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"title": "These Are the 2016 National Book Award Finalists",
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"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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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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"title": "Common: Tiny Desk Concert at the White House",
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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",
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"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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"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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"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": "\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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"title": "A Korean Celebrity Couple Kidnapped by Kim Jong Il: 'The Lovers and The Despot' | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\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\u003c/div>\u003c/p>",
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"title": "1966 Vs. 1971: When 'Rock 'n' Roll' Became 'Rock,' and What We Lost",
"headTitle": "1966 Vs. 1971: When ‘Rock ‘n’ Roll’ Became ‘Rock,’ and What We Lost | KQED",
"content": "\u003cp>In 2009, musician and historian Elijah Wald published an overview of American pop from the 1890s to the 1960s he called \u003cem>How the Beatles Destroyed Rock ‘n’ Roll\u003c/em>. The title was a bomb-throwing feint — as \u003ca href=\"http://daily.redbullmusicacademy.com/2015/08/elijah-wald-interview\" target=\"_blank\" rel=\"noopener\">Wald told me in an interview\u003c/a>, he knew that title would get much more attention than a drier one such as “American Pop From Sousa to Soul” — and as if on cue, one reviewer after another lined up to wave away its thesis. “[I]s rock dead because of [the Beatles]?” \u003ca href=\"http://articles.latimes.com/2009/jun/11/entertainment/et-book11/2\" target=\"_blank\" rel=\"noopener\">harrumphed the \u003cem>Los Angeles Times\u003c/em>\u003c/a>. “You don’t need to be a critic to know the answer to that question.”\u003c/p>\n\u003cp>Only Wald didn’t say that \u003cem>rock \u003c/em>was destroyed, but that \u003cem>rock and roll \u003c/em>was — and the difference is not merely academic. \u003cem>Rock\u003c/em>, \u003ca href=\"http://daily.redbullmusicacademy.com/2015/03/robert-christgau-interview\" target=\"_blank\" rel=\"noopener\">in the words of critic Robert Christgau\u003c/a>, is “rock and roll made conscious of itself as an art form.” Prior to the June 1967 release of \u003ca href=\"http://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener\">The Beatles\u003c/a>‘ \u003cem>Sgt. Pepper’s Lonely Hearts Club Band\u003c/em>, “rock and roll” meant any and everything formally tied to the mid-fifties explosion led commercially by \u003ca href=\"http://www.npr.org/artists/15624007/elvis-presley\" target=\"_blank\" rel=\"noopener\">Elvis Presley\u003c/a> — doo-wop, surf music, Motown, the British Invasion, \u003ca href=\"http://www.npr.org/artists/15316566/james-brown\" target=\"_blank\" rel=\"noopener\">James Brown\u003c/a>. “We were influenced by early rock and roll … which was not black,” Daryl Hall of \u003ca href=\"http://www.npr.org/artists/15757261/hall-oates\" target=\"_blank\" rel=\"noopener\">Hall & Oates\u003c/a> told \u003cem>Musician \u003c/em>magazine in 1982 (cited in a \u003ca href=\"mailto:https://medium.com/cuepoint/70s-scenario-how-hall-oates-walked-along-the-red-ledge-to-discover-their-x-static-voice-5cb5b01d4d6f%23.udtzlulc4\" target=\"_blank\" rel=\"noopener\">Stephen Thomas Erlewine piece for Cuepoint\u003c/a>). “It was \u003cem>integrated \u003c/em>music. There was no difference between black and white.” As Jack Hamilton points out in his forthcoming \u003cem>Just Around Midnight: Rock and Roll and the Racial Imaginary\u003c/em>, the term “rock,” by itself, was almost nonexistent before \u003cem>Sgt. Pepper\u003c/em>; afterward, it almost exclusively denoted white men with guitars.\u003c/p>\n\u003cp>It also denoted an equally important marketplace turn: 1966 was the last year that seven-inch singles outsold twelve-inch LPs, and albums remained king through the digital age, when individual-track downloads finally surpassed full-lengths \u003ca href=\"http://www.hypebot.com/hypebot/2009/07/theres-still-a-place-where-albums-outsell-singles.html\" target=\"_blank\" rel=\"noopener\">in 2008\u003c/a>. Two new books by British rock critics, each keyed to specific years, act as a before-and-after of how “rock and roll” calcifying into “rock” acted in terms of who had access to it as the primary, envelope-pushing musical form of the moment.\u003c/p>\n\u003cp>\u003cem>1966: The Year the Decade Exploded\u003c/em>, by Jon Savage, author of the definitive punk rock history \u003cem>England’s Dreaming\u003c/em>,\u003cem> \u003c/em>is a heavily researched deep dive into both the year’s U.S.-U.K. pop landscape and their attendant sociopolitical ferment, keyed near-entirely to a nonstop parade of hits and duds, many first encountered via pirate radio, which bubbled up as an alternative to the pop-unfriendly BBC and was largely gone by 1968. \u003cem>Never a Dull Moment: 1971 — The Year That Rock Exploded\u003c/em>, by David Hepworth, veteran of numerous British rock mags (most recently, the \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2012/07/rip-to-the-best-music-magazine-of-the-21st-century/259585/\" target=\"_blank\" rel=\"noopener\">late, lamented monthly \u003cem>The Word\u003c/em>\u003c/a>),\u003cem> \u003c/em>is a breezier but still expansive overview of the high-water mark of rock’s album-oriented maturity, a year Hepworth calls “the busiest, most creative, most interesting, and longest-resounding year of [the rock] era.”\u003c/p>\n\u003cp>Both books are structured similarly: twelve chapters apiece, one per month, keyed to specific recordings but moving well beyond them. Hepworth is a looser stylist; occasionally too loose, as when he correctly cites the November 1971 release date of \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly and the Family Stone\u003c/a>‘s \u003cem>There’s a Riot Goin’ On\u003c/em>, only to say many pages later that it “had just been released” at the time of the riots at New York’s Attica State Prison that September. But he’s also sharp and zingy. When he notes, “The year 1971 was the age of the Marshall stack, of mutually assured tinnitus,” or observes that Yes’s lyrics “had to be celestial poetry because they clearly made no sense on this earth,” his mix of garrulousness and dry wit makes \u003cem>Never a Dull Moment \u003c/em>a zip to read.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Savage is a more careful stylist and fact-gatherer; not only is \u003cem>1966: The Year the Decade Exploded\u003c/em> (we’ll refer to it by its subtitle from here on)\u003cem> \u003c/em>twice as long as Hepworth’s book, it’s far more densely packed. “Primary sources have been used wherever possible in order to eradicate hindsight and to reconstruct the mood of the time,” Savage notes — a stark contrast to Hepworth, for whom hindsight is very much the point. “If any of my children were to be cast away in the year 1971, they would be lost,” Hepworth writes. “However, they would feel entirely at home with the records that were made that year.” That couldn’t be further from what Savage prizes — the constant sense of present tense surprise captured by his carefully cultivated archival diggings.\u003c/p>\n\u003cp>One reason \u003cem>The Year the Decade Exploded \u003c/em>is so much longer than \u003cem>Never a Dull Moment \u003c/em>is that the latter is primarily fascinated by rock culture — record labels’ marketing plans or lack thereof, the U.K. live circuit, the day-to-day life of the artists behind the classic albums on which Hepworth focuses. Savage, on the other hand, casts his historical net wide, focusing on everything from nuclear paranoia (keyed to Birmingham, U.K., rockers The Ugly’s’ obscure “A Quiet Explosion,” the kickoff of the January chapter) to Vietnam (via Sgt. Barry Sadler’s number-one “The Ballad of the Green Berets,” March) to Andy Warhol (\u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">The Velvet Underground\u003c/a>‘s “I’ll Be Your Mirror,” June). He links soul music — \u003ca href=\"http://www.npr.org/artists/16119847/wilson-pickett\" target=\"_blank\" rel=\"noopener\">Wilson Pickett\u003c/a>‘s atomic “Land of 1,000 Dances,” James Brown, Motown — to the rise of Black Power a lot more doggedly than your typical highlight-reel skim, and does the same for the still deeply underground gay rights movement by focusing on the Tornados’ archly campy “Do You Come Here Often?” — produced by Joe Meek, London’s kitchen-sink answer to Phil Spector and a gay man who committed a murder-suicide in February 1967, taking his landlady with him.\u003c/p>\n\u003cp>If one of the key tenets of rock is that singles are kids’ stuff while albums where the real meat is, \u003cem>The Year the Decade Exploded \u003c/em>wipes away that silly myth repeatedly: Savage’s 45s have as much vaulting, widescreen ambition as the albums Hepworth valorizes. (Being British, Savage uses “pop” rather than “rock and roll,” but the meaning is basically the same.) Take \u003ca href=\"http://www.npr.org/artists/15397669/the-who\" target=\"_blank\" rel=\"noopener\">The Who\u003c/a>, a band that in very different ways is central to both Savage and Hepworth’s books. In the mid-sixties, The Who were London’s archetypal singles band — by choice, not happenstance. “Before we even approached the idea of making an album that was an expression of our own feelings . . . we believed only in singles,” \u003ca href=\"http://www.rollingstone.com/music/news/meaty-beaty-big-and-bouncy-pete-townshend-on-tommy-19711209\" target=\"_blank\" rel=\"noopener\">Pete Townshend wrote in \u003cem>Rolling Stone\u003c/em>\u003c/a>\u003cem> \u003c/em>about the band’s 1971 45s compilation \u003cem>Meaty, Beaty, Big and Bouncy\u003c/em>. “In the top ten records and pirate radio. We, I repeat, believed only in singles.”\u003c/p>\n\u003cp>The February ’66-released “Substitute” remains the band’s masterpiece. “At the start of the instrumental break — which, against type, features only John Entwistle’s bass guitar — [drummer Keith] Moon wallops the hell out of the floor toms in a performance so manic, or drug-deranged, that he had no memory of it after the event,” Savage writes. “I like the blatantness of pop, the speed, the urgency,” the band’s manager Chris Stamp said in a March 1966 quote that Savage cites: “There’s either success or failure — it’s no use bollockin’ about.” \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>By contrast, Hepworth lauds the band’s 1971 album \u003cem>Who’s Next \u003c/em>for being ambitious but not getting carried away. The album’s songs had been intended for an amorphous epic Townshend called “Lifehouse”: “[It] was supposed to be a film, a multimedia epic, a unique collaboration between performer and audience, and, on some level, a ‘crowd-sourced’ piece of art in which the band would facilitate the audience in reaching a new level of consciousness,” Hepworth writes. To him, the secret hero of \u003cem>Who’s Next \u003c/em>is associate producer Glyn Johns, who convinced Townshend to abandon the cumbersome, formless “Lifehouse” and instead concentrate on the songs he’d written: “One of the things that made Glyn Johns a production genius was his lack of interest in how things were supposed to work and his readiness to understand how things did work.”\u003c/p>\n\u003cp>If the kind of runaway ambition of a “Lifehouse” was a path to potential incoherence, though, the type of if-it-ain’t-broke-don’t-fix-it clamping down that led to \u003cem>Who’s Next \u003c/em>also lay the groundwork for a wholesale rejection of difference on the part of the largely male, working class rock audience. True, the “heritage rock” industry of Britain (of which Hepworth is part — he helped launch \u003cem>Mojo\u003c/em>, the UK’s heritage-rock house organ, in the mid-nineties) isn’t quite the monolith of American classic-rock radio, particularly in the country’s middle, whose flat lands are rendered even flatter thanks to forty ceaseless years of programming the exact same records. But for a Yank, many of the albums Hepworth rightly celebrates — \u003cem>Led Zeppelin IV, \u003ca href=\"http://www.npr.org/artists/15403019/the-rolling-stones\" target=\"_blank\" rel=\"noopener\">The Rolling Stones\u003c/a>\u003c/em>‘ \u003cem>Sticky Fingers\u003c/em>, \u003ca href=\"http://www.npr.org/artists/90721971/jethro-tull\" target=\"_blank\" rel=\"noopener\">Jethro Tull\u003c/a>‘s \u003cem>Aqualung — \u003c/em>can nevertheless be difficult to hear freshly, even aided by a sympathetic reading of his insightful contextualizing. By contrast, the fabulous \u003ca href=\"http://www.acerecords.co.uk/jon-savages-1966-the-year-the-decade-exploded\" target=\"_blank\" rel=\"noopener\">double-CD 1966\u003cem> \u003c/em>soundtrack\u003c/a> Savage compiled for Ace Records never stops surprising, not least due to the sequencing — mostly chronological, but not always. Yes, “Baba O’Riley” is still amazing, but somehow less so on the 1,001st play, especially when roughly 900 of them weren’t voluntary. By contrast, Savage’s inclusion of “Substitute” can still feel revelatory — not least because the song gets extra ballast by Savage leading into it with New Orleans R&B singer Robert Parker’s horn-led party jam “Barefootin’.” \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>The advantage of the albums central to Hepworth’s book is that they could provide their own context, not to mention that their subjects were hardly shy of vaulting ambition. \u003ca href=\"http://www.npr.org/artists/15396553/led-zeppelin\" target=\"_blank\" rel=\"noopener\">Led Zeppelin\u003c/a>, for example, would have been unimaginable in 1966; it was barely imaginable five years later. “It was customary in 1971 … to release an album as soon as humanly possible,” Hepworth writes. “There was no machine to prime, no marketing scheme to be perfected, no budget to be hammered out, no accompanying image to be developed … no complex hullabaloo to be orchestrated.” Zeppelin didn’t operate that way: Hepworth notes a November 1971 issue of \u003cem>Billboard\u003c/em> featured a four-page ad for fellow hard rockers Grand Funk Railroad’s \u003cem>E Pluribus Funk\u003c/em> that included “color portraits of all three members of the band,” which compared to the mysterious, band-less cover art of \u003cem>Led Zeppelin IV\u003c/em> made Grand Funk appear “gauche and needy.”\u003c/p>\n\u003cp>The sheer size of the band’s sound was made for arenas and high-end stereos, not transistor radios. When the band was booked to play Madison Square Garden (which it did for the first time on \u003ca href=\"http://www.ledzeppelin.com/show/september-19-1970\" target=\"_blank\" rel=\"noopener\">September 19, 1970\u003c/a>), Hepworth notes a fellow musician’s double take: “He simply didn’t believe bands could play venues that big.” A festival like Woodstock was one thing; but for the most part, selling out large halls was a rarity in this era, never mind arenas. In the U.K., college halls were the venues of choice (in particular, the University of Leeds, as in the Who’s 1970 \u003cem>Live at Leeds\u003c/em>), and as Hepworth points out, drugs were difficult to find and pubs shut down well before the concerts did: “Hence, audiences were overwhelmingly sober.” Merchandise — the full lines of T-shirts, buttons, canvas bags, and other branded gewgaws that now make up so much of the touring musician’s bottom line — basically didn’t yet exist.”