streaming+Service&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>On Wednesday, Amazon announced the debut of an on-demand music-streaming service called Amazon Music Unlimited. With a subscription model like Spotify and Apple Music, Amazon will charge standard subscribers $10 per month; for Amazon Prime subscribers, just $8 a month; and for users of its Echo devices, only $4 a month.\u003c/p>\n\u003cp>Amazon has been a first-stop destination for serious music fans wanting to buy physical albums, especially as brick-and-mortar music retailers’ fortunes turned — in part because of the rise of Amazon. In more recent memory, however, Amazon’s grip on the market has been challenged, first by download services like iTunes and then by streaming platforms like Spotify, YouTube and Apple Music.\u003c/p>\n\u003cp>The \u003cem>New York Times\u003c/em> reported this morning that Amazon’s unlimited service will offer \u003ca href=\"http://www.nytimes.com/2016/10/12/business/amazon-music-apple-spotify.html\" target=\"_blank\" rel=\"noopener\">“tens of millions”\u003c/a> of tracks on-demand, which will make it a much more reliable platform for music fans than its previous, \u003ca href=\"http://www.npr.org/sections/therecord/2015/06/04/411963624/why-cant-streaming-services-get-classical-music-right\" target=\"_blank\" rel=\"noopener\">playlist-driven\u003c/a> Prime Music offerings. That service included only 2 million songs.\u003c/p>\n\u003cp>The $8 price point for Amazon Prime users could have been enough to trigger a price war between existing subscription services. Previously, record labels have been \u003ca href=\"http://www.nytimes.com/2015/03/26/technology/apple-and-beats-developing-streaming-music-service-to-rival-spotify.html\">unwilling\u003c/a> to lower their licensing costs, which meant that all the competing ad-free services were stuck at about $10 per month.\u003c/p>\n\u003cp>But Amazon is sweetening the deal even more for owners of its Echo system, a speaker and voice-controlled household computer. For Echo users, the monthly price of Amazon Music Unlimited is just $4 (though it is usable on just one Echo device). Echo is already compatible with other streaming services like Spotify, iHeartRadio and Pandora, as well as with speakers made by other companies like Sonos. However, Amazon Music Unlimited has additional benefits for Echo users, including the ability to request certain songs by lyrics or incomplete song titles.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That Echo tie-in is key. The Amazon Music Unlimited announcement seems to be more than a bid to reclaim market share in music — it’s a way of making the Echo a more central gadget in consumers’ everyday lives. Now, along with resetting thermostats (on purpose or \u003ca href=\"http://www.npr.org/2016/03/06/469383361/listen-up-your-ai-assistant-goes-crazy-for-npr-too\" target=\"_blank\" rel=\"noopener\">inadvertently\u003c/a>), playing the news headlines from NPR, reordering detergent and starting a car, the Echo will pull up some tunes on Amazon’s own service. For the smart-home savvy, a music streaming feature might be just a fun add-on, but for other music services competing for consumers’ monthly subscription dollars, this new Amazon foray could be a game-changer. \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=Amazon+Seeks+To+Recapture+Music+Fans+With+New+Streaming+Service&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In theory, the two new movies dealing with America’s racial history ought to describe a cinematic straight line: Nate Parker’s provocatively titled drama \u003cem>The Birth of a Nation\u003c/em> imagines the events leading up to an 1831 slave revolt, while Ava DuVernay’s documentary, \u003cem>13th\u003c/em>, examines the legacy of the constitutional amendment that outlawed slavery. A matched set…yes?\u003c/p>\n\u003cp>In practice, the underlying social narrative is twisty, and the films intersect in complicated ways.\u003c/p>\n\u003cp>\u003cem>The Birth of a Nation\u003c/em> begins with a young and inquisitive 1820s slave who discovers almost as soon as he learns to read, that there will be limits to his reading.\u003c/p>\n\u003cp>“These books are for white folks,” the plantation’s mistress tells him. “They’re full of things your kind wouldn’t understand.”\u003c/p>\n\u003cp>What his “kind” would understand, she figures, is the Bible. And indeed, young Nat Turner takes to the Good Book as he grows up, and shares its teachings with his fellow slaves in sermons that interpret biblical passages about slavery (“submit yourselves to your masters”) in a light that pleases neighboring slaveholders.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nat’s master (Armie Hammer) realizes there’ll be profit in renting Nat out to preach. But as the comparatively well-treated Nat sees brutality in his travels, he starts to doubt that the Bible could endorse it, and his sermonizing changes in tone (“execute vengeance on the demonic nations, to bind their kings in chains”) as he decides God wants him to lead a slave revolt.\u003c/p>\n\u003cp>Filmmaker Nate Parker, who wrote, directed, produced and stars in \u003cem>The Birth of a Nation\u003c/em>, has been nurturing this passion project for the better part of a decade, and it shows in imagery that can turn oddly haunting even as the story lacerates — light streaming through slats in a barn, ripe cotton floating cloud-like in a field.\u003c/p>\n\u003cp>Parker’s directing style, though, while thoroughly accomplished for a first-timer, can sometimes feel over-emphatic, and as in-your-face as his script. He hammers home one slavery horror with a literal hammer, he leans far too hard on soaring strings, and his own performance is so central that it diminishes the surrounding characters.\u003c/p>\n\u003cp>All of which contributes to making \u003cem>The Birth of a Nation\u003c/em> feel more solid than shattering. Talk of Oscars would seem optimistic even if Parker didn’t have personal, off-screen controversies swirling around him. Still, it’s an impressive first feature.\u003c/p>\n\u003cfigure id=\"attachment_12174946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-800x450.jpg\" alt=\"Author Michelle Alexander in '13th.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12174946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc.jpg 1917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Michelle Alexander in ’13th.’ \u003ccite>(Photo: Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her documentary, \u003cem>13th\u003c/em>, Ava DuVernay cites the wording of the 13th amendment, which outlawed slavery and involuntary servitude “except as a punishment for crime,” and then forcefully argues that that loophole has been used for politics and for profit.\u003c/p>\n\u003cp>This will come as no surprise to those who’ve read Michelle Alexander’s 2010 bestseller, \u003cem>The New Jim Crow\u003c/em>, but DuVernay gives the argument enormous cinematic force.\u003c/p>\n\u003cp>She uses scenes from D.W. Griffith’s original \u003cem>The Birth of a Nation\u003c/em>, a 1915 epic whose cinematic brilliance is irrevocably tarnished by its racism, to establish how discriminatory attitudes were deliberately shaped after the end of slavery — blacks depicted as monsters, rapists, criminals. Also how, in an age of mass-incarceration, that characterization has helped turn prisons into this era’s plantations.\u003c/p>\n\u003cp>DuVernay uses a number of techniques to bring this argument alive on screen, none more effective than a surprisingly simple device: nearly every time someone utters the word “criminal” — whether the speaker is a president, a professor, neighbor, newscaster, anyone at all — the screen fills with the word “criminal” in huge block letters. The effect is to mark how often and how casually, criminality gets linked with black men in public discourse.\u003c/p>\n\u003cp>Another point made repeatedly: That the resulting incarceration of black men has been monetized, with black men put to work against their will. Think roadside chain gangs, or more recently, corporations helping “rehabilitate” inmates by paying them pennies to make sports uniforms. The movie’s list of companies that have benefited from cheap inmate labor is long, and damning.\u003c/p>\n\u003cp>That’s also true of its recounting of how the War on Drugs created imbalances after “separate but equal” was otherwise banned. Mandatory sentences identical for one ounce of crack cocaine (used mostly in inner cities), and 100 ounces of powdered cocaine (the drug of choice in white suburbs). It’s a policy now condemned not just by prison-reform activists, but by such unexpected voices as law-and-order advocates as Newt Gingrich.\u003c/p>\n\u003cfigure id=\"attachment_12174947\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-800x600.jpg\" alt=\"Newt Gingrich in '13th.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12174947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b.jpg 1438w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Newt Gingrich in ’13th.’\u003c/figcaption>\u003c/figure>\n\u003cp>Matching archival footage that’s hard to watch, with political pronouncements that scald, DuVernay brings the same force to \u003cem>13th\u003c/em>, that she did to her Martin Luther King drama, \u003cem>Selma\u003c/em>. Only this time, she’s mapping the twisty road we’ve traveled since the events depicted in \u003cem>The Birth of a Nation\u003c/em>.\u003c/p>\n\u003cp>“They called the end of slavery ‘Jubilee,’ we thought we were done then,” says lawyer/activist Van Jones. “And then you had a hundred years of Jim Crow, terror and lynching. Dr. King, Ella Jo Baker, Fanny Lou Hamer come on the scene. We get the bills passed, to vote, and then they break out the handcuffs.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A hundred eighty-five years after Nat Turner’s slave revolt, a century and a half after the 13th amendment, and still, laments this powerful documentary, a people in chains. \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=A+Man+And+An+Amendment+Are+Re-Examined+In+%27The+Birth+Of+A+Nation%27+And+%2713th%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In theory, the two new movies dealing with America’s racial history ought to describe a cinematic straight line: Nate Parker’s provocatively titled drama \u003cem>The Birth of a Nation\u003c/em> imagines the events leading up to an 1831 slave revolt, while Ava DuVernay’s documentary, \u003cem>13th\u003c/em>, examines the legacy of the constitutional amendment that outlawed slavery. A matched set…yes?\u003c/p>\n\u003cp>In practice, the underlying social narrative is twisty, and the films intersect in complicated ways.\u003c/p>\n\u003cp>\u003cem>The Birth of a Nation\u003c/em> begins with a young and inquisitive 1820s slave who discovers almost as soon as he learns to read, that there will be limits to his reading.\u003c/p>\n\u003cp>“These books are for white folks,” the plantation’s mistress tells him. “They’re full of things your kind wouldn’t understand.”\u003c/p>\n\u003cp>What his “kind” would understand, she figures, is the Bible. And indeed, young Nat Turner takes to the Good Book as he grows up, and shares its teachings with his fellow slaves in sermons that interpret biblical passages about slavery (“submit yourselves to your masters”) in a light that pleases neighboring slaveholders.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nat’s master (Armie Hammer) realizes there’ll be profit in renting Nat out to preach. But as the comparatively well-treated Nat sees brutality in his travels, he starts to doubt that the Bible could endorse it, and his sermonizing changes in tone (“execute vengeance on the demonic nations, to bind their kings in chains”) as he decides God wants him to lead a slave revolt.\u003c/p>\n\u003cp>Filmmaker Nate Parker, who wrote, directed, produced and stars in \u003cem>The Birth of a Nation\u003c/em>, has been nurturing this passion project for the better part of a decade, and it shows in imagery that can turn oddly haunting even as the story lacerates — light streaming through slats in a barn, ripe cotton floating cloud-like in a field.\u003c/p>\n\u003cp>Parker’s directing style, though, while thoroughly accomplished for a first-timer, can sometimes feel over-emphatic, and as in-your-face as his script. He hammers home one slavery horror with a literal hammer, he leans far too hard on soaring strings, and his own performance is so central that it diminishes the surrounding characters.\u003c/p>\n\u003cp>All of which contributes to making \u003cem>The Birth of a Nation\u003c/em> feel more solid than shattering. Talk of Oscars would seem optimistic even if Parker didn’t have personal, off-screen controversies swirling around him. Still, it’s an impressive first feature.