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"content": "\u003cp>On \u003ca href=\"http://www.npr.org/2011/12/20/143901329/all-songs-considered-holiday-music-special-2011\">last week’s \u003cem>All Songs Considered\u003c/em>\u003c/a>, we rang out 2011 with a show of holiday music that featured the sounds of sleigh bells. This week, we ring in the new year with Sleigh Bells of a different sort: \u003ca href=\"http://twitter.com/allsongs\">Bob Boilen\u003c/a>, \u003ca href=\"http://twitter.com/annkpowers\">Ann Powers\u003c/a>, \u003ca href=\"http://twitter.com/idislikestephen\">Stephen Thompson \u003c/a>and Jacob Ganz flip the release-date calendar forward to look at \u003ca href=\"http://www.npr.org/2011/12/29/144267273/2012-winter-music-preview?ft=3&f=10001\">a dozen new songs\u003c/a> from albums that come out in the early months of 2012.\u003c/p>\n\u003cp>That crop includes the first blasts of sound from \u003cem>Reign of Terror, \u003c/em>the sophomore album from \u003ca href=\"http://www.npr.org/artists/126668015/sleigh-bells\" target=\"_blank\" rel=\"noopener\">Sleigh Bells\u003c/a>, which puts a studio sheen on the duo’s machine-gun beats and flame-thrower guitars. A few more favorites offer new twists on familiar sounds: \u003cem>Clear Heart Full Eyes\u003c/em>, the first solo album from \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15197852\" target=\"_blank\" rel=\"noopener\">The Hold Steady\u003c/a> frontman Craig Finn, sounds thoughtful and almost depressed. \u003cem>Tramp, \u003c/em>the third album from \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=129870037\" target=\"_blank\" rel=\"noopener\">Sharon Van Etten\u003c/a>, shows off the songwriter’s rough side. \u003cem>La Grande \u003c/em>surrounds \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15159824\" target=\"_blank\" rel=\"noopener\">Laura Gibson\u003c/a>‘s haunted voice with muscular drumming.\u003c/p>\n\u003cp>In the first few months of 2012, we’ll also greet the long-awaited return of the veteran indie-pop band \u003ca href=\"http://www.npr.org/artists/15161556/imperial-teen\" target=\"_blank\" rel=\"noopener\">Imperial Teen\u003c/a>, while the guitar-drums-and-violin trio Dirty Three will break a seven-year hiatus to release the typically stormy \u003cem>Toward the Low Sun\u003c/em>.\u003c/p>\n\u003cp>Also on the program: releases from \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=17081755\" target=\"_blank\" rel=\"noopener\">Adam Arcuragi\u003c/a> and \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15124357\" target=\"_blank\" rel=\"noopener\">Shearwater\u003c/a> (both set to build on the longtime support of Bob and Stephen, respectively), burly roots-rock from The White Buffalo, gospel-inspired jazz from \u003ca href=\"http://www.npr.org/artists/15393702/charlie-haden\" target=\"_blank\" rel=\"noopener\">Charlie Haden\u003c/a> and the late \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=15403739\" target=\"_blank\" rel=\"noopener\">Hank Jones\u003c/a>, and more. Copyright 2011 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/2011/12/29/144267273/2012-winter-music-preview?ft=3&f=10001\">http://www.npr.org/\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>One of the few things almost everyone can agree on about contemporary American poetry is that no one can agree on much. At present, poetry is a jumbled landscape, with no single, dominant style and few living figures whose importance is accepted in more than one or two of the art form’s tiny fiefdoms. Although some might find this state of affairs discouraging, I think there’s good reason to be optimistic — poetry often needs to undergo periods of confusion to achieve the clarity for which we’ll later remember it. Here are five books that suggest that even if American poetry isn’t entirely sure where it’s going, that doesn’t mean it’s gotten lost.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/bakertaylor/covers/w/what-it-is-like/9781933527482_custom.jpg?t=1324675376&s=1\">\u003c/p>\n\u003cp>\u003cb>\u003ci>What It Is Like: New And Selected Poems\u003c/i> by Charles North\u003c/b>\u003c/p>\n\u003cp>A good bit of the work in Charles North’s \u003ci>What it is Like\u003c/i> is about literature, which in most collections would be a less than promising feature. But North is such an intelligent and good-humored writer that his literariness seems less a pose than an invitation. 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In “The Jetty,” for instance, Grotz plays with one of the oldest romantic dilemmas — when and how much a poet ought to view the natural world through the prism of her own mental states. She admits, “it is imprecise to say the gulf water sings, / that it is a very old song,” yet nonetheless “it will be correct to state / that the tall beach grasses lean down / because all day the wind subdues them.” As you might expect, the strongest poems here are ones in which Grotz contends with something outside herself, whether it be a lover (“Aubade”) or the idea of God (“Medusa”), allowing sentiment and distance to elegantly overlap.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/bakertaylor/covers/t/traveler/9780374279332_custom.jpg?t=1324675219&s=1\">\u003c/p>\n\u003cp>\u003cb>\u003ci>Traveler\u003c/i> by Devin Johnston\u003c/b>\u003c/p>\n\u003cp>Devin Johnston’s \u003ci>Traveler\u003c/i> is, as its title implies, a book about passing through states. So we have poems about birth, Marco Polo, journeys (as in the title poem), the etymological variants of “dragonfly,” bird migrations, house wreckers and (why not?) Scotland. Johnston is a formal master who can handle some of poetry’s trickiest structures — the two beat lines in “Expecting,” for instance — with such ease that you hardly even notice his dexterity. Much of the work here has a dry, distanced tone that may seem odd to readers accustomed to thinking of poetry as a fountain of feeling. But Johnston’s writing suggests that it would be better to imagine poems as gemstones — and that we should value the perfection of the cut, not the gaudiness of the material. Traveler’s considerable ambition can be seen in the ways each piece quietly, even tenderly tests the barriers it assembles; as Johnston puts it, “I like the sort of track that passes / out of English altogether.