\u003c/p>\n\u003cp>The kind of hard rock Led Zeppelin (and Grand Funk) embodied engendered a hard retreat, both into softer music — such as \u003ca href=\"http://www.npr.org/artists/15403595/carole-king\" target=\"_blank\" rel=\"noopener\">Carole King\u003c/a>‘s \u003cem>Tapestry\u003c/em>, 1971’s commercial behemoth and, as Hepworth points out, one of the only big albums of the era selling in large quantities to young women — and the past. One of Hepworth’s key arguments is that in 1971 the marketing of the musical past, in the form of reissues and concerts full of old material, was something “the record business hadn’t yet woken up to,” though that would change in short order. Hepworth’s prime examples are Elvis Presley, already retreating from his 1968 comeback, and \u003ca href=\"http://www.npr.org/artists/15394818/the-beach-boys\" target=\"_blank\" rel=\"noopener\">The Beach Boys\u003c/a>, whose 1971 album \u003cem>Surf’s Up \u003c/em>featured a title track that added new overdubs to a Brian Wilson solo-piano performance from 1966; Hepworth calls it “probably the first case of a band making a tribute album to itself.”\u003c/p>\n\u003cp>Only five years earlier, The Beach Boys had been in rock and roll’s first rank, thanks to the critical (and, in the U.K., commercial) success of \u003cem>Pet Sounds \u003c/em>but even more so to “Good Vibrations,” a single that many considered 1966’s most forward thinking. “It was technological yet emotional, sensual and spiritual, with an immediate physical impact and a deeper metaphysical meaning,” Savage writes. But as he also points out, the heady futurism of 1966’s pop incurred its own reactionary streak: Savage’s nostalgia-themed October chapter is keyed to the New Vaudeville Band’s Dixieland throwback “Winchester Cathedral,” which the Grammy Awards naturally named Best Contemporary [R&R] Recording in 1967, beating among others, “Good Vibrations.”\u003c/p>\n\u003cp>Savage notes that The Beach Boys’ record “spanned both R&B and psychedelia — the biggest new trends of the year.” \u003cem>The Year the Decade Exploded \u003c/em>spends lots of time on soul music, particularly its emergence in the U.K., but it could have spent lots more. (Savage notes that he left Jamaican music out nearly entirely for reasons of focus — and, no doubt considering how much research he already did here, sanity.) By contrast, Hepworth doesn’t write enough about R&B because he \u003cem>doesn’t\u003c/em>. He does offer a long consideration of Motown, keyed to \u003ca href=\"http://www.npr.org/artists/15669282/marvin-gaye\" target=\"_blank\" rel=\"noopener\">Marvin Gaye\u003c/a>‘s \u003cem>What’s Going On \u003c/em>(a good album, not a great one, he says, and I agree), but it feels very surface-level; there’s an uncomfortable component to a line like, “There was nothing Berry [Gordy] did that didn’t have at least some element of social climbing about it,” even though at root it’s basically correct.\u003c/p>\n\u003cp>What’s more amazing — suspicious, even — is that Hepworth merely grazes some of the most important soul of not only the year but the entire decade. \u003ca href=\"http://www.npr.org/artists/14947959/al-green\" target=\"_blank\" rel=\"noopener\">Al Green\u003c/a> didn’t release an album in 1971, but “Let’s Stay Together,” issued that November, ahead of the 1972 album of the same title, was a key component of the overall sweetening of R&B then occurring. At the other end of the spectrum, in 1971 James Brown left the indie label King for multinational Polydor, founded the People Records label, and that March lost his band that was anchored by \u003ca href=\"http://www.npr.org/artists/15293039/bootsy-collins\" target=\"_blank\" rel=\"noopener\">Bootsy Collins\u003c/a> and hired another that was led by trombonist Fred Wesley. With the latter unit Brown recorded this third live album at Harlem’s Apollo, \u003cem>Revolution of the Mind\u003c/em>, shelving a Bootsy-driven show taped in Paris (eventually issued in 1992 as \u003cem>Love Power Peace\u003c/em>). And he churned out no fewer than five R&B top-ten hits. Surely this is worth more than an aside that one of them, “Hot Pants (She Got to Use What She Got to Get What She Wants),” “encapsulates his trademark marriage of carnal and mercantile” — not to mention that both \u003cem>Revolution of the Mind \u003c/em>and the \u003cem>Hot Pants \u003c/em>album deserve a place on Hepworth’s listing of 1971’s 100 crucial albums far more than, oh, the self-titled debut of soft-rock simpletons America.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>And what about Funkadelic’s \u003cem>Maggot Brain\u003c/em>, which also makes Hepworth’s 100 album listing but is otherwise absent from the text, one of \u003cem>Never a Dull Moment\u003c/em>‘s most curious omissions. (To be fair, both Green and Brown have tracks in Hepworth’s chapter-ending suggested playlists.) \u003cem>Maggot Brain\u003c/em>‘s title track has one of the most legendary backstories of 1971 or any other year: \u003ca href=\"http://www.npr.org/artists/15163941/george-clinton\" target=\"_blank\" rel=\"noopener\">George Clinton\u003c/a> told guitarist Eddie Hazel to “Play like your mother died,” and Hazel responded with a ten-minute psychedelic blues solo as searing as Hendrix’s “Star Spangled Banner.” Also, Oedipal psychodrama from a disintegrating counterculture by a bunch of African-American hippie rock and rollers who’d go on to be the most sampled band of all time — how much resonance do you \u003cem>want\u003c/em>, anyway? That’s the problem with “rock”: Once seemingly expansive as the sun, with time it’s become clearer how limited a worldview it ultimately is. \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=1966+Vs.+1971%3A+When+%27Rock+%27n%27+Roll%27+Became+%27Rock%2C%27+And+What+We+Lost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 2009, musician and historian Elijah Wald published an overview of American pop from the 1890s to the 1960s he called \u003cem>How the Beatles Destroyed Rock ‘n’ Roll\u003c/em>. The title was a bomb-throwing feint — as \u003ca href=\"http://daily.redbullmusicacademy.com/2015/08/elijah-wald-interview\" target=\"_blank\" rel=\"noopener\">Wald told me in an interview\u003c/a>, he knew that title would get much more attention than a drier one such as “American Pop From Sousa to Soul” — and as if on cue, one reviewer after another lined up to wave away its thesis. “[I]s rock dead because of [the Beatles]?” \u003ca href=\"http://articles.latimes.com/2009/jun/11/entertainment/et-book11/2\" target=\"_blank\" rel=\"noopener\">harrumphed the \u003cem>Los Angeles Times\u003c/em>\u003c/a>. “You don’t need to be a critic to know the answer to that question.”\u003c/p>\n\u003cp>Only Wald didn’t say that \u003cem>rock \u003c/em>was destroyed, but that \u003cem>rock and roll \u003c/em>was — and the difference is not merely academic. \u003cem>Rock\u003c/em>, \u003ca href=\"http://daily.redbullmusicacademy.com/2015/03/robert-christgau-interview\" target=\"_blank\" rel=\"noopener\">in the words of critic Robert Christgau\u003c/a>, is “rock and roll made conscious of itself as an art form.” Prior to the June 1967 release of \u003ca href=\"http://www.npr.org/artists/15229570/the-beatles\" target=\"_blank\" rel=\"noopener\">The Beatles\u003c/a>‘ \u003cem>Sgt. Pepper’s Lonely Hearts Club Band\u003c/em>, “rock and roll” meant any and everything formally tied to the mid-fifties explosion led commercially by \u003ca href=\"http://www.npr.org/artists/15624007/elvis-presley\" target=\"_blank\" rel=\"noopener\">Elvis Presley\u003c/a> — doo-wop, surf music, Motown, the British Invasion, \u003ca href=\"http://www.npr.org/artists/15316566/james-brown\" target=\"_blank\" rel=\"noopener\">James Brown\u003c/a>. “We were influenced by early rock and roll … which was not black,” Daryl Hall of \u003ca href=\"http://www.npr.org/artists/15757261/hall-oates\" target=\"_blank\" rel=\"noopener\">Hall & Oates\u003c/a> told \u003cem>Musician \u003c/em>magazine in 1982 (cited in a \u003ca href=\"mailto:https://medium.com/cuepoint/70s-scenario-how-hall-oates-walked-along-the-red-ledge-to-discover-their-x-static-voice-5cb5b01d4d6f%23.udtzlulc4\" target=\"_blank\" rel=\"noopener\">Stephen Thomas Erlewine piece for Cuepoint\u003c/a>). “It was \u003cem>integrated \u003c/em>music. There was no difference between black and white.” As Jack Hamilton points out in his forthcoming \u003cem>Just Around Midnight: Rock and Roll and the Racial Imaginary\u003c/em>, the term “rock,” by itself, was almost nonexistent before \u003cem>Sgt. Pepper\u003c/em>; afterward, it almost exclusively denoted white men with guitars.\u003c/p>\n\u003cp>It also denoted an equally important marketplace turn: 1966 was the last year that seven-inch singles outsold twelve-inch LPs, and albums remained king through the digital age, when individual-track downloads finally surpassed full-lengths \u003ca href=\"http://www.hypebot.com/hypebot/2009/07/theres-still-a-place-where-albums-outsell-singles.html\" target=\"_blank\" rel=\"noopener\">in 2008\u003c/a>. Two new books by British rock critics, each keyed to specific years, act as a before-and-after of how “rock and roll” calcifying into “rock” acted in terms of who had access to it as the primary, envelope-pushing musical form of the moment.\u003c/p>\n\u003cp>\u003cem>1966: The Year the Decade Exploded\u003c/em>, by Jon Savage, author of the definitive punk rock history \u003cem>England’s Dreaming\u003c/em>,\u003cem> \u003c/em>is a heavily researched deep dive into both the year’s U.S.-U.K. pop landscape and their attendant sociopolitical ferment, keyed near-entirely to a nonstop parade of hits and duds, many first encountered via pirate radio, which bubbled up as an alternative to the pop-unfriendly BBC and was largely gone by 1968. \u003cem>Never a Dull Moment: 1971 — The Year That Rock Exploded\u003c/em>, by David Hepworth, veteran of numerous British rock mags (most recently, the \u003ca href=\"http://www.theatlantic.com/entertainment/archive/2012/07/rip-to-the-best-music-magazine-of-the-21st-century/259585/\" target=\"_blank\" rel=\"noopener\">late, lamented monthly \u003cem>The Word\u003c/em>\u003c/a>),\u003cem> \u003c/em>is a breezier but still expansive overview of the high-water mark of rock’s album-oriented maturity, a year Hepworth calls “the busiest, most creative, most interesting, and longest-resounding year of [the rock] era.”\u003c/p>\n\u003cp>Both books are structured similarly: twelve chapters apiece, one per month, keyed to specific recordings but moving well beyond them. Hepworth is a looser stylist; occasionally too loose, as when he correctly cites the November 1971 release date of \u003ca href=\"http://www.npr.org/artists/15180612/sly-the-family-stone\" target=\"_blank\" rel=\"noopener\">Sly and the Family Stone\u003c/a>‘s \u003cem>There’s a Riot Goin’ On\u003c/em>, only to say many pages later that it “had just been released” at the time of the riots at New York’s Attica State Prison that September. But he’s also sharp and zingy. When he notes, “The year 1971 was the age of the Marshall stack, of mutually assured tinnitus,” or observes that Yes’s lyrics “had to be celestial poetry because they clearly made no sense on this earth,” his mix of garrulousness and dry wit makes \u003cem>Never a Dull Moment \u003c/em>a zip to read.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Savage is a more careful stylist and fact-gatherer; not only is \u003cem>1966: The Year the Decade Exploded\u003c/em> (we’ll refer to it by its subtitle from here on)\u003cem> \u003c/em>twice as long as Hepworth’s book, it’s far more densely packed. “Primary sources have been used wherever possible in order to eradicate hindsight and to reconstruct the mood of the time,” Savage notes — a stark contrast to Hepworth, for whom hindsight is very much the point. “If any of my children were to be cast away in the year 1971, they would be lost,” Hepworth writes. “However, they would feel entirely at home with the records that were made that year.” That couldn’t be further from what Savage prizes — the constant sense of present tense surprise captured by his carefully cultivated archival diggings.\u003c/p>\n\u003cp>One reason \u003cem>The Year the Decade Exploded \u003c/em>is so much longer than \u003cem>Never a Dull Moment \u003c/em>is that the latter is primarily fascinated by rock culture — record labels’ marketing plans or lack thereof, the U.K. live circuit, the day-to-day life of the artists behind the classic albums on which Hepworth focuses. Savage, on the other hand, casts his historical net wide, focusing on everything from nuclear paranoia (keyed to Birmingham, U.K., rockers The Ugly’s’ obscure “A Quiet Explosion,” the kickoff of the January chapter) to Vietnam (via Sgt. Barry Sadler’s number-one “The Ballad of the Green Berets,” March) to Andy Warhol (\u003ca href=\"http://www.npr.org/artists/100863084/the-velvet-underground\" target=\"_blank\" rel=\"noopener\">The Velvet Underground\u003c/a>‘s “I’ll Be Your Mirror,” June). He links soul music — \u003ca href=\"http://www.npr.org/artists/16119847/wilson-pickett\" target=\"_blank\" rel=\"noopener\">Wilson Pickett\u003c/a>‘s atomic “Land of 1,000 Dances,” James Brown, Motown — to the rise of Black Power a lot more doggedly than your typical highlight-reel skim, and does the same for the still deeply underground gay rights movement by focusing on the Tornados’ archly campy “Do You Come Here Often?” — produced by Joe Meek, London’s kitchen-sink answer to Phil Spector and a gay man who committed a murder-suicide in February 1967, taking his landlady with him.\u003c/p>\n\u003cp>If one of the key tenets of rock is that singles are kids’ stuff while albums where the real meat is, \u003cem>The Year the Decade Exploded \u003c/em>wipes away that silly myth repeatedly: Savage’s 45s have as much vaulting, widescreen ambition as the albums Hepworth valorizes. (Being British, Savage uses “pop” rather than “rock and roll,” but the meaning is basically the same.) Take \u003ca href=\"http://www.npr.org/artists/15397669/the-who\" target=\"_blank\" rel=\"noopener\">The Who\u003c/a>, a band that in very different ways is central to both Savage and Hepworth’s books. In the mid-sixties, The Who were London’s archetypal singles band — by choice, not happenstance. “Before we even approached the idea of making an album that was an expression of our own feelings . . . we believed only in singles,” \u003ca href=\"http://www.rollingstone.com/music/news/meaty-beaty-big-and-bouncy-pete-townshend-on-tommy-19711209\" target=\"_blank\" rel=\"noopener\">Pete Townshend wrote in \u003cem>Rolling Stone\u003c/em>\u003c/a>\u003cem> \u003c/em>about the band’s 1971 45s compilation \u003cem>Meaty, Beaty, Big and Bouncy\u003c/em>. “In the top ten records and pirate radio. We, I repeat, believed only in singles.”\u003c/p>\n\u003cp>The February ’66-released “Substitute” remains the band’s masterpiece. “At the start of the instrumental break — which, against type, features only John Entwistle’s bass guitar — [drummer Keith] Moon wallops the hell out of the floor toms in a performance so manic, or drug-deranged, that he had no memory of it after the event,” Savage writes. “I like the blatantness of pop, the speed, the urgency,” the band’s manager Chris Stamp said in a March 1966 quote that Savage cites: “There’s either success or failure — it’s no use bollockin’ about.” \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>By contrast, Hepworth lauds the band’s 1971 album \u003cem>Who’s Next \u003c/em>for being ambitious but not getting carried away. The album’s songs had been intended for an amorphous epic Townshend called “Lifehouse”: “[It] was supposed to be a film, a multimedia epic, a unique collaboration between performer and audience, and, on some level, a ‘crowd-sourced’ piece of art in which the band would facilitate the audience in reaching a new level of consciousness,” Hepworth writes. To him, the secret hero of \u003cem>Who’s Next \u003c/em>is associate producer Glyn Johns, who convinced Townshend to abandon the cumbersome, formless “Lifehouse” and instead concentrate on the songs he’d written: “One of the things that made Glyn Johns a production genius was his lack of interest in how things were supposed to work and his readiness to understand how things did work.”