\u003c/p>\n\u003cfigure id=\"attachment_12174946\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-800x450.jpg\" alt=\"Author Michelle Alexander in '13th.'\" width=\"800\" height=\"450\" class=\"size-medium wp-image-12174946\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/michelle-130000-copy_wide-2d04ee200a9477c5d3318922d089e701e44eb3dc.jpg 1917w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Author Michelle Alexander in ’13th.’ \u003ccite>(Photo: Courtesy of Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In her documentary, \u003cem>13th\u003c/em>, Ava DuVernay cites the wording of the 13th amendment, which outlawed slavery and involuntary servitude “except as a punishment for crime,” and then forcefully argues that that loophole has been used for politics and for profit.\u003c/p>\n\u003cp>This will come as no surprise to those who’ve read Michelle Alexander’s 2010 bestseller, \u003cem>The New Jim Crow\u003c/em>, but DuVernay gives the argument enormous cinematic force.\u003c/p>\n\u003cp>She uses scenes from D.W. Griffith’s original \u003cem>The Birth of a Nation\u003c/em>, a 1915 epic whose cinematic brilliance is irrevocably tarnished by its racism, to establish how discriminatory attitudes were deliberately shaped after the end of slavery — blacks depicted as monsters, rapists, criminals. Also how, in an age of mass-incarceration, that characterization has helped turn prisons into this era’s plantations.\u003c/p>\n\u003cp>DuVernay uses a number of techniques to bring this argument alive on screen, none more effective than a surprisingly simple device: nearly every time someone utters the word “criminal” — whether the speaker is a president, a professor, neighbor, newscaster, anyone at all — the screen fills with the word “criminal” in huge block letters. The effect is to mark how often and how casually, criminality gets linked with black men in public discourse.\u003c/p>\n\u003cp>Another point made repeatedly: That the resulting incarceration of black men has been monetized, with black men put to work against their will. Think roadside chain gangs, or more recently, corporations helping “rehabilitate” inmates by paying them pennies to make sports uniforms. The movie’s list of companies that have benefited from cheap inmate labor is long, and damning.\u003c/p>\n\u003cp>That’s also true of its recounting of how the War on Drugs created imbalances after “separate but equal” was otherwise banned. Mandatory sentences identical for one ounce of crack cocaine (used mostly in inner cities), and 100 ounces of powdered cocaine (the drug of choice in white suburbs). It’s a policy now condemned not just by prison-reform activists, but by such unexpected voices as law-and-order advocates as Newt Gingrich.\u003c/p>\n\u003cfigure id=\"attachment_12174947\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-800x600.jpg\" alt=\"Newt Gingrich in '13th.'\" width=\"800\" height=\"600\" class=\"size-medium wp-image-12174947\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-400x300.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-1180x885.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/newt-gingrich00-copy-497c6e7738a2fbd212b5cf044502c5c3a0e3434b.jpg 1438w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Newt Gingrich in ’13th.’\u003c/figcaption>\u003c/figure>\n\u003cp>Matching archival footage that’s hard to watch, with political pronouncements that scald, DuVernay brings the same force to \u003cem>13th\u003c/em>, that she did to her Martin Luther King drama, \u003cem>Selma\u003c/em>. Only this time, she’s mapping the twisty road we’ve traveled since the events depicted in \u003cem>The Birth of a Nation\u003c/em>.\u003c/p>\n\u003cp>“They called the end of slavery ‘Jubilee,’ we thought we were done then,” says lawyer/activist Van Jones. “And then you had a hundred years of Jim Crow, terror and lynching. Dr. King, Ella Jo Baker, Fanny Lou Hamer come on the scene. We get the bills passed, to vote, and then they break out the handcuffs.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>A hundred eighty-five years after Nat Turner’s slave revolt, a century and a half after the 13th amendment, and still, laments this powerful documentary, a people in chains. \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=A+Man+And+An+Amendment+Are+Re-Examined+In+%27The+Birth+Of+A+Nation%27+And+%2713th%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "With 'The Girl On The Train,' A Best-Selling Novel Jumps The Track",
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"content": "\u003cp>Based on the Paula Hawkins’ bestselling novel, \u003cem>The Girl on the Train\u003c/em> is a whodunit constructed through an ornate latticework of multiple narrators, temporal jumps, blackouts, constant misdirection, and out-and-out red herrings. There are a good four or five possible suspects, each waved at the audience like a red cape in front of a bull, with the lance awaiting on the other side. Perhaps it’s only fitting that a film about infidelity would rely on so many narrative cheats, but director Tate Taylor (\u003cem>The Help\u003c/em>) and his screenwriter, Erin Cressida Wilson, twist themselves out of the meaningful themes they’re attempting to develop.\u003c/p>\n\u003cp>Transplanting the action from England to New York, Taylor and Wilson have essentially made \u003cem>Rear Window\u003c/em> on rails, which is a sad testament to the pokiness of American commuter trains. En route from the suburbs to the city and back every day, Rachel (Emily Blunt) positions herself to gawk at the same upscale Westchester homes every day, imagining what might be going on inside. Nursing a water bottle filled with vodka, Rachel mingles bitter memories of her previous life with fantasies about the beautiful young woman she spots from the train, who surely appreciates all the blessings she lost.\u003c/p>\n\u003cp>Or not. It turns out that Megan (Haley Bennett), the object of her obsession, isn’t the least bit basking in suburban bliss. She feels tethered to a domestic life she never wanted, shelving her ambitions for the sake of her controlling husband Scott (Luke Evans) and a nanny job that summons painful revelations from her past. Megan’s resentment spills over to her employers, Tom (Justin Theroux) and Anna (Rebecca Ferguson), who have their own narratively convenient history, and into her therapy sessions with Kamal (Édgar Ramírez), who has trouble maintaining his professional distance. When Rachel steps off the train and intervenes in their lives, she gets knocked unconscious and becomes a prime suspect in a missing persons case.\u003c/p>\n\u003cp>The time between when Rachel loses consciousness and when she wakes up on her bathroom floor, bloodied and confused about what happened to her, recalls the recent HBO series \u003cem>The Night Of\u003c/em>, which is also about a suspect who blacks out during a period where a crime is committed. The question for both is the same: Is our hero capable of such heinous violence? \u003cem>The Night Of\u003c/em> allowed that question to linger even after revealing the answer, but \u003cem>The Girl on the Train\u003c/em> isn’t as interested in exploring the dark consequences of Rachel’s jealousy and rage. It’s too busy teasing out other scenarios for the sake of it.\u003c/p>\n\u003cp>Along with a touch of voyeuristic kink, \u003cem>The Girl on the Train\u003c/em> smuggles a potent motif about women wriggling under the expectations men have for them and how it can chip away at their ambitions, their self-esteem, and even their grip on reality. In that, it bears an unmistakable likeness to \u003cem>Gone Girl\u003c/em>, which shrewdly rebelled against the “cool girl” acquiescence that forces women to play roles that don’t necessarily suit them. But it isn’t as purposeful or provocative, because it never challenges our sympathy for Rachel or the extreme measures she’s compelled to take.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In many respects, \u003cem>The Girl on the Train\u003c/em> feels like one of the sexy thrillers that flooded the marketplace in the mid-’90s after \u003cem>Basic Instinct\u003c/em>, only with the tawdry kick of eroticism and violence classed up by a feminist theme and an overqualified cast. Beneath all that gloss, Blunt’s unvarnished performance channels Gena Rowlands as a woman-under-the-influence type, perched between righteousness and madness, coming to terms with painful truths about herself and the life she left behind. But like everyone else in the film, her character gets chewed up by the plot machinery, martyred to a mystery that isn’t worthy of her. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR.\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Based on the Paula Hawkins’ bestselling novel, \u003cem>The Girl on the Train\u003c/em> is a whodunit constructed through an ornate latticework of multiple narrators, temporal jumps, blackouts, constant misdirection, and out-and-out red herrings. There are a good four or five possible suspects, each waved at the audience like a red cape in front of a bull, with the lance awaiting on the other side. Perhaps it’s only fitting that a film about infidelity would rely on so many narrative cheats, but director Tate Taylor (\u003cem>The Help\u003c/em>) and his screenwriter, Erin Cressida Wilson, twist themselves out of the meaningful themes they’re attempting to develop.\u003c/p>\n\u003cp>Transplanting the action from England to New York, Taylor and Wilson have essentially made \u003cem>Rear Window\u003c/em> on rails, which is a sad testament to the pokiness of American commuter trains. En route from the suburbs to the city and back every day, Rachel (Emily Blunt) positions herself to gawk at the same upscale Westchester homes every day, imagining what might be going on inside. Nursing a water bottle filled with vodka, Rachel mingles bitter memories of her previous life with fantasies about the beautiful young woman she spots from the train, who surely appreciates all the blessings she lost.\u003c/p>\n\u003cp>Or not. It turns out that Megan (Haley Bennett), the object of her obsession, isn’t the least bit basking in suburban bliss. She feels tethered to a domestic life she never wanted, shelving her ambitions for the sake of her controlling husband Scott (Luke Evans) and a nanny job that summons painful revelations from her past. Megan’s resentment spills over to her employers, Tom (Justin Theroux) and Anna (Rebecca Ferguson), who have their own narratively convenient history, and into her therapy sessions with Kamal (Édgar Ramírez), who has trouble maintaining his professional distance. When Rachel steps off the train and intervenes in their lives, she gets knocked unconscious and becomes a prime suspect in a missing persons case.\u003c/p>\n\u003cp>The time between when Rachel loses consciousness and when she wakes up on her bathroom floor, bloodied and confused about what happened to her, recalls the recent HBO series \u003cem>The Night Of\u003c/em>, which is also about a suspect who blacks out during a period where a crime is committed. The question for both is the same: Is our hero capable of such heinous violence? \u003cem>The Night Of\u003c/em> allowed that question to linger even after revealing the answer, but \u003cem>The Girl on the Train\u003c/em> isn’t as interested in exploring the dark consequences of Rachel’s jealousy and rage. It’s too busy teasing out other scenarios for the sake of it.\u003c/p>\n\u003cp>Along with a touch of voyeuristic kink, \u003cem>The Girl on the Train\u003c/em> smuggles a potent motif about women wriggling under the expectations men have for them and how it can chip away at their ambitions, their self-esteem, and even their grip on reality. In that, it bears an unmistakable likeness to \u003cem>Gone Girl\u003c/em>, which shrewdly rebelled against the “cool girl” acquiescence that forces women to play roles that don’t necessarily suit them. But it isn’t as purposeful or provocative, because it never challenges our sympathy for Rachel or the extreme measures she’s compelled to take.\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>In many respects, \u003cem>The Girl on the Train\u003c/em> feels like one of the sexy thrillers that flooded the marketplace in the mid-’90s after \u003cem>Basic Instinct\u003c/em>, only with the tawdry kick of eroticism and violence classed up by a feminist theme and an overqualified cast. Beneath all that gloss, Blunt’s unvarnished performance channels Gena Rowlands as a woman-under-the-influence type, perched between righteousness and madness, coming to terms with painful truths about herself and the life she left behind. But like everyone else in the film, her character gets chewed up by the plot machinery, martyred to a mystery that isn’t worthy of her. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR.\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "These Are the 2016 National Book Award Finalists",