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/bakertaylor/covers/g/groundwork/9781926845258_custom.jpg?t=1324675296&s=1\">\u003c/p>\n\u003cp>\u003cb>\u003ci>Groundwork\u003c/i> by Amanda Jernigan and John Haney\u003c/b>\u003c/p>\n\u003cp>Like Devin Johnston, the Canadian poet Amanda Jernigan possesses daunting formal skill — if you’re looking for someone who can turn out an effortless-seeming slant rhymed quatrain, \u003ci>Groundwork\u003c/i> is the book for you. As the title implies, much of Jernigan’s collection is concerned with exploring the past (and the idea of the past), whether that process involves the physical work of archaeological excavation (“The Fieldworker”) or the spiritual subtleties of myth (“Penelope in Heavy Weather”). Jernigan has put immense effort into making her work seem delicate, and her lines have an emotional intensity that is no less memorable for being understated. And she has a light, perfecting touch, particularly at the end of poems — “The Photographer” concludes with the cameraman at a dig looking at a broken-off marble hand and announcing, “I’ll bury / it again in the small night of my camera.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2011 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/2011/12/29/144197310/truth-and-beauty-2011s-best-american-poetry?ft=3&f=1032\">http://www.npr.org/\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>Voyager\u003c/i> by Srikanth Reddy\u003c/b>\u003c/p>\n\u003cp>Srikanth Reddy didn’t actually write any of the words in \u003ci>Voyager\u003c/i>; he just took someone else’s words away. Which is to say that \u003ci>Voyager\u003c/i> is an erasure: A poetic composition created by means of elimination from another text. In this case, that text is the autobiography of Kurt Waldheim, the former secretary-general of the United Nations who was discovered in 1985 to have served as a Nazi SA officer in World War II. Reddy is fascinated by the fact that this flawed man is one of the voices recorded in the Voyager spacecraft — that Waldheim literally speaks for humanity. If this project sounds complicated and bizarre, well, it is. But the book itself is mesmerizing, and Reddy’s lines are crisp and often eerily lovely, as when he writes in this poem (using only Waldheim’s words), “As a child, spelling out world was to open a world in myself, private and byzantine, with mountains by a pale, fragile sea, the coast stretching southwards in the curtained, evening hours.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/bakertaylor/covers/t/the-needle/9780547444123_custom.jpg?t=1324675686&s=1\">\u003c/p>\n\u003cp>\u003cb>\u003ci>The Needle\u003c/i> by Jennifer Grotz\u003c/b>\u003c/p>\n\u003cp>Jennifer Grotz is a romantic who is drawn — as smart romantics so often are — to irony. In the tight, carefully assembled poems in \u003ci>The Needle\u003c/i>, including “Ghost,” these tendencies are in constant competition, with the edge going to romance. In “The Jetty,” for instance, Grotz plays with one of the oldest romantic dilemmas — when and how much a poet ought to view the natural world through the prism of her own mental states. She admits, “it is imprecise to say the gulf water sings, / that it is a very old song,” yet nonetheless “it will be correct to state / that the tall beach grasses lean down / because all day the wind subdues them.” As you might expect, the strongest poems here are ones in which Grotz contends with something outside herself, whether it be a lover (“Aubade”) or the idea of God (“Medusa”), allowing sentiment and distance to elegantly overlap.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/bakertaylor/covers/t/traveler/9780374279332_custom.jpg?t=1324675219&s=1\">\u003c/p>\n\u003cp>\u003cb>\u003ci>Traveler\u003c/i> by Devin Johnston\u003c/b>\u003c/p>\n\u003cp>Devin Johnston’s \u003ci>Traveler\u003c/i> is, as its title implies, a book about passing through states. So we have poems about birth, Marco Polo, journeys (as in the title poem), the etymological variants of “dragonfly,” bird migrations, house wreckers and (why not?) Scotland. Johnston is a formal master who can handle some of poetry’s trickiest structures — the two beat lines in “Expecting,” for instance — with such ease that you hardly even notice his dexterity. Much of the work here has a dry, distanced tone that may seem odd to readers accustomed to thinking of poetry as a fountain of feeling. But Johnston’s writing suggests that it would be better to imagine poems as gemstones — and that we should value the perfection of the cut, not the gaudiness of the material. Traveler’s considerable ambition can be seen in the ways each piece quietly, even tenderly tests the barriers it assembles; as Johnston puts it, “I like the sort of track that passes / out of English altogether.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/bakertaylor/covers/g/groundwork/9781926845258_custom.jpg?t=1324675296&s=1\">\u003c/p>\n\u003cp>\u003cb>\u003ci>Groundwork\u003c/i> by Amanda Jernigan and John Haney\u003c/b>\u003c/p>\n\u003cp>Like Devin Johnston, the Canadian poet Amanda Jernigan possesses daunting formal skill — if you’re looking for someone who can turn out an effortless-seeming slant rhymed quatrain, \u003ci>Groundwork\u003c/i> is the book for you. As the title implies, much of Jernigan’s collection is concerned with exploring the past (and the idea of the past), whether that process involves the physical work of archaeological excavation (“The Fieldworker”) or the spiritual subtleties of myth (“Penelope in Heavy Weather”). Jernigan has put immense effort into making her work seem delicate, and her lines have an emotional intensity that is no less memorable for being understated. And she has a light, perfecting touch, particularly at the end of poems — “The Photographer” concludes with the cameraman at a dig looking at a broken-off marble hand and announcing, “I’ll bury / it again in the small night of my camera.