\u003c/p>\n\u003cp>If the kind of runaway ambition of a “Lifehouse” was a path to potential incoherence, though, the type of if-it-ain’t-broke-don’t-fix-it clamping down that led to \u003cem>Who’s Next \u003c/em>also lay the groundwork for a wholesale rejection of difference on the part of the largely male, working class rock audience. True, the “heritage rock” industry of Britain (of which Hepworth is part — he helped launch \u003cem>Mojo\u003c/em>, the UK’s heritage-rock house organ, in the mid-nineties) isn’t quite the monolith of American classic-rock radio, particularly in the country’s middle, whose flat lands are rendered even flatter thanks to forty ceaseless years of programming the exact same records. But for a Yank, many of the albums Hepworth rightly celebrates — \u003cem>Led Zeppelin IV, \u003ca href=\"http://www.npr.org/artists/15403019/the-rolling-stones\" target=\"_blank\" rel=\"noopener\">The Rolling Stones\u003c/a>\u003c/em>‘ \u003cem>Sticky Fingers\u003c/em>, \u003ca href=\"http://www.npr.org/artists/90721971/jethro-tull\" target=\"_blank\" rel=\"noopener\">Jethro Tull\u003c/a>‘s \u003cem>Aqualung — \u003c/em>can nevertheless be difficult to hear freshly, even aided by a sympathetic reading of his insightful contextualizing. By contrast, the fabulous \u003ca href=\"http://www.acerecords.co.uk/jon-savages-1966-the-year-the-decade-exploded\" target=\"_blank\" rel=\"noopener\">double-CD 1966\u003cem> \u003c/em>soundtrack\u003c/a> Savage compiled for Ace Records never stops surprising, not least due to the sequencing — mostly chronological, but not always. Yes, “Baba O’Riley” is still amazing, but somehow less so on the 1,001st play, especially when roughly 900 of them weren’t voluntary. By contrast, Savage’s inclusion of “Substitute” can still feel revelatory — not least because the song gets extra ballast by Savage leading into it with New Orleans R&B singer Robert Parker’s horn-led party jam “Barefootin’.” \u003cstrong>\u003c/strong>\u003c/p>\n\u003cp>The advantage of the albums central to Hepworth’s book is that they could provide their own context, not to mention that their subjects were hardly shy of vaulting ambition. \u003ca href=\"http://www.npr.org/artists/15396553/led-zeppelin\" target=\"_blank\" rel=\"noopener\">Led Zeppelin\u003c/a>, for example, would have been unimaginable in 1966; it was barely imaginable five years later. “It was customary in 1971 … to release an album as soon as humanly possible,” Hepworth writes. “There was no machine to prime, no marketing scheme to be perfected, no budget to be hammered out, no accompanying image to be developed … no complex hullabaloo to be orchestrated.” Zeppelin didn’t operate that way: Hepworth notes a November 1971 issue of \u003cem>Billboard\u003c/em> featured a four-page ad for fellow hard rockers Grand Funk Railroad’s \u003cem>E Pluribus Funk\u003c/em> that included “color portraits of all three members of the band,” which compared to the mysterious, band-less cover art of \u003cem>Led Zeppelin IV\u003c/em> made Grand Funk appear “gauche and needy.”\u003c/p>\n\u003cp>The sheer size of the band’s sound was made for arenas and high-end stereos, not transistor radios. When the band was booked to play Madison Square Garden (which it did for the first time on \u003ca href=\"http://www.ledzeppelin.com/show/september-19-1970\" target=\"_blank\" rel=\"noopener\">September 19, 1970\u003c/a>), Hepworth notes a fellow musician’s double take: “He simply didn’t believe bands could play venues that big.” A festival like Woodstock was one thing; but for the most part, selling out large halls was a rarity in this era, never mind arenas. In the U.K., college halls were the venues of choice (in particular, the University of Leeds, as in the Who’s 1970 \u003cem>Live at Leeds\u003c/em>), and as Hepworth points out, drugs were difficult to find and pubs shut down well before the concerts did: “Hence, audiences were overwhelmingly sober.” Merchandise — the full lines of T-shirts, buttons, canvas bags, and other branded gewgaws that now make up so much of the touring musician’s bottom line — basically didn’t yet exist.”\u003c/p>\n\u003cp>The kind of hard rock Led Zeppelin (and Grand Funk) embodied engendered a hard retreat, both into softer music — such as \u003ca href=\"http://www.npr.org/artists/15403595/carole-king\" target=\"_blank\" rel=\"noopener\">Carole King\u003c/a>‘s \u003cem>Tapestry\u003c/em>, 1971’s commercial behemoth and, as Hepworth points out, one of the only big albums of the era selling in large quantities to young women — and the past. One of Hepworth’s key arguments is that in 1971 the marketing of the musical past, in the form of reissues and concerts full of old material, was something “the record business hadn’t yet woken up to,” though that would change in short order. Hepworth’s prime examples are Elvis Presley, already retreating from his 1968 comeback, and \u003ca href=\"http://www.npr.org/artists/15394818/the-beach-boys\" target=\"_blank\" rel=\"noopener\">The Beach Boys\u003c/a>, whose 1971 album \u003cem>Surf’s Up \u003c/em>featured a title track that added new overdubs to a Brian Wilson solo-piano performance from 1966; Hepworth calls it “probably the first case of a band making a tribute album to itself.”\u003c/p>\n\u003cp>Only five years earlier, The Beach Boys had been in rock and roll’s first rank, thanks to the critical (and, in the U.K., commercial) success of \u003cem>Pet Sounds \u003c/em>but even more so to “Good Vibrations,” a single that many considered 1966’s most forward thinking. “It was technological yet emotional, sensual and spiritual, with an immediate physical impact and a deeper metaphysical meaning,” Savage writes. But as he also points out, the heady futurism of 1966’s pop incurred its own reactionary streak: Savage’s nostalgia-themed October chapter is keyed to the New Vaudeville Band’s Dixieland throwback “Winchester Cathedral,” which the Grammy Awards naturally named Best Contemporary [R&R] Recording in 1967, beating among others, “Good Vibrations.”\u003c/p>\n\u003cp>Savage notes that The Beach Boys’ record “spanned both R&B and psychedelia — the biggest new trends of the year.” \u003cem>The Year the Decade Exploded \u003c/em>spends lots of time on soul music, particularly its emergence in the U.K., but it could have spent lots more. (Savage notes that he left Jamaican music out nearly entirely for reasons of focus — and, no doubt considering how much research he already did here, sanity.) By contrast, Hepworth doesn’t write enough about R&B because he \u003cem>doesn’t\u003c/em>. He does offer a long consideration of Motown, keyed to \u003ca href=\"http://www.npr.org/artists/15669282/marvin-gaye\" target=\"_blank\" rel=\"noopener\">Marvin Gaye\u003c/a>‘s \u003cem>What’s Going On \u003c/em>(a good album, not a great one, he says, and I agree), but it feels very surface-level; there’s an uncomfortable component to a line like, “There was nothing Berry [Gordy] did that didn’t have at least some element of social climbing about it,” even though at root it’s basically correct.\u003c/p>\n\u003cp>What’s more amazing — suspicious, even — is that Hepworth merely grazes some of the most important soul of not only the year but the entire decade. \u003ca href=\"http://www.npr.org/artists/14947959/al-green\" target=\"_blank\" rel=\"noopener\">Al Green\u003c/a> didn’t release an album in 1971, but “Let’s Stay Together,” issued that November, ahead of the 1972 album of the same title, was a key component of the overall sweetening of R&B then occurring. At the other end of the spectrum, in 1971 James Brown left the indie label King for multinational Polydor, founded the People Records label, and that March lost his band that was anchored by \u003ca href=\"http://www.npr.org/artists/15293039/bootsy-collins\" target=\"_blank\" rel=\"noopener\">Bootsy Collins\u003c/a> and hired another that was led by trombonist Fred Wesley. With the latter unit Brown recorded this third live album at Harlem’s Apollo, \u003cem>Revolution of the Mind\u003c/em>, shelving a Bootsy-driven show taped in Paris (eventually issued in 1992 as \u003cem>Love Power Peace\u003c/em>). And he churned out no fewer than five R&B top-ten hits. Surely this is worth more than an aside that one of them, “Hot Pants (She Got to Use What She Got to Get What She Wants),” “encapsulates his trademark marriage of carnal and mercantile” — not to mention that both \u003cem>Revolution of the Mind \u003c/em>and the \u003cem>Hot Pants \u003c/em>album deserve a place on Hepworth’s listing of 1971’s 100 crucial albums far more than, oh, the self-titled debut of soft-rock simpletons America.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And what about Funkadelic’s \u003cem>Maggot Brain\u003c/em>, which also makes Hepworth’s 100 album listing but is otherwise absent from the text, one of \u003cem>Never a Dull Moment\u003c/em>‘s most curious omissions. (To be fair, both Green and Brown have tracks in Hepworth’s chapter-ending suggested playlists.) \u003cem>Maggot Brain\u003c/em>‘s title track has one of the most legendary backstories of 1971 or any other year: \u003ca href=\"http://www.npr.org/artists/15163941/george-clinton\" target=\"_blank\" rel=\"noopener\">George Clinton\u003c/a> told guitarist Eddie Hazel to “Play like your mother died,” and Hazel responded with a ten-minute psychedelic blues solo as searing as Hendrix’s “Star Spangled Banner.” Also, Oedipal psychodrama from a disintegrating counterculture by a bunch of African-American hippie rock and rollers who’d go on to be the most sampled band of all time — how much resonance do you \u003cem>want\u003c/em>, anyway? That’s the problem with “rock”: Once seemingly expansive as the sun, with time it’s become clearer how limited a worldview it ultimately is. \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=1966+Vs.+1971%3A+When+%27Rock+%27n%27+Roll%27+Became+%27Rock%2C%27+And+What+We+Lost&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "'The Magnificent Seven': Because 'The Pretty Good Seven' Didn't Test Well",
"headTitle": "‘The Magnificent Seven’: Because ‘The Pretty Good Seven’ Didn’t Test Well | KQED",
"content": "\u003cp>Even 60 years ago, there were westerns that interrogated the genre’s veneration of masculinity and might-for-right.\u003c/p>\n\u003cp>\u003cem>The Magnificent Seve\u003c/em>n wasn’t one of them.\u003c/p>\n\u003cp>Arriving seven years after the pacifist fable \u003cem>Shane\u003c/em> but two years before the myth-busting \u003cem>The Man Who Shot Liberty Valance,\u003c/em> John Sturges’ 1960 classic is basically a what-you-see-is-what-you get paean to brotherhood and violent sacrifice. It’s about a small pack of wolves, led by Yul Brynner and Steve McQueen, that decides to protect a flock of sheep from a big pack of wolves led by Eli Wallach. That’s all, and that’s enough.\u003c/p>\n\u003cp>As in its source text — Akira Kurosawa’s 1954 \u003cem>Seven Samurai\u003c/em> — what motivates these soldiers of fortune remains largely opaque. (Not fortune. Penance, maybe.) The besieged farmers who beg for their assistance can’t afford them, but will give what little they have. “I’ve been offered a lot for my work, but never everything,” says Brynner.\u003c/p>\n\u003cp>William Roberts wrote that line, one of a handful that screenwriters Richard Wenk and Nic Pizzolatto were smart enough to retain for Denzel Washington in their fun but nonessential new version, the star’s third collaboration with \u003cem>Training Day\u003c/em> and \u003cem>The Equalizer\u003c/em> director Antoine Fuqua. Fuqua and Washington are a good team: They haven’t made a masterpiece together — the first 70 minutes or so of \u003cem>Training Day\u003c/em> are great enough to make you mad when that movie doesn’t go the distance — but they turn out high-grade pulp, present company included.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Their new \u003cem>Magnificent\u003c/em> \u003cem>Seven\u003c/em> is less white than the old one, obviously. It lets a woman (Haley Bennett) fire a rifle and even speak a few substantive lines. Inevitably, it insists on developing its heroes’ backstories in greater depth than its forebear. (Expect an “origin story” prequel to be put in development for each of them if the movie is a hit.) And yet for all that tinkering — some profitable, some merely decorative — \u003cem>The Magnificent Seven\u003c/em> ’16 still feels surprisingly unreconstructed. It tips its hat to \u003cem>Django Unchained\u003c/em>, but it’s not a revisionist western.\u003c/p>\n\u003cp>Nor is it an anti-western.\u003c/p>\n\u003cp>It’s a western.\u003c/p>\n\u003cp>https://youtu.be/q-RBA0xoaWU\u003c/p>\n\u003cp>At least I think it is. So costly is its final battle, in lives and infrastructure, that you have to wonder whether the peace-loving homesteaders of Rose Creek circa 1879 might’ve fared better if they’d just taken evil mining mogul Bartholomew Bogue’s lowball offer for their land and hit the road like he asked. Does the suggestion that all this crisply shot, adroitly edited killing and suffering might ultimately have been pointless make the picture revisionist? A truly abysmal bit of closing narration, seemingly borne of some executive’s note that someone in the movie must speak the word “magnificent” at some point, answers that question: Nope!\u003c/p>\n\u003cp>It pains me to report that the movie lacks (until the end credits) Elmer Bernstein’s heroic theme music, familiar from decades of Academy Awards telecasts. The composer James Horner, who has written more sweeping, romantic adventure scores than anybody in the last 30 years, was commissioned for this movie. Sadly, he died in an airplane crash last year. His arranger Simon Franglen finished the film’s music, with ersatz results.\u003c/p>\n\u003cp>The villain Wallach played all those decades ago was a bully who stole from the poor, but he was also a man of his word who in the end was just trying to keep his starving soldiers fed. That’s not antagonistic enough an antagonist for the Age of Ultron, apparently, because Fuqua & Co. go to comic extremes to make their malefactor truly satanic: Bogue runs a mining company, first of all, dismissing claims he’s polluting Rose Creek’s water supply. In the film’s prologue, he and his henchmen burst into the town parish, manhandle a child, spit tobacco on the floor, and then beat and/or shoot several unarmed civilians before setting the church on fire. Most damning of all, he wears the face of Peter Sarsgaard, whose soft features peg him in movie-language as a predatory creep just as surely as Washington’s symmetrical mug makes him a man of virtue.\u003c/p>\n\u003cp>Good news: Denzel looks great beneath a Stetson, on top of a horse. Who cares that at 60-plus, he’s more than 20 years longer-in-the-tooth than Brynner was? He’s still the most quietly commanding presence in movies. He’s grown a glorious pair of mutton-chops and learned to twirl a Colt Peacemaker, and that unhurried, shoulder-sloping gait of his suggests he should’ve been starring in westerns all along.\u003c/p>\n\u003cp>Ultimately, this kind of movie sinks or swims on the chemistry among its band of brothers. On that score, this one is a winner. A magnificent four-sevenths of them are now men of color, which — perhaps anachronistically — evokes little comment from the mostly-white villagers. Though the screenwriters have given them all new names, most of them map easily onto the lineup from the original \u003cem>Seven\u003c/em>. Washington is Brynner, obviously, down to the all-black wardrobe. Chris Pratt is McQueen — no longer a mere gambler, but a rakish skirt-chaser and an amateur card magician, too. (He does more winking and mugging in this 133-minute movie than McQueen did in his 25-year career. At one point, he vows to an enemy, “You’ll be murdered by the world’s greatest lover,” a line that would’ve been too embarrassing for Roger Moore. But since he didn’t smile even once in \u003cem>Jurassic World,\u003c/em> we’ll allow it.)