"headTitle": "These Are the 2016 National Book Award Finalists | KQED",
"content": "\u003cp>From \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/09/15/493918569/colson-whitehead-john-lewis-rita-dove-among-national-book-award-nominees\" target=\"_blank\" rel=\"noopener\">a group of 40\u003c/a>, the finalists for the National Book Awards have been whittled to just half that number. The National Book Foundation released its shortlists Thursday for its annual prize in four categories: \u003ca href=\"#fiction\">fiction\u003c/a>, \u003ca href=\"#nonfiction\">nonfiction\u003c/a>, \u003ca href=\"#poetry\">poetry\u003c/a> and \u003ca href=\"#ypl\">young people’s literature\u003c/a>.\u003c/p>\n\u003cp>Among the novelists, scholars, poets and illustrators listed below, some — such as \u003ca href=\"http://www.npr.org/2016/08/10/489341628/jacqueline-woodsons-new-novel-for-adults-has-its-roots-in-adolescence\" target=\"_blank\" rel=\"noopener\">Jacqueline Woodson\u003c/a>, \u003ca href=\"http://www.npr.org/2016/05/17/478384200/author-viet-thanh-nguyen-discusses-the-sympathizer-and-his-escape-from-vietnam\" target=\"_blank\" rel=\"noopener\">Viet Thanh Nguyen\u003c/a> and Rita Dove — are no strangers to literary laurels. Dove, a former U.S. poet laureate, brings the heft of three decades of poems — while Nguyen has racked up a raft of honors over a career much more brief (so far). Meanwhile, Woodson is now one step from returning to the stage she took in 2014, when \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/11/19/365288220/the-2014-national-book-awards\" target=\"_blank\" rel=\"noopener\">she won the National Book Award\u003c/a> for young people’s literature, for \u003ca href=\"http://www.npr.org/sections/codeswitch/2014/09/18/348992638/jacqueline-woodson-on-being-a-brown-girl-who-dreams\" target=\"_blank\" rel=\"noopener\">Brown Girl Dreaming\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Still, the lists feature more than just past awards-season favorites. \u003ca href=\"http://www.npr.org/2016/07/15/486208834/poets-take-cues-from-journalism-in-recent-collections\" target=\"_blank\" rel=\"noopener\">Solmaz Sharif\u003c/a>, a lecturer at Stanford, has earned the nod for her first poetry collection, while it’s Nicola Yoon’s second novel, \u003ca href=\"http://www.npr.org/2015/08/30/435500605/the-glimmering-sheen-of-a-wide-world-seen-from-inside-a-bubble\" target=\"_blank\" rel=\"noopener\">The Sun Is Also a Star\u003c/a>, that made this year’s shortlist for young people’s literature.\u003c/p>\n\u003cp>Beyond a medal, a statue and adoring gazes, the winning author in each category also receives $10,000. Winners for all four categories will be announced on Nov. 16 in New York City.\u003c/p>\n\u003cp>In the meantime, one winner has been decided already: \u003ca href=\"http://www.npr.org/2013/05/13/180880018/in-passage-caro-mines-lbjs-changing-political-roles\" target=\"_blank\" rel=\"noopener\">Robert A. Caro\u003c/a>, who has earned the medal for distinguished contribution to American letters — the National Book Awards’ version of a lifetime achievement honor. The Pulitzer- (and National Book Award- and National Book Critics Circle Award-) winning biographer will receive his award on the same night.\u003c/p>\n\u003chr>\n\u003ch3>\u003ca name=\"fiction\">\u003c/a>Fiction\u003c/h3>\n\u003cp>\u003ca href=\"http://www.npr.org/2016/03/13/470280400/-the-throwback-special-tackles-middle-age-manhood\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Chris Bachelder\u003c/strong>, The Throwback Special\u003c/a>\u003cem>\u003cbr>\u003c/em>\u003cstrong>Paulette Jiles\u003c/strong>,\u003cem> \u003cem>News of the World\u003c/em>\u003cbr>\u003c/em>\u003cstrong>Karan Mahajan\u003c/strong>,\u003cem> \u003cem>The Association of Small Bombs\u003c/em>\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2016/08/08/489168232/colson-whiteheads-underground-railroad-is-a-literal-train-to-freedom\" target=\"_blank\" rel=\"noopener\">Colson Whitehead\u003c/a>\u003c/strong>,\u003cem> \u003cem>\u003ca href=\"http://www.npr.org/2016/08/08/489168232/colson-whiteheads-underground-railroad-is-a-literal-train-to-freedom\" target=\"_blank\" rel=\"noopener\">The Underground Railroad\u003c/a>\u003cbr>\u003c/em>\u003c/em>\u003ca href=\"http://www.npr.org/2016/08/10/489341628/jacqueline-woodsons-new-novel-for-adults-has-its-roots-in-adolescence\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Jacqueline Woodson\u003c/strong>,\u003cem>\u003cem> \u003cem>Another Brooklyn\u003c/em>\u003c/em>\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003ca name=\"nonfiction\">\u003c/a>Nonfiction\u003c/h3>\n\u003cp>\u003cstrong>Arlie Russell Hochschild\u003c/strong>, \u003cem>Strangers in Their Own Land: Anger and Mourning on the American Right\u003cbr>\u003c/em>\u003cstrong>Ibram X. Kendi\u003c/strong>\u003cem>, \u003cem>Stamped from the Beginning: The Definitive History of Racist Ideas in America\u003c/em>\u003cbr>\u003c/em>\u003ca href=\"http://www.npr.org/2016/05/17/478384200/author-viet-thanh-nguyen-discusses-the-sympathizer-and-his-escape-from-vietnam\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Viet Thanh Nguyen\u003c/strong>, \u003cem>Nothing Ever Dies: Vietnam and the Memory of War\u003c/em>\u003c/a>\u003cbr>\u003ca href=\"http://www.npr.org/2016/04/17/471622218/horrors-pile-up-quietly-in-the-other-slavery\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Andrés Reséndez\u003c/strong>, \u003cem>The Other Slavery: The Uncovered Story of Indian Enslavement in America\u003c/em>\u003c/a>\u003cbr>\u003cstrong>Heather Ann Thompson\u003c/strong>, \u003cem>Blood in the Water: The Attica Prison Uprising of 1971 and Its Legacy\u003c/em>\u003c/p>\n\u003ch3>\u003ca name=\"poetry\">\u003c/a>Poetry\u003c/h3>\n\u003cp>\u003cstrong>Daniel Borzutzky\u003c/strong>,\u003cstrong> \u003c/strong>\u003cem>The Performance of Becoming Human\u003cbr>\u003c/em>\u003cstrong>Rita Dove\u003c/strong>,\u003cem> \u003cem>Collected Poems 1974 – 2004\u003c/em>\u003cbr>\u003c/em>\u003cstrong>Peter Gizzi\u003c/strong>,\u003cstrong> \u003c/strong>\u003cem>\u003cem>Archeophonics\u003c/em>\u003cbr>\u003c/em>\u003cstrong>Jay Hopler\u003c/strong>,\u003cstrong> \u003c/strong>\u003cem>\u003cem>The Abridged History of Rainfall\u003c/em>\u003cbr>\u003c/em>\u003ca href=\"http://www.npr.org/2016/07/15/486208834/poets-take-cues-from-journalism-in-recent-collections\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Solmaz Sharif\u003c/strong>,\u003cstrong> \u003c/strong>\u003cem>Look\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003ca name=\"ypl\">\u003c/a>Young People’s Literature\u003c/h3>\n\u003cp>\u003ca href=\"http://www.npr.org/2016/04/18/474416269/it-takes-a-lot-of-bravery-to-be-kind-says-kids-author-kate-dicamillo\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Kate DiCamillo\u003c/strong>, \u003c/a>\u003cem>\u003ca href=\"http://www.npr.org/2016/04/18/474416269/it-takes-a-lot-of-bravery-to-be-kind-says-kids-author-kate-dicamillo\" target=\"_blank\" rel=\"noopener\">Raymie Nightingale\u003c/a>\u003cbr>\u003c/em>\u003ca href=\"http://www.npr.org/2013/08/28/216157638/rep-lewis-i-gave-a-little-blood-here-and-there\" target=\"_blank\" rel=\"noopener\">\u003cstrong>John Lewis, Andrew Aydin & Nate Powell\u003c/strong>,\u003cem> March: Book Three\u003c/em>\u003c/a>\u003cbr>\u003cstrong>Grace Lin\u003c/strong>, \u003cem>When the Sea Turned to Silver\u003c/em>\u003cbr>\u003ca href=\"http://www.npr.org/2016/08/07/489061736/words-of-wisdom-from-young-adult-authors-jason-reynolds\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Jason Reynolds\u003c/strong>, \u003cem>Ghost\u003c/em>\u003c/a>\u003cbr>\u003ca href=\"http://www.npr.org/2015/08/30/435500605/the-glimmering-sheen-of-a-wide-world-seen-from-inside-a-bubble\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Nicola Yoon\u003c/strong>, \u003cem>The Sun Is Also a Star\u003c/em>\u003c/a> \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=These+Are+The+2016+National+Book+Award+Finalists&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "Colson Whitehead, Jacqueline Woodson and Rita Dove are just three of the authors on the shortlists for the National Book Awards. The 20 books still in contention for the prizes were unveiled Thursday.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>From \u003ca href=\"http://www.npr.org/sections/thetwo-way/2016/09/15/493918569/colson-whitehead-john-lewis-rita-dove-among-national-book-award-nominees\" target=\"_blank\" rel=\"noopener\">a group of 40\u003c/a>, the finalists for the National Book Awards have been whittled to just half that number. The National Book Foundation released its shortlists Thursday for its annual prize in four categories: \u003ca href=\"#fiction\">fiction\u003c/a>, \u003ca href=\"#nonfiction\">nonfiction\u003c/a>, \u003ca href=\"#poetry\">poetry\u003c/a> and \u003ca href=\"#ypl\">young people’s literature\u003c/a>.\u003c/p>\n\u003cp>Among the novelists, scholars, poets and illustrators listed below, some — such as \u003ca href=\"http://www.npr.org/2016/08/10/489341628/jacqueline-woodsons-new-novel-for-adults-has-its-roots-in-adolescence\" target=\"_blank\" rel=\"noopener\">Jacqueline Woodson\u003c/a>, \u003ca href=\"http://www.npr.org/2016/05/17/478384200/author-viet-thanh-nguyen-discusses-the-sympathizer-and-his-escape-from-vietnam\" target=\"_blank\" rel=\"noopener\">Viet Thanh Nguyen\u003c/a> and Rita Dove — are no strangers to literary laurels. Dove, a former U.S. poet laureate, brings the heft of three decades of poems — while Nguyen has racked up a raft of honors over a career much more brief (so far). Meanwhile, Woodson is now one step from returning to the stage she took in 2014, when \u003ca href=\"http://www.npr.org/sections/thetwo-way/2014/11/19/365288220/the-2014-national-book-awards\" target=\"_blank\" rel=\"noopener\">she won the National Book Award\u003c/a> for young people’s literature, for \u003ca href=\"http://www.npr.org/sections/codeswitch/2014/09/18/348992638/jacqueline-woodson-on-being-a-brown-girl-who-dreams\" target=\"_blank\" rel=\"noopener\">Brown Girl Dreaming\u003c/a>\u003cem>.\u003c/em>\u003c/p>\n\u003cp>Still, the lists feature more than just past awards-season favorites. \u003ca href=\"http://www.npr.org/2016/07/15/486208834/poets-take-cues-from-journalism-in-recent-collections\" target=\"_blank\" rel=\"noopener\">Solmaz Sharif\u003c/a>, a lecturer at Stanford, has earned the nod for her first poetry collection, while it’s Nicola Yoon’s second novel, \u003ca href=\"http://www.npr.org/2015/08/30/435500605/the-glimmering-sheen-of-a-wide-world-seen-from-inside-a-bubble\" target=\"_blank\" rel=\"noopener\">The Sun Is Also a Star\u003c/a>, that made this year’s shortlist for young people’s literature.\u003c/p>\n\u003cp>Beyond a medal, a statue and adoring gazes, the winning author in each category also receives $10,000. Winners for all four categories will be announced on Nov. 16 in New York City.\u003c/p>\n\u003cp>In the meantime, one winner has been decided already: \u003ca href=\"http://www.npr.org/2013/05/13/180880018/in-passage-caro-mines-lbjs-changing-political-roles\" target=\"_blank\" rel=\"noopener\">Robert A. Caro\u003c/a>, who has earned the medal for distinguished contribution to American letters — the National Book Awards’ version of a lifetime achievement honor. The Pulitzer- (and National Book Award- and National Book Critics Circle Award-) winning biographer will receive his award on the same night.