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Copyright 2011 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/2011/12/29/144197310/truth-and-beauty-2011s-best-american-poetry?ft=3&f=1032\">http://www.npr.org/\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Beginning on Sunday, June 3, the National Gallery of Art in Washington, D.C., will exhibit Samuel Morse’s painting \u003cem>Gallery of the Louvre.\u003c/em> The American better known for inventing the telegraph and the communication code that bears his name, painted the large work — it’s 6 feet tall and 9 feet wide — starting in 1831, while living in Paris.\u003c/p>\n\u003cp>David McCullough writes about Morse and his painting in his new book, \u003cem>The Greater Journey: Americans in Paris. \u003c/em>McCullough says Morse created the painting in order to show Europe’s great works of art to Americans.\u003c/p>\n\u003cp>“There were no museums here, as yet, in the 1830s, and no color representations of paintings,” McCullough tells NPR’s Susan Stamberg. “So he was going to bring the culture of Europe — mainly the Renaissance Italian masterpieces in the Louvre collection — back to the United States for the benefit of his countrymen.”\u003c/p>\n\u003cp>In \u003cem>Gallery of the Louvre,\u003c/em> Morse shows a large red-colored room, its walls hung with more than three dozen works of art. McCullough says the works themselves were all on view at the Louvre, but not in the same room.\u003c/p>\n\u003cp>“He had to go through the entire collection of the Louvre, which was enormous, but well over a thousand paintings, and pick out those masterpieces which he thought merited the attention of his countrymen back home. So it’s his pick of the Louvre masterpieces, and it includes most of the major Italian Renaissance painters. Titian and Leonardo da Vinci and Rembrandt to be sure, and others. He had to not only reduce them down to miniature size in the painting, but he had to capture the essence of their style and their genius.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At the very bottom of his painted textbook, Morse faithfully copies da Vinci’s \u003cem>Mona Lisa.\u003c/em>\u003c/p>\n\u003cp>“It was an extremely ambitious undertaking because many of the paintings that he was copying were hung very high up. And so he had to build a movable platform, or scaffold, that he wheeled about the galleries of the Louvre to reach his subjects. And he and the movable scaffold became a tourist attraction themselves,” McCullough says with a laugh. “His ambition was very great and he felt strongly that this painting would make the mark, would make him known everywhere. And in a way, it did. It’s certainly his masterpiece.”\u003c/p>\n\u003cp>Today, in Paris and elsewhere, artists are still found in museum galleries, copying famous works. McCullough says the tradition of reproducing works stated in the 17th century and was often done for wealthy people who had very valuable private collections.\u003c/p>\n\u003cp>Morse was the first American to do such copying, but the painting itself shows just how common the practice was in Europe: Figures in his composite gallery paint reproductions of the work on the walls, just as Morse himself was doing.\u003c/p>\n\u003cp>“One of the things that impressed Americans — Winslow Homer did an illustration, a magazine illustration — [was] how many of the students were women, and that art was not closed off to women in France,” McCullough says. “And that was considered to be quite a radical and welcome change. And of course Morse is showing that very clearly in his painting.”\u003c/p>\n\u003cp>What he’s not showing is also notable. McCullough says Morse didn’t include the French Romantics of the time. No Delecroix or Gericault, he only shows classics from the Italian Renaissance.\u003c/p>\n\u003cp>The selection process alone must have taken weeks, McCullough says. And Morse was dedicated to the task.\u003c/p>\n\u003cp>“He came every day the museum was open. As soon as it opened he was in there at work, and he stayed as long as they would allow him. He was a determined man. And he had hoped this painting was going to make his career, but also get him out of debt,” McCullough says. “He was going to put it on exhibit and charge admission fees. Well, it didn’t work. The crowds did not come. And then he sold it for much, much less than he ever anticipated. But years later, in the 1980s, that painting sold for over $3 million, which was the largest sum ever paid — until then — the largest sum ever paid for an American work of art.”\u003c/p>\n\u003cp>The painting was not the only contribution to culture that Morse brought to America. While he was working on \u003cem>Gallery of the Louvre\u003c/em>, he was also contemplating another idea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He came back home from Paris [carrying] in effect two treasures. One was the painting. And the other was an idea he’d had because of something he’d seen while in France, and the idea was for the telegraph,” McCullough says. “And when he got home he perfected the telegraph, and then he went back some years later to try and secure a French patent for the telegraph. And while he was there met [Louis] Daguerre who’d invented photography, or the daguerreotype as it was then known, and with Daguerre’s permission, brought photography back to the United States. So he came home from Paris with three major contributions: the painting, the telegraph and the photography.” Copyright 2011 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Beginning on Sunday, June 3, the National Gallery of Art in Washington, D.C., will exhibit Samuel Morse’s painting \u003cem>Gallery of the Louvre.