\u003c/p>\n\u003cp>South Korean star Byung Hun Lee fills what was James Coburn’s part, the quiet guy who’s good with a blade. Ethan Hawke takes over for Robert Vaughn as the shell-shocked Confederate deserter. (It’s fun to see Washington and Hawke together again, 15 years after they both got Oscar nominations for \u003cem>Training Day\u003c/em>.) Rounding out the team are Vincent D’Onofrio as a weirdo trapper who speaks like his lungs are full of helium, Martin Sensmeier as a Commanche warrior who has left his tribe, and Manuel Garcia-Rulfo as a Mexican bounty hunter. Everyone looks authentically sweaty, not to say glossy.\u003c/p>\n\u003cp>Fuqua is smart enough to let us get to know each of them through behavior rather than dialogue, and he’s in no hurry to get to the bloody confrontation. There’s substantial pleasure, and humor, in the scenes where these soldiers try to shape the villagers into a militia that might have a prayer of fending of the mercenary battalion just a few days from their door.\u003c/p>\n\u003cp>If we’ve somehow gone almost 60 years without an officially licensed \u003cem>Seven Samurai/Magnificent Seven\u003c/em> update, it’s only because its imitators are legion. The \u003cem>Magnificent Seven\u003c/em> spawned three official sequels and innumerable unofficial ones. Fuqua’s own \u003cem>Tears of the Sun,\u003c/em> from 2003, was about a SEAL team that decides, against orders, to defend a group of refugees threatened with genocide. Counting team leader Bruce Willis, there were eight of them, and the setting was 21st century Nigeria rather than 19th century Mexico or 16th century Japan … but it was still \u003cem>Seven Samurai\u003c/em> in everything but name. The 1980s NBC series \u003cem>The A-Team\u003c/em> retold the second half of \u003cem>The Magnificent Seven\u003c/em> weekly for five seasons — a lot longer than CBS’s official \u003cem>Magnificent Seven\u003c/em> TV spinoff lasted.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>If it ain’t woke, don’t fix it.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Even 60 years ago, there were westerns that interrogated the genre’s veneration of masculinity and might-for-right.\u003c/p>\n\u003cp>\u003cem>The Magnificent Seve\u003c/em>n wasn’t one of them.\u003c/p>\n\u003cp>Arriving seven years after the pacifist fable \u003cem>Shane\u003c/em> but two years before the myth-busting \u003cem>The Man Who Shot Liberty Valance,\u003c/em> John Sturges’ 1960 classic is basically a what-you-see-is-what-you get paean to brotherhood and violent sacrifice. It’s about a small pack of wolves, led by Yul Brynner and Steve McQueen, that decides to protect a flock of sheep from a big pack of wolves led by Eli Wallach. That’s all, and that’s enough.\u003c/p>\n\u003cp>As in its source text — Akira Kurosawa’s 1954 \u003cem>Seven Samurai\u003c/em> — what motivates these soldiers of fortune remains largely opaque. (Not fortune. Penance, maybe.) The besieged farmers who beg for their assistance can’t afford them, but will give what little they have. “I’ve been offered a lot for my work, but never everything,” says Brynner.\u003c/p>\n\u003cp>William Roberts wrote that line, one of a handful that screenwriters Richard Wenk and Nic Pizzolatto were smart enough to retain for Denzel Washington in their fun but nonessential new version, the star’s third collaboration with \u003cem>Training Day\u003c/em> and \u003cem>The Equalizer\u003c/em> director Antoine Fuqua. Fuqua and Washington are a good team: They haven’t made a masterpiece together — the first 70 minutes or so of \u003cem>Training Day\u003c/em> are great enough to make you mad when that movie doesn’t go the distance — but they turn out high-grade pulp, present company included.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Their new \u003cem>Magnificent\u003c/em> \u003cem>Seven\u003c/em> is less white than the old one, obviously. It lets a woman (Haley Bennett) fire a rifle and even speak a few substantive lines. Inevitably, it insists on developing its heroes’ backstories in greater depth than its forebear. (Expect an “origin story” prequel to be put in development for each of them if the movie is a hit.) And yet for all that tinkering — some profitable, some merely decorative — \u003cem>The Magnificent Seven\u003c/em> ’16 still feels surprisingly unreconstructed. It tips its hat to \u003cem>Django Unchained\u003c/em>, but it’s not a revisionist western.\u003c/p>\n\u003cp>Nor is it an anti-western.\u003c/p>\n\u003cp>It’s a western.\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/q-RBA0xoaWU'\n title='//www.youtube.com/embed/q-RBA0xoaWU'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>At least I think it is. So costly is its final battle, in lives and infrastructure, that you have to wonder whether the peace-loving homesteaders of Rose Creek circa 1879 might’ve fared better if they’d just taken evil mining mogul Bartholomew Bogue’s lowball offer for their land and hit the road like he asked. Does the suggestion that all this crisply shot, adroitly edited killing and suffering might ultimately have been pointless make the picture revisionist? A truly abysmal bit of closing narration, seemingly borne of some executive’s note that someone in the movie must speak the word “magnificent” at some point, answers that question: Nope!\u003c/p>\n\u003cp>It pains me to report that the movie lacks (until the end credits) Elmer Bernstein’s heroic theme music, familiar from decades of Academy Awards telecasts. The composer James Horner, who has written more sweeping, romantic adventure scores than anybody in the last 30 years, was commissioned for this movie. Sadly, he died in an airplane crash last year. His arranger Simon Franglen finished the film’s music, with ersatz results.\u003c/p>\n\u003cp>The villain Wallach played all those decades ago was a bully who stole from the poor, but he was also a man of his word who in the end was just trying to keep his starving soldiers fed. That’s not antagonistic enough an antagonist for the Age of Ultron, apparently, because Fuqua & Co. go to comic extremes to make their malefactor truly satanic: Bogue runs a mining company, first of all, dismissing claims he’s polluting Rose Creek’s water supply. In the film’s prologue, he and his henchmen burst into the town parish, manhandle a child, spit tobacco on the floor, and then beat and/or shoot several unarmed civilians before setting the church on fire. Most damning of all, he wears the face of Peter Sarsgaard, whose soft features peg him in movie-language as a predatory creep just as surely as Washington’s symmetrical mug makes him a man of virtue.\u003c/p>\n\u003cp>Good news: Denzel looks great beneath a Stetson, on top of a horse. Who cares that at 60-plus, he’s more than 20 years longer-in-the-tooth than Brynner was? He’s still the most quietly commanding presence in movies. He’s grown a glorious pair of mutton-chops and learned to twirl a Colt Peacemaker, and that unhurried, shoulder-sloping gait of his suggests he should’ve been starring in westerns all along.\u003c/p>\n\u003cp>Ultimately, this kind of movie sinks or swims on the chemistry among its band of brothers. On that score, this one is a winner. A magnificent four-sevenths of them are now men of color, which — perhaps anachronistically — evokes little comment from the mostly-white villagers. Though the screenwriters have given them all new names, most of them map easily onto the lineup from the original \u003cem>Seven\u003c/em>. Washington is Brynner, obviously, down to the all-black wardrobe. Chris Pratt is McQueen — no longer a mere gambler, but a rakish skirt-chaser and an amateur card magician, too. (He does more winking and mugging in this 133-minute movie than McQueen did in his 25-year career. At one point, he vows to an enemy, “You’ll be murdered by the world’s greatest lover,” a line that would’ve been too embarrassing for Roger Moore. But since he didn’t smile even once in \u003cem>Jurassic World,\u003c/em> we’ll allow it.)\u003c/p>\n\u003cp>South Korean star Byung Hun Lee fills what was James Coburn’s part, the quiet guy who’s good with a blade. Ethan Hawke takes over for Robert Vaughn as the shell-shocked Confederate deserter. (It’s fun to see Washington and Hawke together again, 15 years after they both got Oscar nominations for \u003cem>Training Day\u003c/em>.) Rounding out the team are Vincent D’Onofrio as a weirdo trapper who speaks like his lungs are full of helium, Martin Sensmeier as a Commanche warrior who has left his tribe, and Manuel Garcia-Rulfo as a Mexican bounty hunter. Everyone looks authentically sweaty, not to say glossy.\u003c/p>\n\u003cp>Fuqua is smart enough to let us get to know each of them through behavior rather than dialogue, and he’s in no hurry to get to the bloody confrontation. There’s substantial pleasure, and humor, in the scenes where these soldiers try to shape the villagers into a militia that might have a prayer of fending of the mercenary battalion just a few days from their door.\u003c/p>\n\u003cp>If we’ve somehow gone almost 60 years without an officially licensed \u003cem>Seven Samurai/Magnificent Seven\u003c/em> update, it’s only because its imitators are legion. The \u003cem>Magnificent Seven\u003c/em> spawned three official sequels and innumerable unofficial ones. Fuqua’s own \u003cem>Tears of the Sun,\u003c/em> from 2003, was about a SEAL team that decides, against orders, to defend a group of refugees threatened with genocide. Counting team leader Bruce Willis, there were eight of them, and the setting was 21st century Nigeria rather than 19th century Mexico or 16th century Japan … but it was still \u003cem>Seven Samurai\u003c/em> in everything but name. The 1980s NBC series \u003cem>The A-Team\u003c/em> retold the second half of \u003cem>The Magnificent Seven\u003c/em> weekly for five seasons — a lot longer than CBS’s official \u003cem>Magnificent Seven\u003c/em> TV spinoff lasted.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Sometimes the world can feel a bit uniform: the same department stores in every shopping mall, the same fast food chains on every corner. The website \u003ca href=\"http://www.atlasobscura.com/\" target=\"_blank\" rel=\"noopener\">Atlas Obscura\u003c/a> will make you reconsider that sense of monotony.\u003c/p>\n\u003cp>“The world is still this huge, bizarre, vast place filled with astounding stuff,” says co-founder Dylan Thuras. “And if you sort of tilt your view a little bit and start looking for it, you start finding it everywhere.”\u003c/p>\n\u003cp>Thuras’ new book, also called \u003cem>Atlas Obscura\u003c/em>, is a guide to the world’s hidden wonders — like a \u003ca href=\"http://www.atlasobscura.com/places/vent-haven-museum\" target=\"_blank\" rel=\"noopener\">ventriloquist dummy museum in Kentucky\u003c/a> or a \u003ca href=\"http://www.atlasobscura.com/places/the-gates-of-hell\" target=\"_blank\" rel=\"noopener\">230-foot-wide hole in Turkmenistan\u003c/a> that’s been on fire for 40 years.\u003c/p>\n\u003cp>“That’s an amazing place,” Thuras says. “And it’s kind of one of these places that when you find out it exists, you’re a little bit surprised you didn’t know it existed before.”\u003c/p>\n\u003cp>But you don’t have go all the way to Turkmenistan to see these places; Thuras says there’s plenty of wonder in your own backyard. To prove it, he took NPR on a tour of the wonders in \u003cem>his\u003c/em> backyard: Manhattan.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Thuras starts his tour on the 6 train. “Basically, you stay on the 6 train after its last stop [Brooklyn Bridge-City Hall],” he says. “You’re able to look out the subway car windows and see the \u003ca href=\"http://www.atlasobscura.com/places/city-hall-station-mro\" target=\"_blank\" rel=\"noopener\">City Hall station\u003c/a>, which is one of the most beautiful subway stations ever created. It’s been shuttered since 1945, but it is this immaculate space. It’s this little piece of lost New York grandeur.”\u003c/p>\n\u003cp>The station has hanging chandeliers and arched ceilings that are covered in green and white tiles. (For the best view, \u003cem>Atlas Obscura\u003c/em> recommends sitting in the 7th, 8th or 9th car.)\u003c/p>\n\u003cp>The next stop is an artwork by Walter De Maria. It’s called \u003ca href=\"http://www.atlasobscura.com/places/the-new-york-earth-room\" target=\"_blank\" rel=\"noopener\">the Earth Room\u003c/a>, “which is what it sounds like,” Thuras says: “It is 280,000 pounds of dirt that has been sitting in a room in a SoHo loft.”\u003c/p>\n\u003cfigure id=\"attachment_12096239\" 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/Atlas-Obscura-Flckr-800x532.jpg\" alt=\"Manhattan's long-shuttered City Hall subway station has hanging chandeliers and arched ceilings that are covered in green and white tiles.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-12096239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Manhattan’s long-shuttered City Hall subway station has hanging chandeliers and arched ceilings that are covered in green and white tiles. \u003ccite>(Photo: Julian Dunn/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A little sign outside instructs visitors to buzz in and walk up to the second floor. There, they’ll find a loft in which the entire floor is covered in “rich, nicely groomed-looking dirt,” as Thuras describes it. Somebody has raked and misted the dirt every week since De Maria created the work in 1977. “It’s got the real smell of a forest floor,” Thuras says.\u003c/p>\n\u003cp>Spanish tourist Juan Carlos Fernandez’s visit coincided with NPR’s. He says he’s wanted to visit the Earth Room since 1986, “but for different reasons every time we were here in the city, we couldn’t.” Was it worth the 30-year wait? Fernandez says yes. “I am so thrilled right now.”\u003c/p>\n\u003cp>After the Earth Room, it’s time for lunch at the kind of restaurant Atlas Obscura loves. “We are going to \u003ca href=\"http://www.atlasobscura.com/places/el-sabroso\" target=\"_blank\" rel=\"noopener\">El Sabroso\u003c/a>, which is a small South American lunch counter in a freight elevator entrance,” Thuras says.\u003c/p>\n\u003cp>The restaurant is in Midtown in a sort of loading dock. Behind the counter, a cook tends to eight pots bubbling on a small stove. Seating consists of a long folding table with plastic chairs.\u003c/p>\n\u003cp>Thuras says, “In a way, there’s a history here because Midtown has always been home to garment workers and people, you know, who were kind of working on a tighter budget, and that’s still true today. So there’s a few remaining … old school lunch counters where you can get a great meal for like $6. … And it’s killer. It’s like super killer.” (He’s not kidding. It was the best $6 lunch this reporter has had in a long time.)\u003c/p>\n\u003cp>Thuras is the kind of traveler who will pack every minute of a day with experiences. After lunch, he leads NPR to \u003ca href=\"http://www.atlasobscura.com/places/toynbee-tiles-3\" target=\"_blank\" rel=\"noopener\">mysterious tiles embedded in the roadway\u003c/a>, \u003ca href=\"http://www.atlasobscura.com/places/gimbel-s-bridge\" target=\"_blank\" rel=\"noopener\">a shuttered art deco skywalk\u003c/a> that is completely sealed off to the world and the \u003ca href=\"http://www.atlasobscura.com/places/the-conjuring-arts-research-center\" target=\"_blank\" rel=\"noopener\">Conjuring Arts Research Center\u003c/a>, one of the world’s largest collections of books about magic.\u003c/p>\n\u003cp>The last stop on his tour is an easily overlooked wonder in the middle of Times Square. It’s called \u003ca href=\"http://www.atlasobscura.com/places/the-times-square-hum\" target=\"_blank\" rel=\"noopener\">the Times Square Hum\u003c/a> and it comes from under a metal grate on a pedestrian island. (You can hear it for yourself in the audio story above.) An artist named Max Neuhaus created it almost 40 years ago.\u003c/p>\n\u003cp>“It’s this kind of sonic secret, just tucked away,” Thuras says. “Almost nobody stops and says, ‘What is that strange noise?’ ” Because, of course, the Hum is surrounded by noise: car horns, street performers, crowds, squeaking brakes.