\u003c/p>\n\u003chr>\n\u003ch3>\u003ca name=\"fiction\">\u003c/a>Fiction\u003c/h3>\n\u003cp>\u003ca href=\"http://www.npr.org/2016/03/13/470280400/-the-throwback-special-tackles-middle-age-manhood\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Chris Bachelder\u003c/strong>, The Throwback Special\u003c/a>\u003cem>\u003cbr>\u003c/em>\u003cstrong>Paulette Jiles\u003c/strong>,\u003cem> \u003cem>News of the World\u003c/em>\u003cbr>\u003c/em>\u003cstrong>Karan Mahajan\u003c/strong>,\u003cem> \u003cem>The Association of Small Bombs\u003c/em>\u003cbr>\u003c/em>\u003cstrong>\u003ca href=\"http://www.npr.org/2016/08/08/489168232/colson-whiteheads-underground-railroad-is-a-literal-train-to-freedom\" target=\"_blank\" rel=\"noopener\">Colson Whitehead\u003c/a>\u003c/strong>,\u003cem> \u003cem>\u003ca href=\"http://www.npr.org/2016/08/08/489168232/colson-whiteheads-underground-railroad-is-a-literal-train-to-freedom\" target=\"_blank\" rel=\"noopener\">The Underground Railroad\u003c/a>\u003cbr>\u003c/em>\u003c/em>\u003ca href=\"http://www.npr.org/2016/08/10/489341628/jacqueline-woodsons-new-novel-for-adults-has-its-roots-in-adolescence\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Jacqueline Woodson\u003c/strong>,\u003cem>\u003cem> \u003cem>Another Brooklyn\u003c/em>\u003c/em>\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003ca name=\"nonfiction\">\u003c/a>Nonfiction\u003c/h3>\n\u003cp>\u003cstrong>Arlie Russell Hochschild\u003c/strong>, \u003cem>Strangers in Their Own Land: Anger and Mourning on the American Right\u003cbr>\u003c/em>\u003cstrong>Ibram X. Kendi\u003c/strong>\u003cem>, \u003cem>Stamped from the Beginning: The Definitive History of Racist Ideas in America\u003c/em>\u003cbr>\u003c/em>\u003ca href=\"http://www.npr.org/2016/05/17/478384200/author-viet-thanh-nguyen-discusses-the-sympathizer-and-his-escape-from-vietnam\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Viet Thanh Nguyen\u003c/strong>, \u003cem>Nothing Ever Dies: Vietnam and the Memory of War\u003c/em>\u003c/a>\u003cbr>\u003ca href=\"http://www.npr.org/2016/04/17/471622218/horrors-pile-up-quietly-in-the-other-slavery\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Andrés Reséndez\u003c/strong>, \u003cem>The Other Slavery: The Uncovered Story of Indian Enslavement in America\u003c/em>\u003c/a>\u003cbr>\u003cstrong>Heather Ann Thompson\u003c/strong>, \u003cem>Blood in the Water: The Attica Prison Uprising of 1971 and Its Legacy\u003c/em>\u003c/p>\n\u003ch3>\u003ca name=\"poetry\">\u003c/a>Poetry\u003c/h3>\n\u003cp>\u003cstrong>Daniel Borzutzky\u003c/strong>,\u003cstrong> \u003c/strong>\u003cem>The Performance of Becoming Human\u003cbr>\u003c/em>\u003cstrong>Rita Dove\u003c/strong>,\u003cem> \u003cem>Collected Poems 1974 – 2004\u003c/em>\u003cbr>\u003c/em>\u003cstrong>Peter Gizzi\u003c/strong>,\u003cstrong> \u003c/strong>\u003cem>\u003cem>Archeophonics\u003c/em>\u003cbr>\u003c/em>\u003cstrong>Jay Hopler\u003c/strong>,\u003cstrong> \u003c/strong>\u003cem>\u003cem>The Abridged History of Rainfall\u003c/em>\u003cbr>\u003c/em>\u003ca href=\"http://www.npr.org/2016/07/15/486208834/poets-take-cues-from-journalism-in-recent-collections\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Solmaz Sharif\u003c/strong>,\u003cstrong> \u003c/strong>\u003cem>Look\u003c/em>\u003c/a>\u003c/p>\n\u003ch3>\u003ca name=\"ypl\">\u003c/a>Young People’s Literature\u003c/h3>\n\u003cp>\u003ca href=\"http://www.npr.org/2016/04/18/474416269/it-takes-a-lot-of-bravery-to-be-kind-says-kids-author-kate-dicamillo\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Kate DiCamillo\u003c/strong>, \u003c/a>\u003cem>\u003ca href=\"http://www.npr.org/2016/04/18/474416269/it-takes-a-lot-of-bravery-to-be-kind-says-kids-author-kate-dicamillo\" target=\"_blank\" rel=\"noopener\">Raymie Nightingale\u003c/a>\u003cbr>\u003c/em>\u003ca href=\"http://www.npr.org/2013/08/28/216157638/rep-lewis-i-gave-a-little-blood-here-and-there\" target=\"_blank\" rel=\"noopener\">\u003cstrong>John Lewis, Andrew Aydin & Nate Powell\u003c/strong>,\u003cem> March: Book Three\u003c/em>\u003c/a>\u003cbr>\u003cstrong>Grace Lin\u003c/strong>, \u003cem>When the Sea Turned to Silver\u003c/em>\u003cbr>\u003ca href=\"http://www.npr.org/2016/08/07/489061736/words-of-wisdom-from-young-adult-authors-jason-reynolds\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Jason Reynolds\u003c/strong>, \u003cem>Ghost\u003c/em>\u003c/a>\u003cbr>\u003ca href=\"http://www.npr.org/2015/08/30/435500605/the-glimmering-sheen-of-a-wide-world-seen-from-inside-a-bubble\" target=\"_blank\" rel=\"noopener\">\u003cstrong>Nicola Yoon\u003c/strong>, \u003cem>The Sun Is Also a Star\u003c/em>\u003c/a> \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=These+Are+The+2016+National+Book+Award+Finalists&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>We’ve never done a Tiny Desk Concert that wasn’t behind my desk at NPR. But when the White House called and said they were putting on an event called South by South Lawn, a day-long festival filled with innovators and creators from the worlds of technology and art, including music, we jumped at the chance to get involved. We chose Common as the performer and the White House library as the space.\u003c/p>\n\u003cp>This Tiny Desk Concert was a convergence of art and soul, mixing politics with heart. Common’s choice of songs dealt with incarceration as the new slavery, imagined a time where women rule the world and honored the man he looked up to all his life, his father. For this occasion Common put together a special six-piece band of close friends that includes the great Robert Glasper, with his eloquent and delicate touch, on keyboards and Derrick Hodge, whose music spans from hip-hop to folk and has made a big imprint on the world of jazz, on bass. Common also asked his longtime friend and collaborator Bilal to sing on two songs. The performance includes three brand new songs, along with one classic, “I Used To Love H.E.R.”\u003c/p>\n\u003cp>Common was born on Chicago’s South Side and grew up in President Obama’s city. His rap career began in the early 1990s, back when he was known as Common Sense, and he’s always taken on big ideas without easy answers in his songs, from abortion to social justice to the legacy of hip-hop itself. 25 years later, morality and responsibility continue to play significant roles in his songs. In 2015, he won an Academy Award alongside the singer John Legend for their song “Glory” from the movie \u003cem>Selma\u003c/em>.\u003c/p>\n\u003cp>Common told us that he’d been invited to the White House many times before, including by Michelle Obama for a poetry reading back in 2011, but he was thrilled by the prospect of performing his music during Barack Obama’s final months as president. One look at this Tiny Desk Concert and you’ll see that thrill on his face and hear it throughout this magnificent performance on this very special day.\u003c/p>\n\u003cp>Common will release his 11th studio album, \u003cem>Black America Again\u003c/em>, in November.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>Set List\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>“I Used To Love H.E.R.”\u003c/li>\n\u003cli>“Letter To The Free”\u003c/li>\n\u003cli>“The Day The Women Took Over”\u003c/li>\n\u003cli>“Little Chicago Boy”\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Credits\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Producers: Bob Boilen, Abby O’Neill, Niki Walker; Directors: Mito Habe-Evans, Niki Walker; Audio Engineers: Josh Rogosin, Kevin Wait; Videographers: Niki Walker, Mito Habe-Evans, Nick Michael, Cameron Robert, Nikki Boliaux; Animator: CJ Riculan; Supervising Producer: Jessica Goldstein; Executive Producer: Anya Grundmann; Photo: Becky Harlan/NPR.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more Tiny Desk concerts, subscribe to our \u003ca href=\"http://www.npr.org/podcasts/510292/tiny-desk-concerts-video\">podcast\u003c/a>.\u003c/em> \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=Common%3A+Tiny+Desk+Concert+At+The+White+House&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>We’ve never done a Tiny Desk Concert that wasn’t behind my desk at NPR. But when the White House called and said they were putting on an event called South by South Lawn, a day-long festival filled with innovators and creators from the worlds of technology and art, including music, we jumped at the chance to get involved. We chose Common as the performer and the White House library as the space.\u003c/p>\n\u003cp>This Tiny Desk Concert was a convergence of art and soul, mixing politics with heart. Common’s choice of songs dealt with incarceration as the new slavery, imagined a time where women rule the world and honored the man he looked up to all his life, his father. For this occasion Common put together a special six-piece band of close friends that includes the great Robert Glasper, with his eloquent and delicate touch, on keyboards and Derrick Hodge, whose music spans from hip-hop to folk and has made a big imprint on the world of jazz, on bass. Common also asked his longtime friend and collaborator Bilal to sing on two songs. The performance includes three brand new songs, along with one classic, “I Used To Love H.E.R.”\u003c/p>\n\u003cp>Common was born on Chicago’s South Side and grew up in President Obama’s city. His rap career began in the early 1990s, back when he was known as Common Sense, and he’s always taken on big ideas without easy answers in his songs, from abortion to social justice to the legacy of hip-hop itself. 25 years later, morality and responsibility continue to play significant roles in his songs. In 2015, he won an Academy Award alongside the singer John Legend for their song “Glory” from the movie \u003cem>Selma\u003c/em>.\u003c/p>\n\u003cp>Common told us that he’d been invited to the White House many times before, including by Michelle Obama for a poetry reading back in 2011, but he was thrilled by the prospect of performing his music during Barack Obama’s final months as president. One look at this Tiny Desk Concert and you’ll see that thrill on his face and hear it throughout this magnificent performance on this very special day.\u003c/p>\n\u003cp>Common will release his 11th studio album, \u003cem>Black America Again\u003c/em>, in November.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Set List\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>“I Used To Love H.E.R.”\u003c/li>\n\u003cli>“Letter To The Free”\u003c/li>\n\u003cli>“The Day The Women Took Over”\u003c/li>\n\u003cli>“Little Chicago Boy”\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>Credits\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Producers: Bob Boilen, Abby O’Neill, Niki Walker; Directors: Mito Habe-Evans, Niki Walker; Audio Engineers: Josh Rogosin, Kevin Wait; Videographers: Niki Walker, Mito Habe-Evans, Nick Michael, Cameron Robert, Nikki Boliaux; Animator: CJ Riculan; Supervising Producer: Jessica Goldstein; Executive Producer: Anya Grundmann; Photo: Becky Harlan/NPR.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>For more Tiny Desk concerts, subscribe to our \u003ca href=\"http://www.npr.org/podcasts/510292/tiny-desk-concerts-video\">podcast\u003c/a>.\u003c/em> \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=Common%3A+Tiny+Desk+Concert+At+The+White+House&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Legend Of Creepy Hollows: 'Miss Peregrine's Home For Peculiar Children'",
"headTitle": "A Legend Of Creepy Hollows: ‘Miss Peregrine’s Home For Peculiar Children’ | KQED",
"content": "\u003cp>When did our expectations for Tim Burton movies sink so precipitously? We ought to be able to forgive the guy who made \u003cem>Ed Wood \u003c/em>and \u003cem>Sleepy Hollow \u003c/em>a \u003cem>Planet of the Apes \u003c/em>now and then. Or even an \u003cem>Alice in Wonderland, \u003c/em>so long as he keeps balancing mega-grossing mediocrities like that with heartfelt stuff like \u003cem>Frankenweenie,\u003c/em> his delightful stop-motion ode to his dog. Any director who averages a studio feature every other year for three decades will have a stinker or two on his resume.\u003c/p>\n\u003cp>And yet somehow Burton’s stock feels low enough to make the spooky, visually ingenious, oft-incoherent-but-in-a-dreamlike-way \u003cem>Miss Peregrine’s Home for Peculiar Children\u003c/em> feel like a win just because it isn’t dreadful. Burton stages two or three striking set pieces, and otherwise builds as much of the movie as he possibly can around Eva Green’s severe-but-solicitous performance as mysterious headmistress Miss Peregrine, a sort of hard-eyed Mary Poppins. Surely that’s fair freight for your $12.\u003c/p>\n\u003cp>https://youtu.be/tV_IhWE4LP0\u003c/p>\n\u003cp>Everything that predates Ms. Green’s arrival — even scenes featuring the great Terence Stamp, and, well, \u003cem>one\u003c/em> scene with the great Allison Janney — is kind of a slog. The movie takes at least 15 minutes to get going, and its final third is as narratively opaque as any table-setting Marvel or DC flick.\u003c/p>\n\u003cp>But by then I didn’t care that I couldn’t tell you the stakes: Even before Burton dispatches a platoon of skeletons to fight a horde of eyeless, tentacle-tongued “hollowgasts” on a London pier — a clear homage to one of his heroes, pioneering stop-motion animator Ray Harryhausen — I’d surrendered once again to his gifts as peddler of surreal imagery. Burton uses archaic stop-motion techniques in addition to untold petabyes (or exabytes) of CGI, and the movie is never more entrancing than when a creepy babydoll armed with a chef’s knife is fighting a crab. (To be fair, its two young human leads, Asa Butterfield and Ella Purnell, are quite animated and capable, too.) If you were to strip Guillermo del Toro’s decade-old masterpiece\u003cem> Pan’s Labyrinth\u003c/em> of all its allegorical and emotional heft, \u003cem>Miss Peregrine\u003c/em>‘s is more or less what you’d have left. Easy to watch, after that distended Floridian prologue, and easy to forget.