\u003c/em> The American better known for inventing the telegraph and the communication code that bears his name, painted the large work — it’s 6 feet tall and 9 feet wide — starting in 1831, while living in Paris.\u003c/p>\n\u003cp>David McCullough writes about Morse and his painting in his new book, \u003cem>The Greater Journey: Americans in Paris. \u003c/em>McCullough says Morse created the painting in order to show Europe’s great works of art to Americans.\u003c/p>\n\u003cp>“There were no museums here, as yet, in the 1830s, and no color representations of paintings,” McCullough tells NPR’s Susan Stamberg. “So he was going to bring the culture of Europe — mainly the Renaissance Italian masterpieces in the Louvre collection — back to the United States for the benefit of his countrymen.”\u003c/p>\n\u003cp>In \u003cem>Gallery of the Louvre,\u003c/em> Morse shows a large red-colored room, its walls hung with more than three dozen works of art. McCullough says the works themselves were all on view at the Louvre, but not in the same room.\u003c/p>\n\u003cp>“He had to go through the entire collection of the Louvre, which was enormous, but well over a thousand paintings, and pick out those masterpieces which he thought merited the attention of his countrymen back home. So it’s his pick of the Louvre masterpieces, and it includes most of the major Italian Renaissance painters. Titian and Leonardo da Vinci and Rembrandt to be sure, and others. He had to not only reduce them down to miniature size in the painting, but he had to capture the essence of their style and their genius.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At the very bottom of his painted textbook, Morse faithfully copies da Vinci’s \u003cem>Mona Lisa.\u003c/em>\u003c/p>\n\u003cp>“It was an extremely ambitious undertaking because many of the paintings that he was copying were hung very high up. And so he had to build a movable platform, or scaffold, that he wheeled about the galleries of the Louvre to reach his subjects. And he and the movable scaffold became a tourist attraction themselves,” McCullough says with a laugh. “His ambition was very great and he felt strongly that this painting would make the mark, would make him known everywhere. And in a way, it did. It’s certainly his masterpiece.”\u003c/p>\n\u003cp>Today, in Paris and elsewhere, artists are still found in museum galleries, copying famous works. McCullough says the tradition of reproducing works stated in the 17th century and was often done for wealthy people who had very valuable private collections.\u003c/p>\n\u003cp>Morse was the first American to do such copying, but the painting itself shows just how common the practice was in Europe: Figures in his composite gallery paint reproductions of the work on the walls, just as Morse himself was doing.\u003c/p>\n\u003cp>“One of the things that impressed Americans — Winslow Homer did an illustration, a magazine illustration — [was] how many of the students were women, and that art was not closed off to women in France,” McCullough says. “And that was considered to be quite a radical and welcome change. And of course Morse is showing that very clearly in his painting.”\u003c/p>\n\u003cp>What he’s not showing is also notable. McCullough says Morse didn’t include the French Romantics of the time. No Delecroix or Gericault, he only shows classics from the Italian Renaissance.\u003c/p>\n\u003cp>The selection process alone must have taken weeks, McCullough says. And Morse was dedicated to the task.\u003c/p>\n\u003cp>“He came every day the museum was open. As soon as it opened he was in there at work, and he stayed as long as they would allow him. He was a determined man. And he had hoped this painting was going to make his career, but also get him out of debt,” McCullough says. “He was going to put it on exhibit and charge admission fees. Well, it didn’t work. The crowds did not come. And then he sold it for much, much less than he ever anticipated. But years later, in the 1980s, that painting sold for over $3 million, which was the largest sum ever paid — until then — the largest sum ever paid for an American work of art.”\u003c/p>\n\u003cp>The painting was not the only contribution to culture that Morse brought to America. While he was working on \u003cem>Gallery of the Louvre\u003c/em>, he was also contemplating another idea.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“He came back home from Paris [carrying] in effect two treasures. One was the painting. And the other was an idea he’d had because of something he’d seen while in France, and the idea was for the telegraph,” McCullough says. “And when he got home he perfected the telegraph, and then he went back some years later to try and secure a French patent for the telegraph. And while he was there met [Louis] Daguerre who’d invented photography, or the daguerreotype as it was then known, and with Daguerre’s permission, brought photography back to the United States. So he came home from Paris with three major contributions: the painting, the telegraph and the photography.” Copyright 2011 National Public Radio. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New in Paperback: Jan. 10-16",