\u003c/p>\n\u003cp>“For me, it sort of serves as this wonderful reminder that in the middle of all this madness — in what I think most people would find the most commercial, least sort of whimsical or magical place in Manhattan — is this kind of little gem waiting for you if you’re willing to sort of slow down, look around, listen and kind of start asking questions.”\u003c/p>\n\u003cp>Does he ever worry about Atlas Obscura running out of wonders to write about?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We asked ourselves this question at the start,” Thuras says, “and so far the answer seems to be: It is infinite.” \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=%27Atlas+Obscura%27+Tour+Of+Manhattan+Finds+Hidden+Wonders+In+A+Well-Trodden+Place&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Sometimes the world can feel a bit uniform: the same department stores in every shopping mall, the same fast food chains on every corner. The website \u003ca href=\"http://www.atlasobscura.com/\" target=\"_blank\" rel=\"noopener\">Atlas Obscura\u003c/a> will make you reconsider that sense of monotony.\u003c/p>\n\u003cp>“The world is still this huge, bizarre, vast place filled with astounding stuff,” says co-founder Dylan Thuras. “And if you sort of tilt your view a little bit and start looking for it, you start finding it everywhere.”\u003c/p>\n\u003cp>Thuras’ new book, also called \u003cem>Atlas Obscura\u003c/em>, is a guide to the world’s hidden wonders — like a \u003ca href=\"http://www.atlasobscura.com/places/vent-haven-museum\" target=\"_blank\" rel=\"noopener\">ventriloquist dummy museum in Kentucky\u003c/a> or a \u003ca href=\"http://www.atlasobscura.com/places/the-gates-of-hell\" target=\"_blank\" rel=\"noopener\">230-foot-wide hole in Turkmenistan\u003c/a> that’s been on fire for 40 years.\u003c/p>\n\u003cp>“That’s an amazing place,” Thuras says. “And it’s kind of one of these places that when you find out it exists, you’re a little bit surprised you didn’t know it existed before.”\u003c/p>\n\u003cp>But you don’t have go all the way to Turkmenistan to see these places; Thuras says there’s plenty of wonder in your own backyard. To prove it, he took NPR on a tour of the wonders in \u003cem>his\u003c/em> backyard: Manhattan.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Thuras starts his tour on the 6 train. “Basically, you stay on the 6 train after its last stop [Brooklyn Bridge-City Hall],” he says. “You’re able to look out the subway car windows and see the \u003ca href=\"http://www.atlasobscura.com/places/city-hall-station-mro\" target=\"_blank\" rel=\"noopener\">City Hall station\u003c/a>, which is one of the most beautiful subway stations ever created. It’s been shuttered since 1945, but it is this immaculate space. It’s this little piece of lost New York grandeur.”\u003c/p>\n\u003cp>The station has hanging chandeliers and arched ceilings that are covered in green and white tiles. (For the best view, \u003cem>Atlas Obscura\u003c/em> recommends sitting in the 7th, 8th or 9th car.)\u003c/p>\n\u003cp>The next stop is an artwork by Walter De Maria. It’s called \u003ca href=\"http://www.atlasobscura.com/places/the-new-york-earth-room\" target=\"_blank\" rel=\"noopener\">the Earth Room\u003c/a>, “which is what it sounds like,” Thuras says: “It is 280,000 pounds of dirt that has been sitting in a room in a SoHo loft.”\u003c/p>\n\u003cfigure id=\"attachment_12096239\" 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/Atlas-Obscura-Flckr-800x532.jpg\" alt=\"Manhattan's long-shuttered City Hall subway station has hanging chandeliers and arched ceilings that are covered in green and white tiles.\" width=\"800\" height=\"532\" class=\"size-medium wp-image-12096239\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Atlas-Obscura-Flckr-768x511.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Manhattan’s long-shuttered City Hall subway station has hanging chandeliers and arched ceilings that are covered in green and white tiles. \u003ccite>(Photo: Julian Dunn/Flickr)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>A little sign outside instructs visitors to buzz in and walk up to the second floor. There, they’ll find a loft in which the entire floor is covered in “rich, nicely groomed-looking dirt,” as Thuras describes it. Somebody has raked and misted the dirt every week since De Maria created the work in 1977. “It’s got the real smell of a forest floor,” Thuras says.\u003c/p>\n\u003cp>Spanish tourist Juan Carlos Fernandez’s visit coincided with NPR’s. He says he’s wanted to visit the Earth Room since 1986, “but for different reasons every time we were here in the city, we couldn’t.” Was it worth the 30-year wait? Fernandez says yes. “I am so thrilled right now.”\u003c/p>\n\u003cp>After the Earth Room, it’s time for lunch at the kind of restaurant Atlas Obscura loves. “We are going to \u003ca href=\"http://www.atlasobscura.com/places/el-sabroso\" target=\"_blank\" rel=\"noopener\">El Sabroso\u003c/a>, which is a small South American lunch counter in a freight elevator entrance,” Thuras says.\u003c/p>\n\u003cp>The restaurant is in Midtown in a sort of loading dock. Behind the counter, a cook tends to eight pots bubbling on a small stove. Seating consists of a long folding table with plastic chairs.\u003c/p>\n\u003cp>Thuras says, “In a way, there’s a history here because Midtown has always been home to garment workers and people, you know, who were kind of working on a tighter budget, and that’s still true today. So there’s a few remaining … old school lunch counters where you can get a great meal for like $6. … And it’s killer. It’s like super killer.” (He’s not kidding. It was the best $6 lunch this reporter has had in a long time.)\u003c/p>\n\u003cp>Thuras is the kind of traveler who will pack every minute of a day with experiences. After lunch, he leads NPR to \u003ca href=\"http://www.atlasobscura.com/places/toynbee-tiles-3\" target=\"_blank\" rel=\"noopener\">mysterious tiles embedded in the roadway\u003c/a>, \u003ca href=\"http://www.atlasobscura.com/places/gimbel-s-bridge\" target=\"_blank\" rel=\"noopener\">a shuttered art deco skywalk\u003c/a> that is completely sealed off to the world and the \u003ca href=\"http://www.atlasobscura.com/places/the-conjuring-arts-research-center\" target=\"_blank\" rel=\"noopener\">Conjuring Arts Research Center\u003c/a>, one of the world’s largest collections of books about magic.\u003c/p>\n\u003cp>The last stop on his tour is an easily overlooked wonder in the middle of Times Square. It’s called \u003ca href=\"http://www.atlasobscura.com/places/the-times-square-hum\" target=\"_blank\" rel=\"noopener\">the Times Square Hum\u003c/a> and it comes from under a metal grate on a pedestrian island. (You can hear it for yourself in the audio story above.) An artist named Max Neuhaus created it almost 40 years ago.\u003c/p>\n\u003cp>“It’s this kind of sonic secret, just tucked away,” Thuras says. “Almost nobody stops and says, ‘What is that strange noise?’ ” Because, of course, the Hum is surrounded by noise: car horns, street performers, crowds, squeaking brakes.\u003c/p>\n\u003cp>“For me, it sort of serves as this wonderful reminder that in the middle of all this madness — in what I think most people would find the most commercial, least sort of whimsical or magical place in Manhattan — is this kind of little gem waiting for you if you’re willing to sort of slow down, look around, listen and kind of start asking questions.”\u003c/p>\n\u003cp>Does he ever worry about Atlas Obscura running out of wonders to write about?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We asked ourselves this question at the start,” Thuras says, “and so far the answer seems to be: It is infinite.” \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=%27Atlas+Obscura%27+Tour+Of+Manhattan+Finds+Hidden+Wonders+In+A+Well-Trodden+Place&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "A Comics Convention for the Unconventional: The Small Press Expo",
"headTitle": "A Comics Convention for the Unconventional: The Small Press Expo | KQED",
"content": "\u003cp>\u003cem>Additional reporting by LA Johnson.\u003c/em>\u003c/p>\n\u003cp>I’ve attended the Small Press Expo, or SPX, for 10 years now. This year, I convinced NPR to let me take a reporting kit and interview attendees about what drew them to the show.\u003c/p>\n\u003cp>(You can check out more photos, illustrations and interviews with creators from the 2016 Small Press Expo on the \u003ca href=\"http://nprillustration.tumblr.com/\">NPR Illustrations Tumblr\u003c/a> over the coming days and weeks.)\u003c/p>\n\u003cp>In theory, SPX seems a lot like many of the other comic-cons that have been popping up across the country over the last few years. There’s the vast exhibit floor, there’s a packed schedule of panels and spotlights featuring interviews of, and discussions between, various comics creators. People mill about, lugging bags loaded down with stuff they’ve bought, or find an empty patch of carpeted hallway on which to plop themselves and rest while perusing their purchases.\u003c/p>\n\u003cp>If you close your eyes, its sounds a lot like any other con: the low, steady murmur of voices punctuated by the occasional exclamation of delight or surprise from someone who’s stumbling across an old friend — or a new passion.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But the moment you open your eyes, you’re reminded that SPX isn’t like most other cons.\u003c/p>\n\u003cp>It’s smaller, for one thing — the big shows in San Diego and New York attract upwards of 130,000 people, and SPX’s attendance is closer to 3,000. It fills the huge ballroom at a hotel in North Bethesda, Maryland, but unlike other comic-cons, where companies build massive booths that tower over you with video screens, loudly hawking all manner of comics-adjacent stuff like toys, games, statues and t-shirts, everything at SPX is at eye-level.\u003c/p>\n\u003cp>Hip-level, technically, as it’s just rows and rows of folding tables piled with comics and artwork.\u003c/p>\n\u003cfigure id=\"attachment_12095859\" 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/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-800x530.jpg\" alt=\"The Small Press Expo holds a yearly lottery for some of the tables, which allows for new artists to exhibit.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-12095859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Small Press Expo holds a yearly lottery for some of the tables, which allows for new artists to exhibit. \u003ccite>(Photo: Courtesy of SPX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Funkier, Smaller, More Approachable\u003c/strong>\u003c/p>\n\u003cp>“It’s not just a way to sell comics or buy comics,” said Whit Taylor, from New York City. “It’s also a social event … a chance to catch up with people, and meet new people both during the show and after the show and that’s kind of the most meaningful part to me.”\u003c/p>\n\u003cp>Whit came not just to buy comics, but to connect with the people who make them. And SPX is built around making exactly that happen.\u003c/p>\n\u003cp>It’s a convention for independent comics. People define “indie comics” differently, but for our purposes: not Marvel, and not DC.\u003c/p>\n\u003cp>“I like that it kinda sticks to just comics,” Whit said. “That’s how it started out. I know that shows can kinda go in different directions. I’m happy to see merch here and there, but I like that it’s just about independent artists or small presses.”\u003c/p>\n\u003cp>Some small presses \u003cem>do\u003c/em> set up tables at the Small Press Expo, fittingly enough — publishers like Drawn and Quarterly and Fantagraphics are SPX staples — but mostly, it’s men and women sitting or standing behind the tables, grinning earnestly at passersby to get them to stop and sample their work. That work could be a handsomely bound graphic novel, a print, or, in many cases, a mini-comic that they’ve drawn and copied and stapled together themselves.\u003c/p>\n\u003cp>Sarah Elizabeth drove up from Williamsburg, Virginia, and she appreciated that many of these comics are made without the usual gatekeepers — which affects who gets to make them.\u003c/p>\n\u003cp>“What I really like about this one so far is that there’s a lot more queer comics,” she said, “a lot more comics by women here, specifically women of color, that’s what stuck out to me the most.”\u003c/p>\n\u003cp>Liz Hathaway from Philadelphia came to support the creators.\u003c/p>\n\u003cp>“It’s independent comics, you know I give a lot of credit to a lot of these artists because they really believe in what they’re doing,” she said. “They have a passion for it, they’re spending a lot of their own money and resources to promote themselves so they must believe in themselves, and I like that independent, alternative type of comic.”\u003c/p>\n\u003cp>But Liz is also here for a more practical reason.\u003c/p>\n\u003cp>“I’m trying to get a feel of how they promote themselves,” she said. “I have a comic called \u003cem>The Hellwood Kids\u003c/em>, and it’s coming out next year, so I’m trying to get a feel of, you know. How they lay out everything and they show their comics.”\u003c/p>\n\u003cp>\u003cstrong>A Con About The Craft of Comics-Making\u003c/strong>\u003c/p>\n\u003cp>It turned out that Liz, and Whit Taylor, and 18 out of the 25 people I approached at random last weekend, make comics themselves. (Three of those 25 turned out to be NPR interns — make of that what you will.) That’s something else that sets this con apart, and has since it began in 1994.\u003c/p>\n\u003cp>“Well it was started by a bunch of local DC people who basically revolted against the mainstream superhero conventions,” said Warren Bernard, Executive Director of SPX. “They were like, why can’t we independent comics people get together with self-published people … and they had their first con over in Silver Spring back in 1994.”\u003c/p>\n\u003cp>The reason it grew to its current size, he said, is that today, “Many more people are activated by comics that aren’t superheroes — now that’s not taking anything away from superhero comics, I happen to like reading them — but there’s this other universe that’s everything but. And that’s what SPX is all about: everything but superheroes.”\u003c/p>\n\u003cp>He believes the people who come to SPX each year are not looking to score big Hollywood development deals. They’re driven by a different ethos.\u003c/p>\n\u003cp>“I think that’s part of what keeps SPX a little bit separate is that, you know, people are here for the art and the craft,” he said. “Whether you’re an attendee coming in and wanting to do stuff yourself, or you’re a creator that’s hanging out with all the other creators or just an attendee that kind of enjoys it, that is the thing that ties everyone together is the art and the craft, kinda combined.”\u003c/p>\n\u003cfigure id=\"attachment_12095860\" 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/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-800x533.jpg\" alt=\"The Small Press Expo brings together fans and creators of independent comics.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12095860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Small Press Expo brings together fans and creators of independent comics. \u003ccite>(Photo: Courtesy of SPX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Stepping Stone to Wider Success\u003c/strong>\u003c/p>\n\u003cp>Which is not to say that big development deals don’t happen. Cartoon Network, Disney and Nickelodeon send people to SPX every year to scout for talent. Rebecca Sugar, who created the TV show \u003cem>Steven Universe\u003c/em>, put in her time behind a table at SPX. So did Lisa Hanawalt, whose distinctive character designs can now be seen on the Netflix series \u003cem>Bojack Horseman\u003c/em>. Raina Telgemeier sold her mini-comics here, back in the day, as did many other creators who’ve gone on to huge commercial success.\u003c/p>\n\u003cp>Several established indie comics creators said they love coming back to SPX, for various reasons.