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The movie is a liberal adaptation of a bestselling 2011 young-adult novel by Ransom Riggs, whose muse was a stack of “vernacular” (read: found) photos he’d collected at the monthly Rose Bowl flea market in Pasadena. Truly, the medium is the message: Jake, the 16-year-old hero of Riggs’ story (Butterfield in the movie), is likewise dispatched on a quest by collection of faded photos—portraits of, um, peculiar-looking children. These belonged to his grandfather (Stamp), who has been telling Jake stories about their odd subjects since Jake was a child. He’d once lived with these kids at an orphanage in Wales, he said. One was lighter than air and had to wear lead shoes to prevent herself from floating away like a balloon. One had a hive of bees inside his chest, which would escape when he opened his mouth to speak or eat. One could briefly reanimate the dead using animal hearts.\u003c/p>\n\u003cp>Naturally, Jake has become more skeptical of the old man’s fantastic claims as he has grown into adolescence. When he finds grandpa dead with his eyeballs missing, then catches a glimpse of a monster in the woods behind his house, his parents (Chris O’Dowd and the mighty Kim Dickens, who’s in the movie even less than Janney is) take him to licensed-and-bonded mental health professional C.J. Cregg — that is, Dr. Golan. The doc persuades Jake’s folks that a trip to Wales to try to find the old orphanage might help the boy to process his grief. O’Dowd, by the way, is 100 percent believable as the sort of impotent dad who would agree to this plan. He figures he’ll come along and get some birdwatching done while his son is busy moping. I don’t know enough about Wales or birds to know whether or not this is a joke, but I know Dickens, in her approximately 15 seconds onscreen, looks relieved to be rid of them both.\u003c/p>\n\u003cp>It’s when the scene shifts from flat, sunny Florida to cloudy, oppressive Wales that the movie brightens up. That’s Burton for you. Jake and his dad check into the one inn in town (it’s called The Priest Hole), and after some predictable complication Jake finds his way to the old manor among its occupants — as it, and they, existed in 1943. The place is basically Brigadoon crossed with Xavier’s School for Gifted Youngsters of X-Men lore, only the gifted not-so-youngsters in Miss Peregrine’s charge shall never grow up if she has anything to say about it. Her supernatural talent is the ability to create cul-de-sacs in time where she can keep her “peculiars” hidden from the vile Mr. Barron (Samuel L. Jackson in milk-colored contact lenses), a kinda-sorta vampire who seeks immortality by… eating their eyes.\u003c/p>\n\u003cp>That’s not, I don’t believe, a spoiler, though I couldn’t swear I grokked the plot clearly enough to know which elements ought to be classified. Screenwriter Jane Goldman has plenty of experience translating dense mythologies born in prose and comics to the movies, having worked on the scrips for \u003cem>Stardust, Kick-Ass, Kingsman: The Secret Service, \u003c/em>and a pair of the stronger \u003cem>X-Men \u003c/em>movies, among others. The adaptation she’s delivered here borrows material from Riggs’ sequel novel \u003cem>Hollow City \u003c/em>to permit an action-packed finale\u003cem>, \u003c/em>but still manages to leave plenty of threads dangling after 122 increasingly chaotic minutes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The result feels less like a thoughtfully-conceived franchise-starter than a picture that was rushed out of the editing suite prematurely. That makes it at once a minor disappointment and Burton’s most satisfying (mostly) live-action fantasy film in years. Too bad it probably won’t last ’til Halloween.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>When did our expectations for Tim Burton movies sink so precipitously? We ought to be able to forgive the guy who made \u003cem>Ed Wood \u003c/em>and \u003cem>Sleepy Hollow \u003c/em>a \u003cem>Planet of the Apes \u003c/em>now and then. Or even an \u003cem>Alice in Wonderland, \u003c/em>so long as he keeps balancing mega-grossing mediocrities like that with heartfelt stuff like \u003cem>Frankenweenie,\u003c/em> his delightful stop-motion ode to his dog. Any director who averages a studio feature every other year for three decades will have a stinker or two on his resume.\u003c/p>\n\u003cp>And yet somehow Burton’s stock feels low enough to make the spooky, visually ingenious, oft-incoherent-but-in-a-dreamlike-way \u003cem>Miss Peregrine’s Home for Peculiar Children\u003c/em> feel like a win just because it isn’t dreadful. Burton stages two or three striking set pieces, and otherwise builds as much of the movie as he possibly can around Eva Green’s severe-but-solicitous performance as mysterious headmistress Miss Peregrine, a sort of hard-eyed Mary Poppins. Surely that’s fair freight for your $12.\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/tV_IhWE4LP0'\n title='//www.youtube.com/embed/tV_IhWE4LP0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Everything that predates Ms. Green’s arrival — even scenes featuring the great Terence Stamp, and, well, \u003cem>one\u003c/em> scene with the great Allison Janney — is kind of a slog. The movie takes at least 15 minutes to get going, and its final third is as narratively opaque as any table-setting Marvel or DC flick.\u003c/p>\n\u003cp>But by then I didn’t care that I couldn’t tell you the stakes: Even before Burton dispatches a platoon of skeletons to fight a horde of eyeless, tentacle-tongued “hollowgasts” on a London pier — a clear homage to one of his heroes, pioneering stop-motion animator Ray Harryhausen — I’d surrendered once again to his gifts as peddler of surreal imagery. Burton uses archaic stop-motion techniques in addition to untold petabyes (or exabytes) of CGI, and the movie is never more entrancing than when a creepy babydoll armed with a chef’s knife is fighting a crab. (To be fair, its two young human leads, Asa Butterfield and Ella Purnell, are quite animated and capable, too.) If you were to strip Guillermo del Toro’s decade-old masterpiece\u003cem> Pan’s Labyrinth\u003c/em> of all its allegorical and emotional heft, \u003cem>Miss Peregrine\u003c/em>‘s is more or less what you’d have left. Easy to watch, after that distended Floridian prologue, and easy to forget.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The movie is a liberal adaptation of a bestselling 2011 young-adult novel by Ransom Riggs, whose muse was a stack of “vernacular” (read: found) photos he’d collected at the monthly Rose Bowl flea market in Pasadena. Truly, the medium is the message: Jake, the 16-year-old hero of Riggs’ story (Butterfield in the movie), is likewise dispatched on a quest by collection of faded photos—portraits of, um, peculiar-looking children. These belonged to his grandfather (Stamp), who has been telling Jake stories about their odd subjects since Jake was a child. He’d once lived with these kids at an orphanage in Wales, he said. One was lighter than air and had to wear lead shoes to prevent herself from floating away like a balloon. One had a hive of bees inside his chest, which would escape when he opened his mouth to speak or eat. One could briefly reanimate the dead using animal hearts.\u003c/p>\n\u003cp>Naturally, Jake has become more skeptical of the old man’s fantastic claims as he has grown into adolescence. When he finds grandpa dead with his eyeballs missing, then catches a glimpse of a monster in the woods behind his house, his parents (Chris O’Dowd and the mighty Kim Dickens, who’s in the movie even less than Janney is) take him to licensed-and-bonded mental health professional C.J. Cregg — that is, Dr. Golan. The doc persuades Jake’s folks that a trip to Wales to try to find the old orphanage might help the boy to process his grief. O’Dowd, by the way, is 100 percent believable as the sort of impotent dad who would agree to this plan. He figures he’ll come along and get some birdwatching done while his son is busy moping. I don’t know enough about Wales or birds to know whether or not this is a joke, but I know Dickens, in her approximately 15 seconds onscreen, looks relieved to be rid of them both.\u003c/p>\n\u003cp>It’s when the scene shifts from flat, sunny Florida to cloudy, oppressive Wales that the movie brightens up. That’s Burton for you. Jake and his dad check into the one inn in town (it’s called The Priest Hole), and after some predictable complication Jake finds his way to the old manor among its occupants — as it, and they, existed in 1943. The place is basically Brigadoon crossed with Xavier’s School for Gifted Youngsters of X-Men lore, only the gifted not-so-youngsters in Miss Peregrine’s charge shall never grow up if she has anything to say about it. Her supernatural talent is the ability to create cul-de-sacs in time where she can keep her “peculiars” hidden from the vile Mr. Barron (Samuel L. Jackson in milk-colored contact lenses), a kinda-sorta vampire who seeks immortality by… eating their eyes.\u003c/p>\n\u003cp>That’s not, I don’t believe, a spoiler, though I couldn’t swear I grokked the plot clearly enough to know which elements ought to be classified. Screenwriter Jane Goldman has plenty of experience translating dense mythologies born in prose and comics to the movies, having worked on the scrips for \u003cem>Stardust, Kick-Ass, Kingsman: The Secret Service, \u003c/em>and a pair of the stronger \u003cem>X-Men \u003c/em>movies, among others. The adaptation she’s delivered here borrows material from Riggs’ sequel novel \u003cem>Hollow City \u003c/em>to permit an action-packed finale\u003cem>, \u003c/em>but still manages to leave plenty of threads dangling after 122 increasingly chaotic minutes.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The result feels less like a thoughtfully-conceived franchise-starter than a picture that was rushed out of the editing suite prematurely. That makes it at once a minor disappointment and Burton’s most satisfying (mostly) live-action fantasy film in years. Too bad it probably won’t last ’til Halloween.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Kevin Hart and Amy Schumer: The New King and Queen of Comedy",
"headTitle": "Kevin Hart and Amy Schumer: The New King and Queen of Comedy | KQED",
"content": "\u003cp>There are two “firsts” in the list of highest-paid comedians that was put out by \u003cem>Forbes\u003c/em> on Tuesday: For the first time in a decade, someone other than Jerry Seinfeld tops the rankings; and a woman is in the top 10 for the first time, according to Forbes’ tally.\u003c/p>\n\u003cp>Kevin Hart ended Seinfeld’s decade of dominating the list of highest-paid comedians in decisive fashion, using his tour of huge venues to earn $87.5 million — roughly double the $43.5 million that Seinfeld, the next-most successful comedian on the list, made in the same period from June 2015 to June 2016, \u003ca href=\"http://www.forbes.com/sites/maddieberg/2016/09/27/the-highest-paid-comedians-2016-kevin-hart-out-jokes-jerry-seinfeld-with-87-5-million-payday/#6f7206ef1a62\" target=\"_blank\" rel=\"noopener\">Forbes reports\u003c/a>.\u003c/p>\n\u003cp>Amy Schumer is the first woman to break into the list of comedy’s top earners, with $17 million netting her the fourth spot in the rankings. And like Hart — who says on his Twitter bio, “My name is Kevin Hart and I WORK HARD!!” — Schumer is building on her recent success.\u003c/p>\n\u003cp>Schumer, 35, is on a world tour that will send her to Australia later this year; like Hart, she’s currently playing U.S. venues that normally host NBA games. Her book, \u003cem>The Girl with the Lower Back Tattoo,\u003c/em> earned Schumer a \u003ca href=\"http://www.hollywoodreporter.com/bookmark/amy-schumer-book-girl-lower-826042\" target=\"_blank\" rel=\"noopener\">$9 million advance\u003c/a> last September and has become a best-seller since its release in August.\u003c/p>\n\u003cp>Hart, 37, is widening his exposure even more: He just launched a batch of for-pay “\u003ca href=\"https://itunes.apple.com/us/app/kevmoji-by-kevin-hart/id1152576183?ls=1&mt=8\" target=\"_blank\" rel=\"noopener\">Kevmojis\u003c/a>” that use his expressions to liven up smartphone texts, and his concert/action film \u003cem>What Now?\u003c/em> will hit theaters on Oct. 14.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The earnings shuffle comes after years in which the path to comedy super-stardom followed a familiar pattern: Comedians make a career on the road, get a solid radio or TV break, and then maybe they parlay TV into the movies. The pattern worked for comedians from Milton Berle to Joan Rivers; from Robin Williams and Eddie Murphy to Jerry Seinfeld.