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"content": "\u003cp>\u003cstrong>Parrot And Olivier In America\u003cbr>\u003c/strong>\u003cstrong>by Peter Carey\u003c/strong>\u003c/p>\n\u003cp>This novel is a riff on Alexis de Tocqueville’s famous book \u003cem>Democracy in America, \u003c/em>and, like its source, it is an insightful look at America in the 19th century. But it’s also a delightful romp with of two of contemporary fiction’s most memorable characters. There’s Olivier, a sickly and overprotected young aristocrat raised in the ever-threatening shadow of the French Revolution, and Parrot, the son of an itinerant British printer, who suffers an early tragedy that spins his life in unexpected directions. When the two become unlikely companions, they bicker and grumble their way through America until finally realizing that this new world really is entirely new and completely different. The aristocratic Olivier thinks he has found love. The plebeian Parrot wonders if this is a place where he can finally rest. For those who like to fall into a big, sprawling novel and get lost, this book is for you.\u003c/p>\n\u003cp>400 pages, $15.95, Vintage Books\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2011/01/12/the-bridge_custom.jpg?t=1294850730&s=1\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"the bridge\">\u003c/p>\n\u003cp>\u003cstrong>The Bridge\u003cbr>\u003c/strong>The Life and Rise of Barack Obama\u003cbr>\u003cstrong>by David Remnick\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Largely told through the prism of race, David Remnick’s \u003cem>The Bridge\u003c/em> is an exhaustive history of America’s first African-American president. The \u003cem>New Yorker\u003c/em> editor takes the reader from colonial Kenya, where Barack Obama’s father grew up, to the gritty world of South Side Chicago politics, where Obama cut his political teeth, to the historic presidential race in 2008. Based on numerous on-the-record interviews with friends, associates and Obama himself, \u003cem>The Bridge\u003c/em> is the most expansive look yet at where Obama came from, how he came to train his eye on the presidency and how he executed that vision.\u003c/p>\n\u003cp>704 pages, $16, Vintage Books\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2011/01/12/wes-moore_custom.jpg?t=1294850773&s=1\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"the other wes moore\">\u003c/p>\n\u003cp>\u003cstrong>The Other Wes Moore\u003cbr>\u003c/strong>One Name, Two Fates\u003cbr>by Wes Moore\u003cbr>\u003c/p>\n\u003cp>The idea that two very similar people can grow up to live two completely different lives is at the heart of the endlessly intriguing \u003cem>The Other Wes Moore\u003c/em>. Begun when Rhodes scholar and White House Fellow Wes Moore read an article about a condemned prisoner with the same name, this story follows the free Moore into his past and that of his same-named counterpart, daring to ask what might have been with a few simple strokes of luck. Born within two years of each other, both Moores were raised in poverty and fatherless homes in Baltimore. And yet one went on to speak at the Democratic National Convention while the other is in prison for life, without parole.\u003c/p>\n\u003cp>The book’s most powerful moments undoubtedly come when Moore visits and interviews the other Moore in prison, where he learns how little has separated the two men’s lives.\u003c/p>\n\u003cp>272 pages, $15, Spiegel and Grau\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2011/01/12/13-bankers_custom.jpg?t=1294850378&s=1\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"13 Bankers\">\u003c/p>\n\u003cp>\u003cstrong>13 Bankers\u003cbr>\u003c/strong>The Wall Street Takeover and the Next Financial Meltdown\u003cbr>\u003cstrong>by Simon Johnson and James Kwak\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>In the wake of the financial crisis, Johnson says that six of the country’s megabanks are not just too big to fail; they’re too big for the good of the American market. The six — JPMorgan Chase, Citigroup, Goldman Sachs, Morgan Stanley, Wells Fargo and Bank of America — are all so huge that if they fall into danger, the government will be forced to bail them out. “These banks do not benefit society at an additional size but they obviously create big risks for society,” Johnson tells Robert Siegel. To make the banks smaller, Johnson says the government needs to “modify and update legislation that already applies to this issue.” Johnson and Kwak, who also blog about economics at \u003ca href=\"http://baselinescenario.com/\">The Baseline Scenario\u003c/a>, suggest a cap on the size of banks in terms of their total liabilities and their total assets, of 4 percent of the gross domestic product.\u003c/p>\n\u003cp>336 pages, $15.95, Vintage Books\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Charlotte Abbott edits “New in Paperback.” A contributing editor for Publishers Weekly, she also leads a weekly chat on books and reading in the digital age every Friday from 4-5pm ET on Twitter. Follow her at @charabbott or check out the #followreader hashtag.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Largely told through the prism of race, David Remnick’s \u003cem>The Bridge\u003c/em> is an exhaustive history of America’s first African-American president. The \u003cem>New Yorker\u003c/em> editor takes the reader from colonial Kenya, where Barack Obama’s father grew up, to the gritty world of South Side Chicago politics, where Obama cut his political teeth, to the historic presidential race in 2008. Based on numerous on-the-record interviews with friends, associates and Obama himself, \u003cem>The Bridge\u003c/em> is the most expansive look yet at where Obama came from, how he came to train his eye on the presidency and how he executed that vision.\u003c/p>\n\u003cp>704 pages, $16, Vintage Books\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2011/01/12/wes-moore_custom.jpg?t=1294850773&s=1\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"the other wes moore\">\u003c/p>\n\u003cp>\u003cstrong>The Other Wes Moore\u003cbr>\u003c/strong>One Name, Two Fates\u003cbr>by Wes Moore\u003cbr>\u003c/p>\n\u003cp>The idea that two very similar people can grow up to live two completely different lives is at the heart of the endlessly intriguing \u003cem>The Other Wes Moore\u003c/em>. Begun when Rhodes scholar and White House Fellow Wes Moore read an article about a condemned prisoner with the same name, this story follows the free Moore into his past and that of his same-named counterpart, daring to ask what might have been with a few simple strokes of luck. Born within two years of each other, both Moores were raised in poverty and fatherless homes in Baltimore. And yet one went on to speak at the Democratic National Convention while the other is in prison for life, without parole.