\u003c/p>\n\u003cp>“Honestly [we come to SPX] because it’s part of the world that we live in, and that we came up in, and it’s cool to see all these people doing what they want to do instead of what they have to do for money,” said Jaime Hernandez, half of Los Bros Hernandez, the team behind the venerable, and venerated, alt-series \u003cem>Love and Rockets\u003c/em>.\u003c/p>\n\u003cp>“What I have really liked about SPX is it’s a comics festival which is more or less only about the things that I like about comics,” said Tom Gauld, creator of deadpan comics marvels \u003cem>You’re All Just Jealous of My Jetpack\u003c/em> and \u003cem>Mooncop\u003c/em>. “It’s not about movies of comics, it’s not about toys related to comics, it’s not about superhero comics, it’s more or less about whatever you call the thing that I do. It’s the kind of indie comics literary comics.”\u003c/p>\n\u003cp>SPX isn’t \u003cem>completely\u003c/em> unlike other cons — you’ll likely leave having dropped a healthy chunk of change on books and art. But people like Bailey Kung, who started coming to SPX as a volunteer and is now a member of the executive board, leave with something else as well.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“It’s definitely inspiring to be here,” she told me, “everyone is making such awesome work, it does make me want to go home and draw something.” \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+Comics+Convention+For+The+Unconventional%3A+The+Small+Press+Expo+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Additional reporting by LA Johnson.\u003c/em>\u003c/p>\n\u003cp>I’ve attended the Small Press Expo, or SPX, for 10 years now. This year, I convinced NPR to let me take a reporting kit and interview attendees about what drew them to the show.\u003c/p>\n\u003cp>(You can check out more photos, illustrations and interviews with creators from the 2016 Small Press Expo on the \u003ca href=\"http://nprillustration.tumblr.com/\">NPR Illustrations Tumblr\u003c/a> over the coming days and weeks.)\u003c/p>\n\u003cp>In theory, SPX seems a lot like many of the other comic-cons that have been popping up across the country over the last few years. There’s the vast exhibit floor, there’s a packed schedule of panels and spotlights featuring interviews of, and discussions between, various comics creators. People mill about, lugging bags loaded down with stuff they’ve bought, or find an empty patch of carpeted hallway on which to plop themselves and rest while perusing their purchases.\u003c/p>\n\u003cp>If you close your eyes, its sounds a lot like any other con: the low, steady murmur of voices punctuated by the occasional exclamation of delight or surprise from someone who’s stumbling across an old friend — or a new passion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But the moment you open your eyes, you’re reminded that SPX isn’t like most other cons.\u003c/p>\n\u003cp>It’s smaller, for one thing — the big shows in San Diego and New York attract upwards of 130,000 people, and SPX’s attendance is closer to 3,000. It fills the huge ballroom at a hotel in North Bethesda, Maryland, but unlike other comic-cons, where companies build massive booths that tower over you with video screens, loudly hawking all manner of comics-adjacent stuff like toys, games, statues and t-shirts, everything at SPX is at eye-level.\u003c/p>\n\u003cp>Hip-level, technically, as it’s just rows and rows of folding tables piled with comics and artwork.\u003c/p>\n\u003cfigure id=\"attachment_12095859\" 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/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-800x530.jpg\" alt=\"The Small Press Expo holds a yearly lottery for some of the tables, which allows for new artists to exhibit.\" width=\"800\" height=\"530\" class=\"size-medium wp-image-12095859\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-800x530.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-400x265.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-768x508.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-1180x781.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74-960x636.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-3_enl-b862e97d57eb3bba7e68cc080bd931654d963a74.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Small Press Expo holds a yearly lottery for some of the tables, which allows for new artists to exhibit. \u003ccite>(Photo: Courtesy of SPX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Funkier, Smaller, More Approachable\u003c/strong>\u003c/p>\n\u003cp>“It’s not just a way to sell comics or buy comics,” said Whit Taylor, from New York City. “It’s also a social event … a chance to catch up with people, and meet new people both during the show and after the show and that’s kind of the most meaningful part to me.”\u003c/p>\n\u003cp>Whit came not just to buy comics, but to connect with the people who make them. And SPX is built around making exactly that happen.\u003c/p>\n\u003cp>It’s a convention for independent comics. People define “indie comics” differently, but for our purposes: not Marvel, and not DC.\u003c/p>\n\u003cp>“I like that it kinda sticks to just comics,” Whit said. “That’s how it started out. I know that shows can kinda go in different directions. I’m happy to see merch here and there, but I like that it’s just about independent artists or small presses.”\u003c/p>\n\u003cp>Some small presses \u003cem>do\u003c/em> set up tables at the Small Press Expo, fittingly enough — publishers like Drawn and Quarterly and Fantagraphics are SPX staples — but mostly, it’s men and women sitting or standing behind the tables, grinning earnestly at passersby to get them to stop and sample their work. That work could be a handsomely bound graphic novel, a print, or, in many cases, a mini-comic that they’ve drawn and copied and stapled together themselves.\u003c/p>\n\u003cp>Sarah Elizabeth drove up from Williamsburg, Virginia, and she appreciated that many of these comics are made without the usual gatekeepers — which affects who gets to make them.\u003c/p>\n\u003cp>“What I really like about this one so far is that there’s a lot more queer comics,” she said, “a lot more comics by women here, specifically women of color, that’s what stuck out to me the most.”\u003c/p>\n\u003cp>Liz Hathaway from Philadelphia came to support the creators.\u003c/p>\n\u003cp>“It’s independent comics, you know I give a lot of credit to a lot of these artists because they really believe in what they’re doing,” she said. “They have a passion for it, they’re spending a lot of their own money and resources to promote themselves so they must believe in themselves, and I like that independent, alternative type of comic.”\u003c/p>\n\u003cp>But Liz is also here for a more practical reason.\u003c/p>\n\u003cp>“I’m trying to get a feel of how they promote themselves,” she said. “I have a comic called \u003cem>The Hellwood Kids\u003c/em>, and it’s coming out next year, so I’m trying to get a feel of, you know. How they lay out everything and they show their comics.”\u003c/p>\n\u003cp>\u003cstrong>A Con About The Craft of Comics-Making\u003c/strong>\u003c/p>\n\u003cp>It turned out that Liz, and Whit Taylor, and 18 out of the 25 people I approached at random last weekend, make comics themselves. (Three of those 25 turned out to be NPR interns — make of that what you will.) That’s something else that sets this con apart, and has since it began in 1994.\u003c/p>\n\u003cp>“Well it was started by a bunch of local DC people who basically revolted against the mainstream superhero conventions,” said Warren Bernard, Executive Director of SPX. “They were like, why can’t we independent comics people get together with self-published people … and they had their first con over in Silver Spring back in 1994.”\u003c/p>\n\u003cp>The reason it grew to its current size, he said, is that today, “Many more people are activated by comics that aren’t superheroes — now that’s not taking anything away from superhero comics, I happen to like reading them — but there’s this other universe that’s everything but. And that’s what SPX is all about: everything but superheroes.”\u003c/p>\n\u003cp>He believes the people who come to SPX each year are not looking to score big Hollywood development deals. They’re driven by a different ethos.\u003c/p>\n\u003cp>“I think that’s part of what keeps SPX a little bit separate is that, you know, people are here for the art and the craft,” he said. “Whether you’re an attendee coming in and wanting to do stuff yourself, or you’re a creator that’s hanging out with all the other creators or just an attendee that kind of enjoys it, that is the thing that ties everyone together is the art and the craft, kinda combined.”\u003c/p>\n\u003cfigure id=\"attachment_12095860\" 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/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-800x533.jpg\" alt=\"The Small Press Expo brings together fans and creators of independent comics.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-12095860\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-1180x786.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a-960x639.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/spx-sat-2_enl-a3e3c493b08e32ec2c3deb139ace989dae2c692a.jpg 1500w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The Small Press Expo brings together fans and creators of independent comics. \u003ccite>(Photo: Courtesy of SPX)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Stepping Stone to Wider Success\u003c/strong>\u003c/p>\n\u003cp>Which is not to say that big development deals don’t happen. Cartoon Network, Disney and Nickelodeon send people to SPX every year to scout for talent. Rebecca Sugar, who created the TV show \u003cem>Steven Universe\u003c/em>, put in her time behind a table at SPX. So did Lisa Hanawalt, whose distinctive character designs can now be seen on the Netflix series \u003cem>Bojack Horseman\u003c/em>. Raina Telgemeier sold her mini-comics here, back in the day, as did many other creators who’ve gone on to huge commercial success.\u003c/p>\n\u003cp>Several established indie comics creators said they love coming back to SPX, for various reasons.\u003c/p>\n\u003cp>“Honestly [we come to SPX] because it’s part of the world that we live in, and that we came up in, and it’s cool to see all these people doing what they want to do instead of what they have to do for money,” said Jaime Hernandez, half of Los Bros Hernandez, the team behind the venerable, and venerated, alt-series \u003cem>Love and Rockets\u003c/em>.\u003c/p>\n\u003cp>“What I have really liked about SPX is it’s a comics festival which is more or less only about the things that I like about comics,” said Tom Gauld, creator of deadpan comics marvels \u003cem>You’re All Just Jealous of My Jetpack\u003c/em> and \u003cem>Mooncop\u003c/em>. “It’s not about movies of comics, it’s not about toys related to comics, it’s not about superhero comics, it’s more or less about whatever you call the thing that I do. It’s the kind of indie comics literary comics.”\u003c/p>\n\u003cp>SPX isn’t \u003cem>completely\u003c/em> unlike other cons — you’ll likely leave having dropped a healthy chunk of change on books and art. But people like Bailey Kung, who started coming to SPX as a volunteer and is now a member of the executive board, leave with something else as well.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s definitely inspiring to be here,” she told me, “everyone is making such awesome work, it does make me want to go home and draw something.” \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+Comics+Convention+For+The+Unconventional%3A+The+Small+Press+Expo+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Juggernauts Repeat at 2016 Emmys, But Fresh Faces Get Their Due",
"headTitle": "Juggernauts Repeat at 2016 Emmys, But Fresh Faces Get Their Due | KQED",
"content": "\u003cp>It was the night of the small-screen giants. And none stood taller at the 2016 Emmys than the HBO juggernauts \u003cem>Game of Thrones\u003c/em> and \u003cem>Veep\u003c/em>, which won for best drama and comedy series, respectively. \u003cem>The People v. O.J. Simpson\u003c/em> also won the Emmy for outstanding limited series.\u003c/p>\n\u003cp>\u003cem>Game of Thrones\u003c/em> and \u003cem>VEEP\u003c/em> may have pulled off repeat wins at Sunday’s Emmy Awards, but there was also plenty of room for fresh faces in the winner’s circle.\u003c/p>\n\u003cp>First-time nominee Rami Malek won best drama actor for his role as on USA’s \u003cem>Mr. Robot\u003c/em> as delusional hacker Elliot Alderson. “Please tell me you’re seeing this, too,” Malek quipped before noting there was probably a bit of the alienated Alderson in all of us.\u003c/p>\n\u003cp> \u003ca class=\"twitter-timeline\" href=\"https://twitter.com/search?q=%23NPREmmys%20from%3Anpr%20OR%20from%3Adeggans%20OR%20from%3Anprmonkeysee%20OR%20from%3Aghweldon%20OR%20from%3Aninaberries%20OR%20from%3Aidislikestephen\" data-widget-id=\"777937030898520064\">Tweets about #NPREmmys from:npr OR from:deggans OR from:nprmonkeysee OR from:ghweldon OR from:ninaberries OR from:idislikestephen\u003c/a>\u003cbr>\n \u003cscript>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+\"://platform.twitter.com/widgets.js\";fjs.parentNode.insertBefore(js,fjs);}}(document,\"script\",\"twitter-wjs\");\u003c/script>\u003c/p>\n\u003cp>Tatiana Maslany, who plays several different clones of the same woman on the sci-fi series \u003cem>Orphan Black\u003c/em>, was a surprise winner as best drama actress; fans of the show often complained in its early years that her acting achievements weren’t recognized by the Emmys.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The comedy categories were a bit more predictable. \u003cem>VEEP\u003c/em> star Julia Louis-Dreyfus earned her fifth consecutive Emmy as best comedy actress – her seventh Emmy as a performer, in total – equaling the total by Mary Tyler Moore and Allison Janney. She choked up while accepting her award, dedicating it to her father, who she said had passed away on Friday.\u003cem> \u003cbr>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Transparent \u003c/em>star Jeffrey Tambor was named best actor in a comedy; his second consecutive Emmy win. Tambor used his acceptance speech to advocate that the producers and TV executives in the room hire more transgender performers to play transgender characters.\u003c/p>\n\u003cp>“Please give transgender talent a chance,” said Tambor, who is himself a non-transgender actor playing a transgender character. “I would not be unhappy were I the last cisgender male to play a female transgender on television.”\u003c/p>\n\u003cp>Host Jimmy Kimmel even managed a joke about how the dark and often dramatic \u003cem>Transparent \u003c/em>wound up competing in the Emmys as a comedy, noting the show “was born as a drama, but it identifies as a comedy.”\u003c/p>\n\u003cp>Kimmel proved a nimble and snarky host, tweaking GOP presidential candidate (and former \u003cem>Celebrity Apprentice\u003c/em> star) Donald Trump as a creation of reality TV and starting the awards with a pre-taped comedy bit that included former GOP candidate Jeb Bush playing a limo driver. The comic handed out peanut butter and jelly sandwiches to the crowd and drew gasps by having the show’s announcer note that the next presenter would be Bill Cosby, now facing trial on sexual assault charges.\u003c/p>\n\u003cp>“He’s not really here,” Kimmel joked, walking onstage after the camera had shown several shocked celebrities in the audience. “I just wanted to see what you guys would do.”\u003c/p>\n\u003cp>FX’s \u003cem>People v O.J. Simpson: American Crime Story\u003c/em> ruled much of the limited series category, with big wins for Sarah Paulson, Sterling K. Brown and Courtney B. Vance, who played Simpson prosecutors Marcia Clark and Chris Darden and Simpson defense attorney Johnnie Cochrane, respectively.\u003c/p>\n\u003cp>Paulson even apologized during her acceptance speech for originally joining the world back during the time of the Simpson trial in adopting a “superficial” opinion of Clark, who attended the Emmys Sunday with the actress.