\u003c/p>\n\u003cp>Although he’s a star, Hart doesn’t headline a TV show, and while ubiquitous in film, he’s shy of being a matinee idol. Comedians like Hart and Schumer and others have broken the mold by using social media, merchandising and the Web to speak — and sell — directly to fans.\u003c/p>\n\u003cp>For Hart, here’s how \u003cem>Forbes\u003c/em>’ Madeline Berg explains his huge year:\u003c/p>\n\u003cblockquote>\u003cp>“In the 12 month period, Hart played over 100 shows with an average gross of over $1 million at each stop. And these shows aren’t at dingy comedy clubs; Hart played stadiums and arenas, including Madison Square Garden and the Staples Center. Because the stand-up comedian’s set requires little more than a stool, water bottle and microphone, he takes home a larger cut of that gross than most rock stars would.”\u003c/p>\u003c/blockquote>\n\u003cp>Gary Bongiovanni, editor of the concert trade publication \u003ca href=\"http://www.pollstar.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Pollstar\u003c/em>\u003c/a>, tells Berg, “Only a few comedians [are] capable of playing sports arenas the way that Kevin Hart does.”\u003c/p>\n\u003cp>The short list of comedians who can fill an arena now includes Schumer — whose show at Washington, D.C.’s Verizon Center was recently reviewed by \u003ca href=\"http://www.nytimes.com/2016/09/26/arts/review-as-amy-schumer-evolves-so-does-her-arena-show.html?smid=tw-nytimes&smtyp=cur\" target=\"_blank\" rel=\"noopener\">\u003cem>The New York Times\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“It’s been an insane year,” Schumer is quoted as saying onstage. “I’ve gotten very rich, famous and humble.”\u003c/p>\n\u003cp>\u003cem>Forbes\u003c/em>‘ rankings require concert sales to account for most of the stars’ revenue from one summer to the next. But both Schumer and Hart are also cashing checks from Comedy Central — in her case for \u003cem>Inside Amy Schumer\u003c/em>, which will see its fifth season next year, and in his case for \u003cem>Hart of the City\u003c/em>, a new show about comedy on the road that’s set to debut Sunday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With Seinfeld in the second spot, the \u003cem>Forbes\u003c/em> top five also includes Terry Fator at No. 3 with $21 million — due to his successful career in Las Vegas — followed by Schumer. At No. 5 is Jeff Dunham, with $13.5 million.\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=Kevin+Hart+And+Amy+Schumer%3A+The+New+King+And+Queen+Of+Comedy+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>There are two “firsts” in the list of highest-paid comedians that was put out by \u003cem>Forbes\u003c/em> on Tuesday: For the first time in a decade, someone other than Jerry Seinfeld tops the rankings; and a woman is in the top 10 for the first time, according to Forbes’ tally.\u003c/p>\n\u003cp>Kevin Hart ended Seinfeld’s decade of dominating the list of highest-paid comedians in decisive fashion, using his tour of huge venues to earn $87.5 million — roughly double the $43.5 million that Seinfeld, the next-most successful comedian on the list, made in the same period from June 2015 to June 2016, \u003ca href=\"http://www.forbes.com/sites/maddieberg/2016/09/27/the-highest-paid-comedians-2016-kevin-hart-out-jokes-jerry-seinfeld-with-87-5-million-payday/#6f7206ef1a62\" target=\"_blank\" rel=\"noopener\">Forbes reports\u003c/a>.\u003c/p>\n\u003cp>Amy Schumer is the first woman to break into the list of comedy’s top earners, with $17 million netting her the fourth spot in the rankings. And like Hart — who says on his Twitter bio, “My name is Kevin Hart and I WORK HARD!!” — Schumer is building on her recent success.\u003c/p>\n\u003cp>Schumer, 35, is on a world tour that will send her to Australia later this year; like Hart, she’s currently playing U.S. venues that normally host NBA games. Her book, \u003cem>The Girl with the Lower Back Tattoo,\u003c/em> earned Schumer a \u003ca href=\"http://www.hollywoodreporter.com/bookmark/amy-schumer-book-girl-lower-826042\" target=\"_blank\" rel=\"noopener\">$9 million advance\u003c/a> last September and has become a best-seller since its release in August.\u003c/p>\n\u003cp>Hart, 37, is widening his exposure even more: He just launched a batch of for-pay “\u003ca href=\"https://itunes.apple.com/us/app/kevmoji-by-kevin-hart/id1152576183?ls=1&mt=8\" target=\"_blank\" rel=\"noopener\">Kevmojis\u003c/a>” that use his expressions to liven up smartphone texts, and his concert/action film \u003cem>What Now?\u003c/em> will hit theaters on Oct. 14.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The earnings shuffle comes after years in which the path to comedy super-stardom followed a familiar pattern: Comedians make a career on the road, get a solid radio or TV break, and then maybe they parlay TV into the movies. The pattern worked for comedians from Milton Berle to Joan Rivers; from Robin Williams and Eddie Murphy to Jerry Seinfeld.\u003c/p>\n\u003cp>Although he’s a star, Hart doesn’t headline a TV show, and while ubiquitous in film, he’s shy of being a matinee idol. Comedians like Hart and Schumer and others have broken the mold by using social media, merchandising and the Web to speak — and sell — directly to fans.\u003c/p>\n\u003cp>For Hart, here’s how \u003cem>Forbes\u003c/em>’ Madeline Berg explains his huge year:\u003c/p>\n\u003cblockquote>\u003cp>“In the 12 month period, Hart played over 100 shows with an average gross of over $1 million at each stop. And these shows aren’t at dingy comedy clubs; Hart played stadiums and arenas, including Madison Square Garden and the Staples Center. Because the stand-up comedian’s set requires little more than a stool, water bottle and microphone, he takes home a larger cut of that gross than most rock stars would.”\u003c/p>\u003c/blockquote>\n\u003cp>Gary Bongiovanni, editor of the concert trade publication \u003ca href=\"http://www.pollstar.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Pollstar\u003c/em>\u003c/a>, tells Berg, “Only a few comedians [are] capable of playing sports arenas the way that Kevin Hart does.”\u003c/p>\n\u003cp>The short list of comedians who can fill an arena now includes Schumer — whose show at Washington, D.C.’s Verizon Center was recently reviewed by \u003ca href=\"http://www.nytimes.com/2016/09/26/arts/review-as-amy-schumer-evolves-so-does-her-arena-show.html?smid=tw-nytimes&smtyp=cur\" target=\"_blank\" rel=\"noopener\">\u003cem>The New York Times\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>“It’s been an insane year,” Schumer is quoted as saying onstage. “I’ve gotten very rich, famous and humble.”\u003c/p>\n\u003cp>\u003cem>Forbes\u003c/em>‘ rankings require concert sales to account for most of the stars’ revenue from one summer to the next. But both Schumer and Hart are also cashing checks from Comedy Central — in her case for \u003cem>Inside Amy Schumer\u003c/em>, which will see its fifth season next year, and in his case for \u003cem>Hart of the City\u003c/em>, a new show about comedy on the road that’s set to debut Sunday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>With Seinfeld in the second spot, the \u003cem>Forbes\u003c/em> top five also includes Terry Fator at No. 3 with $21 million — due to his successful career in Las Vegas — followed by Schumer. At No. 5 is Jeff Dunham, with $13.5 million.\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=Kevin+Hart+And+Amy+Schumer%3A+The+New+King+And+Queen+Of+Comedy+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "The Long, Strange History of Campaign Endorsement Songs",
"headTitle": "The Long, Strange History of Campaign Endorsement Songs | KQED",
"content": "\u003cp>The political endorsement song is a strange beast. It’s something more than just a campaign anthem — the kind of track that pumps up rally audiences before a candidate’s entrance onstage. Instead, this kind of tune is an odd hybrid: part commercial jingle, part aspirational anthem and, with nearly no exceptions, a soon-forgotten novelty. (One outlier: the sturdy Whig song “Tippecanoe and Tyler Too” from the 1840 presidential campaign, which was most recently resurrected by \u003ca href=\"https://www.youtube.com/watch?v=IFaRklAYanY\" target=\"_blank\" rel=\"noopener\">They Might Be Giants\u003c/a> in 2004.)\u003c/p>\n\u003cp>Certain politicians undoubtedly find it easier than others to get star singers and songwriters to pen and perform original tunes for them. Occasionally, the candidate just has to fall back on pre-existing material, as Mitt Romney did. And sometimes, candidates wind up with old songs reworked for political ends — like the unmistakably buoyant “High Hopes,” with new lyrics that celebrated JFK in 1960.\u003c/p>\n\u003cp>But some of the most interesting selections from U.S. history are the more singular ones. “Nixon’s The One,” anyone? How about a funk-drenched paean to Jimmy Carter? In any case, with the first presidential debate of 2016 happening this evening, we wanted to revisit some of our favorite endorsement-song finds.\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=lHRTCVwSKMs\u003c/p>\n\u003ch3>Frank Sinatra, “High Hopes”\u003c/h3>\n\u003cp>The 1959 Frank Capra film \u003ca href=\"http://www.tcm.com/mediaroom/video/196092/Hole-In-The-Head-A-Original-Trailer-.html\" target=\"_blank\" rel=\"noopener\">\u003cem>A Hole in the Head\u003c/em>\u003c/a> is a strange time capsule — not least because its premise is that Miami’s South Beach is so slow-moving that a theme park could be plopped down there. Its most enduring aspect is the Oscar-winning song “\u003ca href=\"http://www.tcm.com/mediaroom/video/198770/Hole-in-the-Head-A-Movie-Clip-High-Hopes.html\" target=\"_blank\" rel=\"noopener\">High Hopes\u003c/a>,” which leading man Frank Sinatra and songwriters Sammy Cahn and \u003ca href=\"https://www.youtube.com/watch?v=XREVcBhQ1xE\" target=\"_blank\" rel=\"noopener\">Jimmy Van Heusen adapted\u003c/a> for John F. Kennedy’s 1960 campaign. JFK also had a more \u003ca href=\"https://www.youtube.com/watch?v=7DoUiNxh6_0\" target=\"_blank\" rel=\"noopener\">traditional jingle\u003c/a>, but the star power and extreme catchiness of “High Hopes” made it unforgettable: “Come on and vote for Kennedy … and we’ll come out on top! Oops, there goes the opposition — kerplop!” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=qKMvvPQU38U\u003c/p>\n\u003ch3>Connie Francis, “Nixon’s The One”\u003c/h3>\n\u003cp>With lyrics by Alvin Cooperman and music by Moose Charlap — the composer of the Broadway musical \u003cem>Peter Pan\u003c/em> and father of jazz pianist \u003ca href=\"http://www.npr.org/artists/15343365/bill-charlap\">Bill Charlap\u003c/a> — “Nixon’s The One” bears a peppy, upbeat and thoroughly wholesome, big band-backed message for the 1968 campaign. The Nixon/Humphrey race took place in the same year as the assassinations of Martin Luther King, Jr. and Robert Kennedy, civil rights protests, urban unrest and rioting, and during polarizing debate about the Vietnam War. But this sunny endorsement song was, culturally and sonically, a throwback to an earlier era — a perfect fit for Nixon as the law-and-order candidate for voters longing for an age already long gone: “Can do / Americans can do / with the man who knows how to / Yes, Nixon’s the one to go with!” —\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=kWF9qZb6y64\u003c/p>\n\u003ch3>Gene Marshall, “Jimmy Carter Says ‘Yes'”\u003c/h3>\n\u003cp>After the Bicentennial frenzy of 1976, the most memorable musical moments of the presidential campaign may have been the benefits that the Allman Brothers Band \u003ca href=\"http://www.rollingstone.com/politics/news/candidate-jimmy-carter-rocks-good-ol-boy-19751204\" target=\"_blank\" rel=\"noopener\">played\u003c/a> for Jimmy Carter, the governor of their adopted home state. (Next to “Midnight Rider” and “Whipping Post,” Gerald Ford’s \u003ca href=\"https://www.youtube.com/watch?v=N9SVr4uTtFo\" target=\"_blank\" rel=\"noopener\">Up With People-style jingle\u003c/a> was bound to sound especially bland.) But one of the most entertaining artifacts of the era is this pro-am slow jam about Carter’s upstanding nature. “Jimmy Carter Says ‘Yes'” is a “song-poem” — a song cranked out by studio musicians from words mailed in by an aspiring lyricist willing to pay a modest fee. Carter may have received more elaborate \u003ca href=\"https://www.youtube.com/watch?v=UwEUCMrI2aQ\" target=\"_blank\" rel=\"noopener\">musical tributes\u003c/a>, but none as charmingly funky: “Can our government be competent? Jimmy Carter says, ‘Yes!'” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=qmKgITJejfg\u003c/p>\n\u003ch3>John Rich, “Raisin’ McCain”\u003c/h3>\n\u003cp>Music touting failed candidates can take on retroactive wistfulness. Sometimes, it’s as modest as the \u003ca href=\"https://www.youtube.com/watch?v=cLvNm7j-L2U\" target=\"_blank\" rel=\"noopener\">cabaret number\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=MxYDTTNYMic\" target=\"_blank\" rel=\"noopener\">Christmas carol adaptation\u003c/a> from the 1952 Adlai Stevenson campaign. Other times, it’s as grand as \u003ca href=\"https://www.c-span.org/video/?c4453714/john-williams-fanfare-michael-dukakis\" target=\"_blank\" rel=\"noopener\">John Williams’ fanfare\u003c/a> for 1988 Democratic nominee Michael Dukakis. The 2008 video for “Raisin’ McCain” by John Rich of Big & Rich is a straightforward country rocker — featuring an “American guitar” solo — that manages to weave in the Republican nominee’s time as a prisoner of war as women in the crowd dance enthusiastically: “Well, he got shot down in a Vietnam town, fighting for the red, white and blue / And they locked him up in the Hanoi Hilton, thinking they could break him in two…” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=bu3rsha1ZtI\u003c/p>\n\u003ch3>Kid Rock, “Born Free”\u003c/h3>\n\u003cp>While Kid Rock didn’t write the anthemic “Born Free” explicitly for Mitt Romney, he was happy to let the GOP use it as their 2012 song for the former Massachusetts governor. “I was like, ‘Yeah, go ahead,'” the singer \u003ca href=\"http://www.mtv.com/news/1695488/kid-rock-mitt-romney-born-free/\" target=\"_blank\" rel=\"noopener\">told MTV\u003c/a> that year. “I make music to have people hear it, and I’m not about to dictate at what level they want to listen or hear it at; that doesn’t matter to me. I mean, yeah, I’m a little right-wing, you know, I’m going to vote for Mitt Romney … but if you’re not, it’s OK.” According to an interview Mitt and Ann Romney gave to \u003cem>\u003ca href=\"http://parade.com/124656/lynnsherr/26-conversation-with-the-romneys/\" target=\"_blank\" rel=\"noopener\">Parade\u003c/a>\u003c/em> magazine that August, their personal tastes in music generally ran a little more old-school, to the likes of The Beach Boys, Alabama and The Eagles, with one contemporary curveball: The Killers. But Kid Rock’s song reflected bedrock Americana: “Deep, like the grandest canyon / Wild, like an untamed stallion / If you can’t see my heart, you must be blind.” —\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\n\u003cp>https://www.youtube.com/watch?v=KWqn0VORmvU\u003c/p>\n\u003ch3>Vicente Fernández, “El Corrido de Hillary Clinton”\u003c/h3>\n\u003cp>Just last week, one of Mexico’s most beloved artists, the \u003cem>ranchero\u003c/em> legend \u003ca href=\"http://www.npr.org/sections/codeswitch/2016/08/23/488502412/in-mariachi-music-a-distinctive-yell-speaks-to-the-soul\" target=\"_blank\" rel=\"noopener\">Vicente Fernández\u003c/a>, released a \u003cem>corrido (\u003c/em>narrative song) urging his fans to vote for Hillary Clinton. Fernández doesn’t name-check Donald Trump in his tune, which he released via the PAC Latino Victory Project, nor does he directly address Trump’s platforms on such topics as immigration, jobs or trade. But he also doesn’t shy away from tossing some obvious shade Trump’s way: “My freedom, my rights, are respected with Hillary,” Fernández sings. “With her as president, we always have a bridge.” —\u003cem>Anastasia Tsioulcas\u003c/em> \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+Long%2C+Strange+History+Of+Campaign+Endorsement+Songs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>[ad floatright]\u003c/p>\n",
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"excerpt": "From \"Nixon's The One\" To \"El Corrido de Hillary Clinton,\" an odd subgenre of music raises its head every four years: the endorsement song. It's part commercial jingle, part aspirational anthem.",
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"description": "From "Nixon's The One" To "El Corrido de Hillary Clinton," an odd subgenre of music raises its head every four years: the endorsement song. It's part commercial jingle, part aspirational anthem.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The political endorsement song is a strange beast. It’s something more than just a campaign anthem — the kind of track that pumps up rally audiences before a candidate’s entrance onstage. Instead, this kind of tune is an odd hybrid: part commercial jingle, part aspirational anthem and, with nearly no exceptions, a soon-forgotten novelty. (One outlier: the sturdy Whig song “Tippecanoe and Tyler Too” from the 1840 presidential campaign, which was most recently resurrected by \u003ca href=\"https://www.youtube.com/watch?v=IFaRklAYanY\" target=\"_blank\" rel=\"noopener\">They Might Be Giants\u003c/a> in 2004.)\u003c/p>\n\u003cp>Certain politicians undoubtedly find it easier than others to get star singers and songwriters to pen and perform original tunes for them. Occasionally, the candidate just has to fall back on pre-existing material, as Mitt Romney did. And sometimes, candidates wind up with old songs reworked for political ends — like the unmistakably buoyant “High Hopes,” with new lyrics that celebrated JFK in 1960.\u003c/p>\n\u003cp>But some of the most interesting selections from U.S. history are the more singular ones. “Nixon’s The One,” anyone? How about a funk-drenched paean to Jimmy Carter? In any case, with the first presidential debate of 2016 happening this evening, we wanted to revisit some of our favorite endorsement-song finds.\u003c/p>\n\u003chr>\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/lHRTCVwSKMs'\n title='//www.youtube.com/embed/lHRTCVwSKMs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Frank Sinatra, “High Hopes”\u003c/h3>\n\u003cp>The 1959 Frank Capra film \u003ca href=\"http://www.tcm.com/mediaroom/video/196092/Hole-In-The-Head-A-Original-Trailer-.html\" target=\"_blank\" rel=\"noopener\">\u003cem>A Hole in the Head\u003c/em>\u003c/a> is a strange time capsule — not least because its premise is that Miami’s South Beach is so slow-moving that a theme park could be plopped down there. Its most enduring aspect is the Oscar-winning song “\u003ca href=\"http://www.tcm.com/mediaroom/video/198770/Hole-in-the-Head-A-Movie-Clip-High-Hopes.html\" target=\"_blank\" rel=\"noopener\">High Hopes\u003c/a>,” which leading man Frank Sinatra and songwriters Sammy Cahn and \u003ca href=\"https://www.youtube.com/watch?v=XREVcBhQ1xE\" target=\"_blank\" rel=\"noopener\">Jimmy Van Heusen adapted\u003c/a> for John F. Kennedy’s 1960 campaign. JFK also had a more \u003ca href=\"https://www.youtube.com/watch?v=7DoUiNxh6_0\" target=\"_blank\" rel=\"noopener\">traditional jingle\u003c/a>, but the star power and extreme catchiness of “High Hopes” made it unforgettable: “Come on and vote for Kennedy … and we’ll come out on top! Oops, there goes the opposition — kerplop!” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\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/qKMvvPQU38U'\n title='//www.youtube.com/embed/qKMvvPQU38U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Connie Francis, “Nixon’s The One”\u003c/h3>\n\u003cp>With lyrics by Alvin Cooperman and music by Moose Charlap — the composer of the Broadway musical \u003cem>Peter Pan\u003c/em> and father of jazz pianist \u003ca href=\"http://www.npr.org/artists/15343365/bill-charlap\">Bill Charlap\u003c/a> — “Nixon’s The One” bears a peppy, upbeat and thoroughly wholesome, big band-backed message for the 1968 campaign. The Nixon/Humphrey race took place in the same year as the assassinations of Martin Luther King, Jr. and Robert Kennedy, civil rights protests, urban unrest and rioting, and during polarizing debate about the Vietnam War. But this sunny endorsement song was, culturally and sonically, a throwback to an earlier era — a perfect fit for Nixon as the law-and-order candidate for voters longing for an age already long gone: “Can do / Americans can do / with the man who knows how to / Yes, Nixon’s the one to go with!” —\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\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/kWF9qZb6y64'\n title='//www.youtube.com/embed/kWF9qZb6y64'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Gene Marshall, “Jimmy Carter Says ‘Yes'”\u003c/h3>\n\u003cp>After the Bicentennial frenzy of 1976, the most memorable musical moments of the presidential campaign may have been the benefits that the Allman Brothers Band \u003ca href=\"http://www.rollingstone.com/politics/news/candidate-jimmy-carter-rocks-good-ol-boy-19751204\" target=\"_blank\" rel=\"noopener\">played\u003c/a> for Jimmy Carter, the governor of their adopted home state. (Next to “Midnight Rider” and “Whipping Post,” Gerald Ford’s \u003ca href=\"https://www.youtube.com/watch?v=N9SVr4uTtFo\" target=\"_blank\" rel=\"noopener\">Up With People-style jingle\u003c/a> was bound to sound especially bland.) But one of the most entertaining artifacts of the era is this pro-am slow jam about Carter’s upstanding nature. “Jimmy Carter Says ‘Yes'” is a “song-poem” — a song cranked out by studio musicians from words mailed in by an aspiring lyricist willing to pay a modest fee. Carter may have received more elaborate \u003ca href=\"https://www.youtube.com/watch?v=UwEUCMrI2aQ\" target=\"_blank\" rel=\"noopener\">musical tributes\u003c/a>, but none as charmingly funky: “Can our government be competent? Jimmy Carter says, ‘Yes!'” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\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/qmKgITJejfg'\n title='//www.youtube.com/embed/qmKgITJejfg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>John Rich, “Raisin’ McCain”\u003c/h3>\n\u003cp>Music touting failed candidates can take on retroactive wistfulness. Sometimes, it’s as modest as the \u003ca href=\"https://www.youtube.com/watch?v=cLvNm7j-L2U\" target=\"_blank\" rel=\"noopener\">cabaret number\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=MxYDTTNYMic\" target=\"_blank\" rel=\"noopener\">Christmas carol adaptation\u003c/a> from the 1952 Adlai Stevenson campaign. Other times, it’s as grand as \u003ca href=\"https://www.c-span.org/video/?c4453714/john-williams-fanfare-michael-dukakis\" target=\"_blank\" rel=\"noopener\">John Williams’ fanfare\u003c/a> for 1988 Democratic nominee Michael Dukakis. The 2008 video for “Raisin’ McCain” by John Rich of Big & Rich is a straightforward country rocker — featuring an “American guitar” solo — that manages to weave in the Republican nominee’s time as a prisoner of war as women in the crowd dance enthusiastically: “Well, he got shot down in a Vietnam town, fighting for the red, white and blue / And they locked him up in the Hanoi Hilton, thinking they could break him in two…” —\u003cem>Mark Mobley\u003c/em>\u003c/p>\n\u003chr>\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/bu3rsha1ZtI'\n title='//www.youtube.com/embed/bu3rsha1ZtI'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Kid Rock, “Born Free”\u003c/h3>\n\u003cp>While Kid Rock didn’t write the anthemic “Born Free” explicitly for Mitt Romney, he was happy to let the GOP use it as their 2012 song for the former Massachusetts governor. “I was like, ‘Yeah, go ahead,'” the singer \u003ca href=\"http://www.mtv.com/news/1695488/kid-rock-mitt-romney-born-free/\" target=\"_blank\" rel=\"noopener\">told MTV\u003c/a> that year. “I make music to have people hear it, and I’m not about to dictate at what level they want to listen or hear it at; that doesn’t matter to me. I mean, yeah, I’m a little right-wing, you know, I’m going to vote for Mitt Romney … but if you’re not, it’s OK.” According to an interview Mitt and Ann Romney gave to \u003cem>\u003ca href=\"http://parade.com/124656/lynnsherr/26-conversation-with-the-romneys/\" target=\"_blank\" rel=\"noopener\">Parade\u003c/a>\u003c/em> magazine that August, their personal tastes in music generally ran a little more old-school, to the likes of The Beach Boys, Alabama and The Eagles, with one contemporary curveball: The Killers. But Kid Rock’s song reflected bedrock Americana: “Deep, like the grandest canyon / Wild, like an untamed stallion / If you can’t see my heart, you must be blind.” —\u003cem>Anastasia Tsioulcas\u003c/em>\u003c/p>\n\u003chr>\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/KWqn0VORmvU'\n title='//www.youtube.com/embed/KWqn0VORmvU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003ch3>Vicente Fernández, “El Corrido de Hillary Clinton”\u003c/h3>\n\u003cp>Just last week, one of Mexico’s most beloved artists, the \u003cem>ranchero\u003c/em> legend \u003ca href=\"http://www.npr.org/sections/codeswitch/2016/08/23/488502412/in-mariachi-music-a-distinctive-yell-speaks-to-the-soul\" target=\"_blank\" rel=\"noopener\">Vicente Fernández\u003c/a>, released a \u003cem>corrido (\u003c/em>narrative song) urging his fans to vote for Hillary Clinton. Fernández doesn’t name-check Donald Trump in his tune, which he released via the PAC Latino Victory Project, nor does he directly address Trump’s platforms on such topics as immigration, jobs or trade. But he also doesn’t shy away from tossing some obvious shade Trump’s way: “My freedom, my rights, are respected with Hillary,” Fernández sings. “With her as president, we always have a bridge.” —\u003cem>Anastasia Tsioulcas\u003c/em> \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+Long%2C+Strange+History+Of+Campaign+Endorsement+Songs&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "'Rolling Stone' Sells Minority Share of Magazine to Singapore Entrepreneur",