\u003c/p>\n\u003cp>The book’s most powerful moments undoubtedly come when Moore visits and interviews the other Moore in prison, where he learns how little has separated the two men’s lives.\u003c/p>\n\u003cp>272 pages, $15, Spiegel and Grau\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2011/01/12/13-bankers_custom.jpg?t=1294850378&s=1\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"13 Bankers\">\u003c/p>\n\u003cp>\u003cstrong>13 Bankers\u003cbr>\u003c/strong>The Wall Street Takeover and the Next Financial Meltdown\u003cbr>\u003cstrong>by Simon Johnson and James Kwak\u003cbr>\u003c/strong>\u003c/p>\n\u003cp>In the wake of the financial crisis, Johnson says that six of the country’s megabanks are not just too big to fail; they’re too big for the good of the American market. The six — JPMorgan Chase, Citigroup, Goldman Sachs, Morgan Stanley, Wells Fargo and Bank of America — are all so huge that if they fall into danger, the government will be forced to bail them out. “These banks do not benefit society at an additional size but they obviously create big risks for society,” Johnson tells Robert Siegel. To make the banks smaller, Johnson says the government needs to “modify and update legislation that already applies to this issue.” Johnson and Kwak, who also blog about economics at \u003ca href=\"http://baselinescenario.com/\">The Baseline Scenario\u003c/a>, suggest a cap on the size of banks in terms of their total liabilities and their total assets, of 4 percent of the gross domestic product.\u003c/p>\n\u003cp>336 pages, $15.95, Vintage Books\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Charlotte Abbott edits “New in Paperback.” A contributing editor for Publishers Weekly, she also leads a weekly chat on books and reading in the digital age every Friday from 4-5pm ET on Twitter. Follow her at @charabbott or check out the #followreader hashtag.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It may sound like an easy way to bait a music snob into an argument, but it’s worth noting that “Triumph!!!” — the epic send-off from S– Robot’s years-in-the-making debut, \u003cem>From the Cradle to the Rave\u003c/em> — doesn’t qualify as “new music” from a discographical standpoint. The song was originally released as the B-side to the group’s first 12″ single, “Wrong Galaxy,” way back in 2006 (giving you a pretty good idea of the pace at which the DFA veteran constructed his first full-length). For those of us who weren’t collecting DFA 12″ singles back in ’06 (guilty), this particular jam flew under the radar; barring the new punctuation in the title, the song sounds identical to the original ’06 iteration, which partially explains why it has all the trappings of an archetypal Death From Above cut.\u003c/p>\n\u003cp>That year seems to be a flagship time for the DFA label, as well: It came as it was releasing the full-length debuts of LCD Soundsystem and The Juan MacLean, bringing Hot Chip to the fore with the release of \u003cem>The Warning\u003c/em>, and cementing Tim Goldsworthy and James Murphy’s genius as producers with the release of two DFA remix compilations. The Rapture, and the purported dance-punk revival that accompanied the band’s success, no longer seemed like the label’s major calling card, and Black Dice was still the only black-sheep band amongst a bunch of dance-floor technicians (These days, Shocking Pinks, Free Energy and the Prinzhorn Dance School round out the exceptions.) In so many words, no one could touch DFA when on the dance-floor in 2006.\u003c/p>\n\u003cp>Four or five years later, “Triumph!!!” fits like a glove into the retroactive portrait: The DFA production (Goldsworthy/Murphy, plus engineer Eric Broucek and Matt Thornley in this case) feels on-point as ever, slow-marinating the sprawl of Kraftwerk motorik, disco/house groove and that incredibly well-placed guitar riff. That’s not to downplay the songwriting of Marcus Lambkin (a.k.a. S– Robot), who deserves far more credit than is currently being paid here; it’s just hard to tell where the line between producer and artist stands in this case. (Murphy even contributes vocals to the track.) “Triumph!!!” simply sits so comfortably within the DFA aesthetic — the patience in song development, the smart pastiche of influences, the attention to detail — that it’s hard not to see it as less of a S– Robot track and more of an artifact of collaboration that resurfaced in 2010.\u003c/p>\n\u003cp>Maybe it’s just the fact that \u003ca href=\"http://www.google.com/url?q=http%3A%2F%2Fpitchfork.com%2Fnews%2F37789-tim-goldsworthy-splits-with-dfa%2F&sa=D&sntz=1&usg=AFQjCNHrO2B760LvexKOYFXz8vy9BbX8Zw\">the artistic relationship between Goldsworthy and James Murphy seems to have dissolved\u003c/a>, or the fact that Murphy’s best songs don’t often take this type of approach anymore, but for fans of the label, “Triumph!!!” can induce a yearning for the DFA of the mid-’00s — a welcome anachronism to the eclecticism of the label’s more recent direction. The idea is absurd, of course, seeing as how DFA has always been premised on a hearty helping of nostalgia: If the phrase “nostalgic nostalgia” isn’t a music argument waiting to happen, what is?