\u003c/p>\n\u003cp>On the heels of continued debate about diversity in Hollywood, the Emmy awards honored a wide variety of performers, writers, directors and producers. Key wins for people of color and women included: \u003cem>Master of None\u003c/em>‘s Aziz Ansari and Alan Yang (writing in a comedy series), \u003cem>Transparent\u003c/em>‘s Jill Soloway (directing, comedy series), \u003cem>Key & Peele\u003c/em> (variety sketch series), \u003cem>American Crime\u003c/em>‘s Regina King (supporting actress, limited series). Such diversity ensured organizers never had to worry about a hashtag like #EmmysSoWhite trending.\u003c/p>\n\u003cp>The show even concluded at its scheduled time, with no extra padding. It added up to an Emmycast which deftly honored longtime achievers while shining a spotlight on new talents, delivering an awards show worthy of TV’s current Golden Age.\u003c/p>\n\u003cp>NPR’s TV critic, Eric Deggans, along with Glen Weldon and Linda Holmes of \u003ca href=\"http://www.npr.org/blogs/monkeysee/\">Monkey See\u003c/a>, offered commentary on the show in real time. Dig back into their tweets as the night went on below — or find all the fun \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23npremmys&src=typd&lang=en\">right here on Twitter.\u003c/a>\u003c/p>\n\u003cp>Below, you’ll find a list of all the nominees and winners. Find the winners in bold.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Best Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Americans \u003c/em>(FX)\u003cbr>\u003cstrong>\u003cem>Game of Thrones\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>House of Cards\u003c/em> (Netflix)\u003cbr>\u003cem>Downton Abbey\u003c/em> (PBS)\u003cbr>\u003cem>Better Call Saul\u003c/em> (AMC)\u003cbr>\u003cem>Mr. Robot\u003c/em> (USA)\u003cbr>\u003cem>Homeland\u003c/em> (Showtime)\u003c/p>\n\u003cp>\u003cstrong>Best Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Veep\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>Transparent\u003c/em> (Amazon)\u003cbr>\u003cem>Silicon Valley\u003c/em> (HBO)\u003cbr>\u003cem>Modern Family\u003c/em> (ABC)\u003cbr>\u003cem>Master of None\u003c/em> (Netflix)\u003cbr>\u003cem>Unbreakable Kimmy Schmidt\u003c/em> (Netflix)\u003cbr>\u003cem>Black-ish\u003c/em> (ABC)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Kyle Chandler (\u003cem>Bloodline\u003c/em>)\u003cbr>\u003cstrong>Rami Malek (\u003cem>Mr. Robot\u003c/em>)\u003c/strong>\u003cbr>Bob Odenkirk (\u003cem>Better Call Saul\u003c/em>)\u003cbr>Matthew Rhys (\u003cem>The Americans\u003c/em>)\u003cbr>Liev Schreiber (\u003cem>Ray Donovan\u003c/em>)\u003cbr>Kevin Spacey (\u003cem>House of Cards\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Viola Davis (\u003cem>How to Get Away With Murder\u003c/em>)\u003cbr>Claire Danes (\u003cem>Homeland\u003c/em>)\u003cbr>Taraji P. Henson (\u003cem>Empire\u003c/em>)\u003cbr>\u003cstrong>Tatiana Maslany (\u003cem>Orphan Black\u003c/em>)\u003c/strong>\u003cbr>Keri Russell \u003cem>(The Americans)\u003cbr>\u003c/em>Robin Wright (\u003cem>House of Cards\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Anthony Anderson (\u003cem>Black-ish\u003c/em>)\u003cbr>Aziz Ansari (\u003cem>Master of None\u003c/em>)\u003cbr>Will Forte (\u003cem>The Last Man on Earth\u003c/em>)\u003cbr>William H. Macy (\u003cem>Shameless\u003c/em>)\u003cbr>Thomas Middleditch (\u003cem>Silicon Valley\u003c/em>)\u003cbr>\u003cstrong>Jeffrey Tambor (\u003cem>Transparent\u003c/em>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Ellie Kemper (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>)\u003cbr>\u003cstrong>Julia Louis-Dreyfus (\u003cem>Veep\u003c/em>)\u003c/strong>\u003cbr>Laurie Metcalf (\u003cem>Getting On\u003c/em>)\u003cbr>Tracee Ellis Ross (\u003cem>Black-ish\u003c/em>)\u003cbr>Amy Schumer (\u003cem>Inside Amy Schumer\u003c/em>)\u003cbr>Lily Tomlin (\u003cem>Grace and Frankie\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Jonathan Banks (\u003cem>Better Call Saul\u003c/em>)\u003cbr>Peter Dinklage (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Kit Harington (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Michael Kelly (\u003cem>House of Cards\u003c/em>)\u003cbr>\u003cstrong>Ben Mendelsohn (\u003cem>Bloodline\u003c/em>)\u003c/strong>\u003cbr>Jon Voight (\u003cem>Ray Donovan\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Emilia Clarke (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Lena Headey (\u003cem>Game of Thrones\u003c/em>)\u003cbr>\u003cstrong>Maggie Smith (\u003cem>Downton Abbey\u003c/em>)\u003c/strong>\u003cbr>Maura Tierney (\u003cem>The Affair\u003c/em>)\u003cbr>Maisie Williams (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Constance Zimmer (\u003cem>UnREAL\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Louie Anderson (\u003cem>Baskets\u003c/em>)\u003c/strong>\u003cbr>Andre Braugher (\u003cem>Brooklyn Nine-Nine\u003c/em>)\u003cbr>Ty Burrell (\u003cem>Modern Family\u003c/em>)\u003cbr>Tituss Burgess (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>)\u003cbr>Tony Hale (\u003cem>Veep\u003c/em>)\u003cbr>Keegan-Michael Key (\u003cem>Key and Peele\u003c/em>)\u003cbr>Matt Walsh (\u003cem>Veep\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Supporting Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Anna Chlumsky (\u003cem>Veep\u003c/em>)\u003cbr>Gaby Hoffmann (\u003cem>Transparent\u003c/em>)\u003cbr>Allison Janney (\u003cem>Mom\u003c/em>)\u003cbr>Judith Light (\u003cem>Transparent\u003c/em>)\u003cbr>\u003cstrong>Kate McKinnon (\u003cem>Saturday Night Live\u003c/em>)\u003c/strong>\u003cbr>Niecy Nash (\u003cem>Getting On\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>B\u003c/strong>\u003cstrong>est Directing for a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jill Soloway (\u003cem>Transparent\u003c/em>)\u003cbr>\u003c/strong>Aziz Ansari (\u003cem>Master Of None\u003c/em>)\u003cbr>Alec Berg (\u003cem>Silicon Valley\u003c/em>)\u003cbr>Mike Judge (Silicon Valley)\u003cbr>Dave Mandel (\u003cem>Veep\u003c/em>)\u003cbr>Chris Addison (Veep)\u003cbr>Dale Stern (Veep)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Limited Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>American Crime\u003c/em> (ABC)\u003cbr>\u003cem>Fargo\u003c/em> (FX)\u003cbr>\u003cem>The Night Manager\u003c/em> (AMC)\u003cbr>\u003cstrong>\u003cem>The People v. O.J. Simpson\u003c/em> (FX)\u003c/strong>\u003cbr>\u003cem>Roots\u003c/em> (History)\u003c/p>\n\u003cp>\u003cstrong>Best Television Movie\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A Very Murray Christmas\u003c/em> (Netflix)\u003cbr>\u003cem>All the Way\u003c/em> (HBO)\u003cbr>\u003cem>Confirmation\u003c/em> (HBO)\u003cbr>\u003cem>Luther\u003c/em> (BBC One)\u003cbr>\u003cstrong>\u003cem>Sherlock: The Abominable Bride\u003c/em> (PBS)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Bryan Cranston (\u003cem>All the Way\u003c/em>)\u003cbr>Benedict Cumberbatch (\u003cem>Sherlock: The Abominable Bride\u003c/em>)\u003cbr>Idris Elba (\u003cem>Luther\u003c/em>)\u003cbr>Cuba Gooding Jr. (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>Tom Hiddleston (\u003cem>The Night Manager\u003c/em>)\u003cbr>\u003cstrong>Courtney B. Vance (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Kirsten Dunst (\u003cem>Fargo\u003c/em>)\u003cbr>Felicity Huffman (\u003cem>American Crime\u003c/em>)\u003cbr>Audra McDonald (\u003cem>Lady Day at Emerson’s Bar & Grill\u003c/em>)\u003cbr>\u003cstrong>Sarah Paulson (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003cbr>Lili Taylor (\u003cem>American Crime\u003c/em>)\u003cbr>Kerry Washington (\u003cem>Confirmation\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Writing for a Limited Series or Movie\u003c/strong>\u003c/p>\n\u003cp>Bob DeLaurentis (\u003cem>Fargo\u003c/em>)\u003cbr>Noah Hawley (\u003cem>Fargo\u003c/em>)\u003cbr>\u003cstrong>D.V. DeVincentis (The People v. O.J. Simpson)\u003c/strong>\u003cbr>Scott Alexander, Larry Karaszewski (The People v. O.J. Simpson: American Crime Story)\u003cbr>Joe Robert Cole (The People v. O.J. Simpson: American Crime Story)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Limited Series, Movie or Special\u003c/strong>\u003c/p>\n\u003cp>Jay Roach, (\u003cem>All The Way\u003c/em>)\u003cbr>\u003cstrong>Susanne Bier (The Night Manager)\u003cbr>\u003c/strong>Noah Hawley \u003cem>(Fargo\u003c/em>)\u003cbr>Ryan Murphy (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003cbr>Anthony Hemingway (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003cbr>John Singleton (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Miguel Sapochnik (\u003cem>Game of Thrones\u003c/em>)\u003c/strong>\u003cbr>Michael Engler\u003cem> (Downton Abbey\u003c/em>)\u003cbr>Jack Bender (\u003cem>Game Of Thrones)\u003c/em>\u003cbr>Lesli Linka Glatter (\u003cem>Homeland\u003c/em>)\u003cbr>Steven Soderbergh (\u003cem>The Knick\u003c/em>)\u003cbr>David Hollander (\u003cem>Ray Donovan\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sterling K. Brown (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003cbr>Hugh Laurie (\u003cem>The Night Manager\u003c/em>)\u003cbr>Jesse Plemons (\u003cem>Fargo\u003c/em>)\u003cbr>David Schwimmer (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>John Travolta (\u003cem>The People v. O.J. 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"excerpt": "'Game of Thrones', 'Veep' and 'The People v. O.J. Simpson' won for best drama, comedy and limited series — but some new names made splashes, too. NPR's pop culture crew live-tweeted the night's festivities.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It was the night of the small-screen giants. And none stood taller at the 2016 Emmys than the HBO juggernauts \u003cem>Game of Thrones\u003c/em> and \u003cem>Veep\u003c/em>, which won for best drama and comedy series, respectively. \u003cem>The People v. O.J. Simpson\u003c/em> also won the Emmy for outstanding limited series.\u003c/p>\n\u003cp>\u003cem>Game of Thrones\u003c/em> and \u003cem>VEEP\u003c/em> may have pulled off repeat wins at Sunday’s Emmy Awards, but there was also plenty of room for fresh faces in the winner’s circle.\u003c/p>\n\u003cp>First-time nominee Rami Malek won best drama actor for his role as on USA’s \u003cem>Mr. Robot\u003c/em> as delusional hacker Elliot Alderson. “Please tell me you’re seeing this, too,” Malek quipped before noting there was probably a bit of the alienated Alderson in all of us.\u003c/p>\n\u003cp> \u003ca class=\"twitter-timeline\" href=\"https://twitter.com/search?q=%23NPREmmys%20from%3Anpr%20OR%20from%3Adeggans%20OR%20from%3Anprmonkeysee%20OR%20from%3Aghweldon%20OR%20from%3Aninaberries%20OR%20from%3Aidislikestephen\" data-widget-id=\"777937030898520064\">Tweets about #NPREmmys from:npr OR from:deggans OR from:nprmonkeysee OR from:ghweldon OR from:ninaberries OR from:idislikestephen\u003c/a>\u003cbr>\n \u003cscript>!function(d,s,id){var js,fjs=d.getElementsByTagName(s)[0],p=/^http:/.test(d.location)?'http':'https';if(!d.getElementById(id)){js=d.createElement(s);js.id=id;js.src=p+\"://platform.twitter.com/widgets.js\";fjs.parentNode.insertBefore(js,fjs);}}(document,\"script\",\"twitter-wjs\");\u003c/script>\u003c/p>\n\u003cp>Tatiana Maslany, who plays several different clones of the same woman on the sci-fi series \u003cem>Orphan Black\u003c/em>, was a surprise winner as best drama actress; fans of the show often complained in its early years that her acting achievements weren’t recognized by the Emmys.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The comedy categories were a bit more predictable. \u003cem>VEEP\u003c/em> star Julia Louis-Dreyfus earned her fifth consecutive Emmy as best comedy actress – her seventh Emmy as a performer, in total – equaling the total by Mary Tyler Moore and Allison Janney. She choked up while accepting her award, dedicating it to her father, who she said had passed away on Friday.\u003cem> \u003cbr>\u003c/em>\u003c/p>\n\u003cp>\u003cem>Transparent \u003c/em>star Jeffrey Tambor was named best actor in a comedy; his second consecutive Emmy win. Tambor used his acceptance speech to advocate that the producers and TV executives in the room hire more transgender performers to play transgender characters.\u003c/p>\n\u003cp>“Please give transgender talent a chance,” said Tambor, who is himself a non-transgender actor playing a transgender character. “I would not be unhappy were I the last cisgender male to play a female transgender on television.”\u003c/p>\n\u003cp>Host Jimmy Kimmel even managed a joke about how the dark and often dramatic \u003cem>Transparent \u003c/em>wound up competing in the Emmys as a comedy, noting the show “was born as a drama, but it identifies as a comedy.”\u003c/p>\n\u003cp>Kimmel proved a nimble and snarky host, tweaking GOP presidential candidate (and former \u003cem>Celebrity Apprentice\u003c/em> star) Donald Trump as a creation of reality TV and starting the awards with a pre-taped comedy bit that included former GOP candidate Jeb Bush playing a limo driver. The comic handed out peanut butter and jelly sandwiches to the crowd and drew gasps by having the show’s announcer note that the next presenter would be Bill Cosby, now facing trial on sexual assault charges.\u003c/p>\n\u003cp>“He’s not really here,” Kimmel joked, walking onstage after the camera had shown several shocked celebrities in the audience. “I just wanted to see what you guys would do.”\u003c/p>\n\u003cp>FX’s \u003cem>People v O.J. Simpson: American Crime Story\u003c/em> ruled much of the limited series category, with big wins for Sarah Paulson, Sterling K. Brown and Courtney B. Vance, who played Simpson prosecutors Marcia Clark and Chris Darden and Simpson defense attorney Johnnie Cochrane, respectively.\u003c/p>\n\u003cp>Paulson even apologized during her acceptance speech for originally joining the world back during the time of the Simpson trial in adopting a “superficial” opinion of Clark, who attended the Emmys Sunday with the actress.\u003c/p>\n\u003cp>On the heels of continued debate about diversity in Hollywood, the Emmy awards honored a wide variety of performers, writers, directors and producers. Key wins for people of color and women included: \u003cem>Master of None\u003c/em>‘s Aziz Ansari and Alan Yang (writing in a comedy series), \u003cem>Transparent\u003c/em>‘s Jill Soloway (directing, comedy series), \u003cem>Key & Peele\u003c/em> (variety sketch series), \u003cem>American Crime\u003c/em>‘s Regina King (supporting actress, limited series). Such diversity ensured organizers never had to worry about a hashtag like #EmmysSoWhite trending.\u003c/p>\n\u003cp>The show even concluded at its scheduled time, with no extra padding. It added up to an Emmycast which deftly honored longtime achievers while shining a spotlight on new talents, delivering an awards show worthy of TV’s current Golden Age.\u003c/p>\n\u003cp>NPR’s TV critic, Eric Deggans, along with Glen Weldon and Linda Holmes of \u003ca href=\"http://www.npr.org/blogs/monkeysee/\">Monkey See\u003c/a>, offered commentary on the show in real time. Dig back into their tweets as the night went on below — or find all the fun \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23npremmys&src=typd&lang=en\">right here on Twitter.\u003c/a>\u003c/p>\n\u003cp>Below, you’ll find a list of all the nominees and winners. Find the winners in bold.