"headTitle": "‘Rolling Stone’ Sells Minority Share of Magazine to Singapore Entrepreneur | KQED",
"content": "\u003cp>The founder of \u003cem>Rolling Stone\u003c/em> is selling a minority share of the fabled magazine to a Singapore-based social media entrepreneur, the first time an outside investor has been allowed to buy into the property.\u003c/p>\n\u003cp>Several media reports say Jann Wenner has decided to sell 49 percent of the magazine, as well as its digital assets, to BandLab Technologies, a social-networking site for musicians and fans.\u003c/p>\n\u003cp>The sale will not involve \u003cem>Rolling Stone\u003c/em>‘s parent company, Wenner Media LLC, and Wenner will retain control of the magazine, \u003ca href=\"http://www.wsj.com/articles/rolling-stone-magazine-sells-49-stake-to-singapores-bandlab-technologies-1474812182\" target=\"_blank\" rel=\"noopener\">The Wall Street Journal reports\u003c/a>. Instead, BandLab “will oversee a new Rolling Stone International subsidiary, which will develop live events, merchandising and hospitality,” \u003ca href=\"http://www.bloomberg.com/news/articles/2016-09-25/jann-wenner-to-sell-49-of-rolling-stone-to-singapore-s-bandlab\" target=\"_blank\" rel=\"noopener\">Bloomberg reports\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12121763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Jann-Wenner-800x450.jpg\" alt=\"Jann Wenner speaks onstage during the 30th Annual Rock And Roll Hall Of Fame Induction Ceremony at Public Hall on April 18, 2015 in Cleveland, Ohio. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-12121763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jann Wenner speaks onstage during the 30th Annual Rock And Roll Hall Of Fame Induction Ceremony at Public Hall on April 18, 2015 in Cleveland, Ohio. \u003ccite>(Photo: Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sale comes at a time when \u003cem>Rolling Stone\u003c/em>, like virtually every publication, has seen its revenues slip and its subscriber base shrink. It also suffered a major blow to its reputation when it published an article about a purported gang rape at a University of Virginia fraternity that turned out to be a hoax.\u003c/p>\n\u003cp>Under Wenner’s son, Gus, the magazine has pursued an aggressive digital strategy, Bloomberg reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rolling Stone currently reaches a global audience of 65 million people, according to the company. That includes 22 million domestic digital monthly users, almost 18 million social fans and followers, and nearly 12 million readers of the U.S. print publication. The average monthly unique visitors to its \u003ca href=\"http://www.RollingStone.com\" target=\"_blank\" data-tracker-action=\"click\" data-tracker-category=\"nav\" data-tracker-label=\"inline_link.05\" rel=\"noopener\">website\u003c/a> rose almost 40 percent in the first half of this year from a year earlier. It publishes 12 international editions in countries including Australia, Indonesia and Japan.”\u003c/p>\n\u003c/blockquote>\n\u003cp>“Everyone is trying to figure out the new business model,” said Gus Wenner, in an interview with the \u003cem>Wall Street Journal\u003c/em>. He runs digital operations at Wenner Media and also oversees ad sales, marketing and digital editorial across the company.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“We have the quality that most matters, a brand that means something to people and elicits an emotional response,” said Wenner, the son of Jann Wenner, who founded the magazine in 1967.\u003c/p>\n\u003cp>BandLab was founded by Kuok Meng Ru, the son of agribusiness billionaire Kuok Khoon Hong. It is funded by private investors, including Kuok’s father.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“What has happened last 49 years has already shown that \u003cem>Rolling Stone\u003c/em> is more than a brand to people,” Kuok said in a \u003cem>Bloomberg\u003c/em> interview. “It is now our shared responsibility to take it into the future.” \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=%27Rolling+Stone%27+Sells+Minority+Share+Of+Magazine+To+Singapore+Entrepreneur&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The founder of \u003cem>Rolling Stone\u003c/em> is selling a minority share of the fabled magazine to a Singapore-based social media entrepreneur, the first time an outside investor has been allowed to buy into the property.\u003c/p>\n\u003cp>Several media reports say Jann Wenner has decided to sell 49 percent of the magazine, as well as its digital assets, to BandLab Technologies, a social-networking site for musicians and fans.\u003c/p>\n\u003cp>The sale will not involve \u003cem>Rolling Stone\u003c/em>‘s parent company, Wenner Media LLC, and Wenner will retain control of the magazine, \u003ca href=\"http://www.wsj.com/articles/rolling-stone-magazine-sells-49-stake-to-singapores-bandlab-technologies-1474812182\" target=\"_blank\" rel=\"noopener\">The Wall Street Journal reports\u003c/a>. Instead, BandLab “will oversee a new Rolling Stone International subsidiary, which will develop live events, merchandising and hospitality,” \u003ca href=\"http://www.bloomberg.com/news/articles/2016-09-25/jann-wenner-to-sell-49-of-rolling-stone-to-singapore-s-bandlab\" target=\"_blank\" rel=\"noopener\">Bloomberg reports\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12121763\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Jann-Wenner-800x450.jpg\" alt=\"Jann Wenner speaks onstage during the 30th Annual Rock And Roll Hall Of Fame Induction Ceremony at Public Hall on April 18, 2015 in Cleveland, Ohio. \" width=\"800\" height=\"450\" class=\"size-medium wp-image-12121763\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-400x225.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Jann-Wenner-960x540.jpg 960w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Jann Wenner speaks onstage during the 30th Annual Rock And Roll Hall Of Fame Induction Ceremony at Public Hall on April 18, 2015 in Cleveland, Ohio. \u003ccite>(Photo: Mike Coppola/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The sale comes at a time when \u003cem>Rolling Stone\u003c/em>, like virtually every publication, has seen its revenues slip and its subscriber base shrink. It also suffered a major blow to its reputation when it published an article about a purported gang rape at a University of Virginia fraternity that turned out to be a hoax.\u003c/p>\n\u003cp>Under Wenner’s son, Gus, the magazine has pursued an aggressive digital strategy, Bloomberg reports:\u003c/p>\n\u003cblockquote>\n\u003cp>“Rolling Stone currently reaches a global audience of 65 million people, according to the company. That includes 22 million domestic digital monthly users, almost 18 million social fans and followers, and nearly 12 million readers of the U.S. print publication. The average monthly unique visitors to its \u003ca href=\"http://www.RollingStone.com\" target=\"_blank\" data-tracker-action=\"click\" data-tracker-category=\"nav\" data-tracker-label=\"inline_link.05\" rel=\"noopener\">website\u003c/a> rose almost 40 percent in the first half of this year from a year earlier. It publishes 12 international editions in countries including Australia, Indonesia and Japan.”\u003c/p>\n\u003c/blockquote>\n\u003cp>“Everyone is trying to figure out the new business model,” said Gus Wenner, in an interview with the \u003cem>Wall Street Journal\u003c/em>. He runs digital operations at Wenner Media and also oversees ad sales, marketing and digital editorial across the company.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>In the 1960s, Choi Eun Hee and Shin Sang Ok were South Korean cinema’s first couple. She was a movie star, he was an acclaimed director, and life with their two young children was considered glamorous. Then things got complicated.\u003c/p>\n\u003cp>Shin had two kids with a younger actress, and his financially struggling production company was shuttered by the government. He and Choi divorced, and in 1978 the actress vanished. Later the same year, Shin also disappeared.\u003c/p>\n\u003cp>Next stop, North Korea. Choi was kidnapped from Hong Kong on the orders of dictator-in-waiting Kim Jong Il, a movie buff who hoped his country’s films could become more mainstream and entertaining.\u003c/p>\n\u003cp>Shin was also snatched from Hong Kong, it seems, although his story is murkier. \u003cem>The Lovers and the Despot\u003c/em>, British filmmakers Rob Cannan and Ross Adam’s documentary, capably recounts the main facts of the case, but doesn’t illuminate its darker corners.\u003c/p>\n\u003cp>For those unfamiliar with Choi and Shin, this is a lively introduction. The film follows the abductees to Pyongyang, where they eventually became a couple again. The movies they made in the North are largely unknown elsewhere, but one has become something of a cult item: \u003cem>Pulgasari\u003c/em> is a \u003cem>Godzilla\u003c/em>-like flick about a monster that grows bigger from eating iron. It’s anti-war and anti-authoritarian, Shin has said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Choi and Shin became members of Kim Jong Il’s inner circle, although the actress initially had an easier time than her ex-husband, who spent more than four years in a prison where grass was a large part of his diet. (Kim Jong Il told Shin his jailing was a “misunderstanding.”)\u003c/p>\n\u003cp>The two captives were allowed to travel for film festivals. That enabled them in 1986 to visit Vienna, where they made a sprint for the American Embassy.\u003c/p>\n\u003cp>They came to the U.S. bearing gifts: Choi had secretly taped conversations with Kim Jong Il, a man who didn’t deliver public speeches. The West’s North Korea-watchers had never even heard his voice. Now \u003cem>The Lovers and the Despot\u003c/em>‘s viewers can hear it, too.\u003c/p>\n\u003cp>The couple landed in Hollywood, where Shin directed one and produced four movies in the \u003cem>Three Ninjas\u003c/em> kiddie-action series, under the name Simon S. Sheen. Then came a return to South Korea, where Choi still lives. Shin died in 2006.\u003c/p>\n\u003cp>Although Cannan and Adam filmed re-enactments of some real-life spy-movie moments, they rely on primary sources wherever possible. The couple’s adult children are interviewed, and the movie relies heavily on Choi, who’s now 89.\u003c/p>\n\u003cp>Her recollections aren’t second-guessed, even when she says that in North Korea Shin made 17 movies in less than 2 1/2 years. When I interviewed Shin in 2005, he said there were seven, which is the generally accepted number.\u003c/p>\n\u003cp>Perhaps because the filmmakers couldn’t interview Shin, the movie doesn’t attempt to untangle his knotty story. Many Koreans doubted he had been kidnapped, although that was based largely on circumstantial suspicions of disloyalty: Shin was born in what became North Korea, and studied in 1940s Japan, when Korea was a Japanese colony. He was an admirer of postwar Japanese films, which were banned in South Korea.\u003c/p>\n\u003cp>In 1978, South Korea was not a democratic country, and some of Shin’s problems there were political. When he disappeared, the KCIA (what is now known as South Korea’s National Intelligence Service) was a suspect. Still, there’s no evidence that Shin went voluntarily to the North.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>If Shin remains something of missing person in \u003cem>The Lovers and the Despot\u003c/em>, it’s apt that the film focuses on Choi. She was an actress, after all, and the film suggests that successfully playing the role of Kim Jong Il’s pal was the role of her lifetime. \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=A+Korean+Celebrity+Couple+Kidnapped+By+Kim+Jong+Il%3A+%27The+Lovers+And+The+Despot%27&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"meta": {
"site": "radio",
"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
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"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"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?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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