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cp>\u003cstrong>The Imperfectionists\u003c/strong>\u003cbr>A Novel\u003cbr>\u003cstrong>by Tom Rachman\u003c/strong>\u003c/p>\n\u003cp>If you still harbor a secret love for the days when news wasn’t delivered instantaneously, and also accept the fact that the people who brought it to you were neither villains nor cardboard heroes (but merely flawed humans), then you may find a place in your heart for \u003cem>The Imperfectionists\u003c/em>. This kaleidoscopic novel about a Rome-based English language newspaper is both hilarious and surprisingly moving. Through a series of \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=127093790\">interlocking stories\u003c/a>, we glean the life of a newspaper from its heyday to its decline. From the young publisher who inherited his role and has no idea what to do with it, to the obit writer who discovers his own ambition in the worst possible way, to the avid reader who is years behind in keeping up with the news, this cast of characters and the paper that has sustained them make for an absorbing read.\u003c/p>\n\u003cp>304 pages, $15, Dial Press\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2011/01/04/nurtureshock_custom.jpg?t=1294173799&s=1\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"NurtureShock\">\u003c/p>\n\u003cp>\u003cstrong>NurtureShock\u003c/strong>\u003cbr>\u003cstrong>New Thinking About Children\u003c/strong>\u003cbr>\u003cstrong>by Po Bronson and Ashley Merryman\u003c/strong>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The days of the “helicopter parent” are numbered — or they should be, according to authors Po Bronson and Ashley Merryman. Although the impulse to hover over our kids may stem from the best of intentions, Bronson and Merryman argue that overpraising and overnurturing may do more harm than good. Their new book, \u003cem>NurtureShock: New Thinking About Children\u003c/em>, has been getting a lot of attention for the way it upends conventional wisdom on such issues as how much praise is helpful, and the effect of white parents’ failure to talk to their kids about race and other issues. Expanding on a series Bronson and Merryman co-authored for \u003cem>New York Magazine\u003c/em>, it also explores how American pop culture has misread the fine print of parental research.\u003c/p>\n\u003cp>352 pages, $14.99, Twelve\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2011/01/04/checklist_custom.jpg?t=1294173706&s=1\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"checklist manifesto\">\u003c/p>\n\u003cp>\u003cstrong>The Checklist Manifesto\u003cbr>\u003c/strong>How to Get Things Right\u003cbr>\u003cstrong>by Atul Gawande\u003c/strong>\u003c/p>\n\u003cp>Surgeon and writer Atul Gawande’s crusade seems utterly mundane at first: He wants surgeons to use checklists to help them avoid mistakes caused by fatigue, flagging attention and other factors. Using anecdotes from aviation, construction and medicine, Gawande sets out to demonstrate that routine works wonders, even though checklists require the putting aside of pride and of surgeons’ mystique of infallibility. Ultimately, he even brings the book back to “Sully” Sullenberger’s landing of a plane in the Hudson River, creating a compelling case for an idea so simple that the hardest task Gawande may face is convincing people of its importance.\u003c/p>\n\u003cp>240 pages, $15, Picador\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2011/01/04/shakingwoman_custom.jpg?t=1294173940&s=1\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"the shaking woman\">\u003c/p>\n\u003cp>\u003cstrong>The Shaking Woman Or A History Of My Nerves\u003c/strong>\u003cbr>\u003cstrong>by Siri Hustvedt\u003c/strong>\u003c/p>\n\u003cp>Four violent shaking episodes — along with other unexplainable physical ailments — inspired novelist Siri Hustvedt, author of \u003cem>The Blindfold\u003c/em> and \u003cem>The Enchantment of Lily Dahl,\u003c/em> to write a memoir. \u003cem>The Shaking Woman or A History of My Nerves\u003c/em> investigates Hustvedt’s own symptoms while investigating the murky overlap between psychiatric and neurological disorders. “There are a lot of illnesses that are either misdiagnosed or that seem to fall out of the categories of medicine,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=124239322&ps=rs\">Hustvedt tells \u003cem>Fresh Air\u003c/em>‘s Terry Gross\u003c/a>. “I feel that my journey … was a sense of mastering not the illness — not curing it — but being able to think very clearly about what had happened to me, and also saying to myself, ‘This is part of you. This is not only part of your story, but it belongs to your nervous system. It may never go away.’ It became very important for me to take it into myself as part of myself and not as an alien invader.”\u003c/p>\n\u003cp>224 pages, $15, Picador\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2011/01/04/star_custom.jpg?t=1294173979&s=1\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"star\">\u003c/p>\n\u003cp>\u003cstrong>Star\u003c/strong>\u003cbr>How Warren Beatty Seduced America\u003cbr>\u003cstrong>by Peter Biskind\u003c/strong>\u003c/p>\n\u003cp>Warren Beatty’s greatness as an actor, writer, producer and director rests on more than a half-dozen films, from 1967’s revolutionary \u003cem>Bonnie and Clyde\u003c/em> to \u003cem>Splendor in the Grass\u003c/em> (1961), \u003cem>McCabe & Mrs. Miller\u003c/em> (1971), \u003cem>Shampoo\u003c/em> (1975), \u003cem>Heaven Can Wait\u003c/em> (1978), \u003cem>Reds\u003c/em> (1981) and \u003cem>Bugsy\u003c/em> (1991). What dims Beatty’s aura are the things that make Biskind’s book such a compulsive and sometimes salacious read: Beatty’s unrivaled escapades as a lady killer and his central role in some of the most ignominious and expensive flops in Hollywood history, including \u003cem>Ishtar\u003c/em> (1987), \u003cem>Love Affair\u003c/em> (1994) and \u003cem>Town & Country\u003c/em> (2001). Intriguingly, each of those films was to some extent undermined by the same Beatty neuroses and working methods that sparked his masterpieces: perfectionism, vanity, a theoretically constructive collaborative warfare he liked to call “hostile intelligences,” and the need to manipulate and control everything and everyone around him.