\u003c/p>\n\u003chr>\n\u003cp>\u003cstrong>Best Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Americans \u003c/em>(FX)\u003cbr>\u003cstrong>\u003cem>Game of Thrones\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>House of Cards\u003c/em> (Netflix)\u003cbr>\u003cem>Downton Abbey\u003c/em> (PBS)\u003cbr>\u003cem>Better Call Saul\u003c/em> (AMC)\u003cbr>\u003cem>Mr. Robot\u003c/em> (USA)\u003cbr>\u003cem>Homeland\u003c/em> (Showtime)\u003c/p>\n\u003cp>\u003cstrong>Best Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Veep\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>Transparent\u003c/em> (Amazon)\u003cbr>\u003cem>Silicon Valley\u003c/em> (HBO)\u003cbr>\u003cem>Modern Family\u003c/em> (ABC)\u003cbr>\u003cem>Master of None\u003c/em> (Netflix)\u003cbr>\u003cem>Unbreakable Kimmy Schmidt\u003c/em> (Netflix)\u003cbr>\u003cem>Black-ish\u003c/em> (ABC)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Kyle Chandler (\u003cem>Bloodline\u003c/em>)\u003cbr>\u003cstrong>Rami Malek (\u003cem>Mr. Robot\u003c/em>)\u003c/strong>\u003cbr>Bob Odenkirk (\u003cem>Better Call Saul\u003c/em>)\u003cbr>Matthew Rhys (\u003cem>The Americans\u003c/em>)\u003cbr>Liev Schreiber (\u003cem>Ray Donovan\u003c/em>)\u003cbr>Kevin Spacey (\u003cem>House of Cards\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Viola Davis (\u003cem>How to Get Away With Murder\u003c/em>)\u003cbr>Claire Danes (\u003cem>Homeland\u003c/em>)\u003cbr>Taraji P. Henson (\u003cem>Empire\u003c/em>)\u003cbr>\u003cstrong>Tatiana Maslany (\u003cem>Orphan Black\u003c/em>)\u003c/strong>\u003cbr>Keri Russell \u003cem>(The Americans)\u003cbr>\u003c/em>Robin Wright (\u003cem>House of Cards\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Anthony Anderson (\u003cem>Black-ish\u003c/em>)\u003cbr>Aziz Ansari (\u003cem>Master of None\u003c/em>)\u003cbr>Will Forte (\u003cem>The Last Man on Earth\u003c/em>)\u003cbr>William H. Macy (\u003cem>Shameless\u003c/em>)\u003cbr>Thomas Middleditch (\u003cem>Silicon Valley\u003c/em>)\u003cbr>\u003cstrong>Jeffrey Tambor (\u003cem>Transparent\u003c/em>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Ellie Kemper (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>)\u003cbr>\u003cstrong>Julia Louis-Dreyfus (\u003cem>Veep\u003c/em>)\u003c/strong>\u003cbr>Laurie Metcalf (\u003cem>Getting On\u003c/em>)\u003cbr>Tracee Ellis Ross (\u003cem>Black-ish\u003c/em>)\u003cbr>Amy Schumer (\u003cem>Inside Amy Schumer\u003c/em>)\u003cbr>Lily Tomlin (\u003cem>Grace and Frankie\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Jonathan Banks (\u003cem>Better Call Saul\u003c/em>)\u003cbr>Peter Dinklage (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Kit Harington (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Michael Kelly (\u003cem>House of Cards\u003c/em>)\u003cbr>\u003cstrong>Ben Mendelsohn (\u003cem>Bloodline\u003c/em>)\u003c/strong>\u003cbr>Jon Voight (\u003cem>Ray Donovan\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>Emilia Clarke (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Lena Headey (\u003cem>Game of Thrones\u003c/em>)\u003cbr>\u003cstrong>Maggie Smith (\u003cem>Downton Abbey\u003c/em>)\u003c/strong>\u003cbr>Maura Tierney (\u003cem>The Affair\u003c/em>)\u003cbr>Maisie Williams (\u003cem>Game of Thrones\u003c/em>)\u003cbr>Constance Zimmer (\u003cem>UnREAL\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Louie Anderson (\u003cem>Baskets\u003c/em>)\u003c/strong>\u003cbr>Andre Braugher (\u003cem>Brooklyn Nine-Nine\u003c/em>)\u003cbr>Ty Burrell (\u003cem>Modern Family\u003c/em>)\u003cbr>Tituss Burgess (\u003cem>Unbreakable Kimmy Schmidt\u003c/em>)\u003cbr>Tony Hale (\u003cem>Veep\u003c/em>)\u003cbr>Keegan-Michael Key (\u003cem>Key and Peele\u003c/em>)\u003cbr>Matt Walsh (\u003cem>Veep\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Supporting Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>Anna Chlumsky (\u003cem>Veep\u003c/em>)\u003cbr>Gaby Hoffmann (\u003cem>Transparent\u003c/em>)\u003cbr>Allison Janney (\u003cem>Mom\u003c/em>)\u003cbr>Judith Light (\u003cem>Transparent\u003c/em>)\u003cbr>\u003cstrong>Kate McKinnon (\u003cem>Saturday Night Live\u003c/em>)\u003c/strong>\u003cbr>Niecy Nash (\u003cem>Getting On\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>B\u003c/strong>\u003cstrong>est Directing for a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Jill Soloway (\u003cem>Transparent\u003c/em>)\u003cbr>\u003c/strong>Aziz Ansari (\u003cem>Master Of None\u003c/em>)\u003cbr>Alec Berg (\u003cem>Silicon Valley\u003c/em>)\u003cbr>Mike Judge (Silicon Valley)\u003cbr>Dave Mandel (\u003cem>Veep\u003c/em>)\u003cbr>Chris Addison (Veep)\u003cbr>Dale Stern (Veep)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Limited Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>American Crime\u003c/em> (ABC)\u003cbr>\u003cem>Fargo\u003c/em> (FX)\u003cbr>\u003cem>The Night Manager\u003c/em> (AMC)\u003cbr>\u003cstrong>\u003cem>The People v. O.J. Simpson\u003c/em> (FX)\u003c/strong>\u003cbr>\u003cem>Roots\u003c/em> (History)\u003c/p>\n\u003cp>\u003cstrong>Best Television Movie\u003c/strong>\u003c/p>\n\u003cp>\u003cem>A Very Murray Christmas\u003c/em> (Netflix)\u003cbr>\u003cem>All the Way\u003c/em> (HBO)\u003cbr>\u003cem>Confirmation\u003c/em> (HBO)\u003cbr>\u003cem>Luther\u003c/em> (BBC One)\u003cbr>\u003cstrong>\u003cem>Sherlock: The Abominable Bride\u003c/em> (PBS)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actor in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Bryan Cranston (\u003cem>All the Way\u003c/em>)\u003cbr>Benedict Cumberbatch (\u003cem>Sherlock: The Abominable Bride\u003c/em>)\u003cbr>Idris Elba (\u003cem>Luther\u003c/em>)\u003cbr>Cuba Gooding Jr. (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>Tom Hiddleston (\u003cem>The Night Manager\u003c/em>)\u003cbr>\u003cstrong>Courtney B. Vance (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Best Actress in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Kirsten Dunst (\u003cem>Fargo\u003c/em>)\u003cbr>Felicity Huffman (\u003cem>American Crime\u003c/em>)\u003cbr>Audra McDonald (\u003cem>Lady Day at Emerson’s Bar & Grill\u003c/em>)\u003cbr>\u003cstrong>Sarah Paulson (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003cbr>Lili Taylor (\u003cem>American Crime\u003c/em>)\u003cbr>Kerry Washington (\u003cem>Confirmation\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Writing for a Limited Series or Movie\u003c/strong>\u003c/p>\n\u003cp>Bob DeLaurentis (\u003cem>Fargo\u003c/em>)\u003cbr>Noah Hawley (\u003cem>Fargo\u003c/em>)\u003cbr>\u003cstrong>D.V. DeVincentis (The People v. O.J. Simpson)\u003c/strong>\u003cbr>Scott Alexander, Larry Karaszewski (The People v. O.J. Simpson: American Crime Story)\u003cbr>Joe Robert Cole (The People v. O.J. Simpson: American Crime Story)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Limited Series, Movie or Special\u003c/strong>\u003c/p>\n\u003cp>Jay Roach, (\u003cem>All The Way\u003c/em>)\u003cbr>\u003cstrong>Susanne Bier (The Night Manager)\u003cbr>\u003c/strong>Noah Hawley \u003cem>(Fargo\u003c/em>)\u003cbr>Ryan Murphy (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003cbr>Anthony Hemingway (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003cbr>John Singleton (\u003cem>The People v. O.J. Simpson: American Crime Story\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Miguel Sapochnik (\u003cem>Game of Thrones\u003c/em>)\u003c/strong>\u003cbr>Michael Engler\u003cem> (Downton Abbey\u003c/em>)\u003cbr>Jack Bender (\u003cem>Game Of Thrones)\u003c/em>\u003cbr>Lesli Linka Glatter (\u003cem>Homeland\u003c/em>)\u003cbr>Steven Soderbergh (\u003cem>The Knick\u003c/em>)\u003cbr>David Hollander (\u003cem>Ray Donovan\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actor in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Sterling K. Brown (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003c/strong>\u003cbr>Hugh Laurie (\u003cem>The Night Manager\u003c/em>)\u003cbr>Jesse Plemons (\u003cem>Fargo\u003c/em>)\u003cbr>David Schwimmer (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>John Travolta (\u003cem>The People v. O.J. Simpson\u003c/em>)\u003cbr>Bokeem Woodbine (\u003cem>Fargo\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Supporting Actress in a Limited Series or a Television Movie\u003c/strong>\u003c/p>\n\u003cp>Kathy Bates (\u003cem>American Horror Story: Hotel\u003c/em>)\u003cbr>Olivia Colman (\u003cem>The Night Manager\u003c/em>)\u003cbr>\u003cstrong>Regina King (\u003cem>American Crime\u003c/em>)\u003c/strong>\u003cbr>Melissa Leo (\u003cem>All the Way\u003c/em>)\u003cbr>Sarah Paulson (\u003cem>American Horror Story: Hotel\u003c/em>)\u003cbr>Jean Smart (\u003cem>Fargo\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actor in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Hank Azaria (\u003cem>Ray Donovan\u003c/em>)\u003cbr>\u003c/strong>Mahershala Ali (\u003cem>House of Cards\u003c/em>)\u003cbr>Reg E. Cathey (\u003cem>House of Cards\u003c/em>)\u003cbr>Michael J. Fox (\u003cem>The Good Wife\u003c/em>)\u003cbr>Paul Sparks (\u003cem>House of Cards\u003c/em>)\u003cbr>Max von Sydow (\u003cem>Game of Thrones\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actress in a Drama Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Margo Martindale (\u003cem>The Americans\u003c/em>)\u003cbr>\u003c/strong>Ellen Burstyn (\u003cem>House of Cards\u003c/em>)\u003cbr>Allison Janney (\u003cem>Masters of Sex\u003c/em>)\u003cbr>Laurie Metcalf (\u003cem>Horace and Pete\u003c/em>)\u003cbr>Molly Parker (\u003cem>House of Cards\u003c/em>)\u003cbr>Carrie Preston (\u003cem>The Good Wife\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Outstanding Guest Actor in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Peter Scolari (\u003cem>Girls\u003c/em>)\u003cbr>\u003c/strong>Larry David (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Tracy Morgan (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Martin Mull (\u003cem>Veep\u003c/em>)\u003cbr>Bob Newhart (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Bradley Whitford (\u003cem>Transparent\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Guest Actress in a Comedy Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>Tina Fey & Amy Poehler (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>\u003c/strong>Christine Baranski (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Melora Hardin (\u003cem>Transparent\u003c/em>)\u003cbr>Melissa McCarthy (\u003cem>Saturday Night Live\u003c/em>)\u003cbr>Laurie Metcalf (\u003cem>The Big Bang Theory\u003c/em>)\u003cbr>Amy Schumer (\u003cem>Saturday Night Live\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Variety Talk Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Comedians in Cars Getting Coffee \u003c/em>(Crackle)\u003cbr>\u003cem>Jimmy Kimmel Live!\u003c/em> (ABC)\u003cbr>\u003cstrong>\u003cem>Last Week Tonight With John Oliver\u003c/em> (HBO)\u003c/strong>\u003cbr>\u003cem>The Late Late Show with James Corden\u003c/em> (CBS)\u003cbr>\u003cem>Real Time With Bill Maher\u003c/em> (HBO)\u003cbr>\u003cem>The Tonight Show Starring Jimmy Fallon\u003c/em> (NBC)\u003c/p>\n\u003cp>\u003cstrong>Best Directing for a Variety Show\u003c/strong>\u003c/p>\n\u003cp>Beth McCarthy-Miller (\u003cem>Adele Live In New York City\u003c/em>)\u003cbr>Chris Rock (\u003cem>Amy Schumer: Live At The Apollo\u003c/em>)\u003cbr>\u003cstrong>Thomas Kail and Alex Rudzinski (\u003cem>Grease: Live\u003c/em>)\u003cbr>\u003c/strong>Louis J. Horvitz (\u003cem>58th Grammy Awards\u003c/em>)\u003cbr>Glenn Weiss (\u003cem>The Kennedy Center Honors\u003c/em>)\u003cbr>Kahlil Joseph, Beyoncé Knowles Carter (\u003cem>Lemonade\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Best Variety Sketch Series\u003c/strong>\u003c/p>\n\u003cp>\u003cem>Documentary Now! \u003c/em>(IFC)\u003cem>\u003cbr>\u003c/em>\u003cem>Drunk History\u003c/em> (Comedy Central)\u003cbr>\u003cem>Inside Amy Schumer\u003c/em> (Comedy Central)\u003cbr>\u003cstrong>\u003cem>Key & Peele\u003c/em> (Comedy Central)\u003c/strong>\u003cbr>\u003cem>Portlandia\u003c/em> (IFC)\u003cbr>\u003cem>Saturday Night Live\u003c/em> (NBC)\u003c/p>\n\u003cp>\u003cstrong>Best Special Class Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Grease Live!\u003c/em> (FOX)\u003cbr>\u003c/strong>73rd Golden Globe Awards (NBC)\u003cbr>\u003cem>The Oscars\u003c/em> (ABC)\u003cbr>\u003cem>Super Bowl 50 Halftime Show\u003c/em> (CBS)\u003cbr>\u003cem>69th Annual Tony Awards\u003c/em> (CBS)\u003c/p>\n\u003cp>\u003cstrong>Best Variety Special\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The Late Late Show Carpool Karaoke Prime Time Special \u003c/em>(CBS) (WINNER)\u003cbr>\u003c/strong>\u003cem>Adele Live in New York City\u003c/em> (NBC)\u003cbr>\u003cem>Amy Schumer: Live at the Apollo\u003c/em> (HBO)\u003cbr>\u003cem>Kennedy Center Honors\u003c/em> (CBS)\u003cbr>\u003cem>Lemonade\u003c/em> (HBO)\u003c/p>\n\u003cp>\u003cstrong>Best Reality-Competition Program\u003c/strong>\u003c/p>\n\u003cp>\u003cem>The Amazing Race\u003c/em> (CBS)\u003cbr>\u003cem>American Ninja Warrior\u003c/em> (NBC)\u003cbr>\u003cem>Dancing With the Stars\u003c/em> (ABC)\u003cbr>\u003cem>Project Runway\u003c/em> (Lifetime)\u003cbr>\u003cem>Top Chef\u003c/em> (Bravo)\u003cbr>\u003cstrong>\u003cem>The Voice\u003c/em> (NBC)\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003c/strong>\u003cstrong>Outstanding Host for a Reality or Reality-Competition\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>RuPaul Charles (\u003cem>RuPaul’s Drag Race\u003c/em>)\u003cbr>\u003c/strong>Ryan Seacrest (\u003cem>American Idol\u003c/em>)\u003cbr>Tom Bergeron (\u003cem>Dancing With the Stars\u003c/em>)\u003cbr>Jane Lynch (\u003cem>Hollywood Game Night\u003c/em>)\u003cbr>Steve Harvey (\u003cem>Little Big Shots\u003c/em>)\u003cbr>Heidi Klum and Tim Gunn (\u003cem>Project Runway\u003c/em>)\u003c/p>\n\u003cp>\u003cstrong>Best Structured Reality Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Shark Tank\u003c/em> (ABC)\u003cbr>\u003c/strong>\u003cem>Antiques Roadshow\u003c/em> (PBS)\u003cbr>\u003cem>Diners, Drive-Ins and Dives\u003c/em> (Food Network)\u003cbr>\u003cem>Lip Sync Battle\u003c/em> (Spike)\u003cbr>\u003cem>MythBusters\u003c/em> (Discovery Channel)\u003cbr>\u003cem>Undercover Boss\u003c/em> (CBS)\u003c/p>\n\u003cp>\u003cstrong>Best Unstructured Reality Program\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Born This Way\u003c/em>\u003c/strong>\u003cstrong> (A&E)\u003cbr>\u003c/strong>\u003cem>Deadliest Catch\u003c/em> (Discovery Channel)\u003cbr>\u003cem>Gaycation With Ellen Page\u003c/em> (Viceland)\u003cbr>\u003cem>Intervention\u003c/em> (A&E)\u003cbr>\u003cem>Project Greenlight\u003c/em> (HBO)\u003cbr>\u003cem>United Shades of America\u003c/em> (CNN)\u003c/p>\n\u003cp>\u003cstrong>Best Documentary or Nonfiction Special\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>What Happened, Miss Simone?\u003c/em> (Netflix)\u003cbr>\u003c/strong>\u003cem>Becoming Mike Nichols\u003c/em> (HBO)\u003cbr>\u003cem>Everything is Copy — Nora Ephron: Scripted & Unscripted\u003c/em> (HBO)\u003cbr>\u003cem>Listen to Me Marlon\u003c/em> (Showtime)\u003cbr>\u003cem>Mapplethorpe: Look at the Pictures\u003c/em> (HBO)\u003c/p>\n\u003cp>\u003cstrong>Best Documentary or Nonfiction Series\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>Making a Murderer\u003c/em>\u003c/strong>\u003cstrong> (Netflix)\u003cbr>\u003c/strong>\u003cem>American Masters\u003c/em> (PBS)\u003cbr>\u003cem>Chef’s Table\u003c/em> (Netflix)\u003cbr>\u003cem>The Seventies\u003c/em> (CNN)\u003cbr>\u003cem>Woman With Gloria Steinem\u003c/em> (Viceland)\u003c/p>\n\u003cp>\u003cstrong>Best Limited Series \u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>\u003cem>The People v. 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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "The 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. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"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.",
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"onourwatch": {
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"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?",
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"order": 11
},
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"on-the-media": {
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"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",
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"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
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"order": 14
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
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"source": "Possible"
},
"link": "/radio/program/possible",
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
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