\u003c/p>\n\u003cp>640 pages, $16.99, Simon & Schuster\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2011/01/04/ozzy_custom.jpg?t=1294175292&s=1\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"i am ozzy\">\u003c/p>\n\u003cp>\u003cstrong>I Am Ozzy\u003c/strong>\u003cbr>\u003cstrong>by Ozzy Osbourne \u003c/strong>\u003c/p>\n\u003cp>Ozzy Osbourne is an original member of the heavy metal rock band Black Sabbath. He has staged a successful solo career and starred in \u003cem>The Osbournes\u003c/em>, a reality show with his wife, Sharon, and two of their children. But there’s one thing Osbourne says he wishes everyone could forget: the incidents involving him biting off the heads of a dove and a bat. Yet in a book that candidly imparts so much about these animal sacrifices and taking one drug after another, the real dirty little secret is that — God bless him — Ozzy loves his wife.\u003c/p>\n\u003cp>416 pages, $15.99, Grand Central Publishing\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Charlotte Abbott edits “New in Paperback.” A contributing editor for Publishers Weekly, she also leads a weekly chat on books and reading in the digital age every Friday from 4-5p.m. ET on Twitter. Follow her at @charabbott or check out the #followreader hashtag\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cstrong>The Imperfectionists\u003c/strong>\u003cbr>A Novel\u003cbr>\u003cstrong>by Tom Rachman\u003c/strong>\u003c/p>\n\u003cp>If you still harbor a secret love for the days when news wasn’t delivered instantaneously, and also accept the fact that the people who brought it to you were neither villains nor cardboard heroes (but merely flawed humans), then you may find a place in your heart for \u003cem>The Imperfectionists\u003c/em>. This kaleidoscopic novel about a Rome-based English language newspaper is both hilarious and surprisingly moving. Through a series of \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=127093790\">interlocking stories\u003c/a>, we glean the life of a newspaper from its heyday to its decline. From the young publisher who inherited his role and has no idea what to do with it, to the obit writer who discovers his own ambition in the worst possible way, to the avid reader who is years behind in keeping up with the news, this cast of characters and the paper that has sustained them make for an absorbing read.\u003c/p>\n\u003cp>304 pages, $15, Dial Press\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2011/01/04/nurtureshock_custom.jpg?t=1294173799&s=1\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"NurtureShock\">\u003c/p>\n\u003cp>\u003cstrong>NurtureShock\u003c/strong>\u003cbr>\u003cstrong>New Thinking About Children\u003c/strong>\u003cbr>\u003cstrong>by Po Bronson and Ashley Merryman\u003c/strong>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The days of the “helicopter parent” are numbered — or they should be, according to authors Po Bronson and Ashley Merryman. Although the impulse to hover over our kids may stem from the best of intentions, Bronson and Merryman argue that overpraising and overnurturing may do more harm than good. Their new book, \u003cem>NurtureShock: New Thinking About Children\u003c/em>, has been getting a lot of attention for the way it upends conventional wisdom on such issues as how much praise is helpful, and the effect of white parents’ failure to talk to their kids about race and other issues. Expanding on a series Bronson and Merryman co-authored for \u003cem>New York Magazine\u003c/em>, it also explores how American pop culture has misread the fine print of parental research.\u003c/p>\n\u003cp>352 pages, $14.99, Twelve\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2011/01/04/checklist_custom.jpg?t=1294173706&s=1\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"checklist manifesto\">\u003c/p>\n\u003cp>\u003cstrong>The Checklist Manifesto\u003cbr>\u003c/strong>How to Get Things Right\u003cbr>\u003cstrong>by Atul Gawande\u003c/strong>\u003c/p>\n\u003cp>Surgeon and writer Atul Gawande’s crusade seems utterly mundane at first: He wants surgeons to use checklists to help them avoid mistakes caused by fatigue, flagging attention and other factors. Using anecdotes from aviation, construction and medicine, Gawande sets out to demonstrate that routine works wonders, even though checklists require the putting aside of pride and of surgeons’ mystique of infallibility. Ultimately, he even brings the book back to “Sully” Sullenberger’s landing of a plane in the Hudson River, creating a compelling case for an idea so simple that the hardest task Gawande may face is convincing people of its importance.\u003c/p>\n\u003cp>240 pages, $15, Picador\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2011/01/04/shakingwoman_custom.jpg?t=1294173940&s=1\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"the shaking woman\">\u003c/p>\n\u003cp>\u003cstrong>The Shaking Woman Or A History Of My Nerves\u003c/strong>\u003cbr>\u003cstrong>by Siri Hustvedt\u003c/strong>\u003c/p>\n\u003cp>Four violent shaking episodes — along with other unexplainable physical ailments — inspired novelist Siri Hustvedt, author of \u003cem>The Blindfold\u003c/em> and \u003cem>The Enchantment of Lily Dahl,\u003c/em> to write a memoir. \u003cem>The Shaking Woman or A History of My Nerves\u003c/em> investigates Hustvedt’s own symptoms while investigating the murky overlap between psychiatric and neurological disorders. “There are a lot of illnesses that are either misdiagnosed or that seem to fall out of the categories of medicine,” \u003ca href=\"http://www.npr.org/templates/story/story.php?storyId=124239322&ps=rs\">Hustvedt tells \u003cem>Fresh Air\u003c/em>‘s Terry Gross\u003c/a>. “I feel that my journey … was a sense of mastering not the illness — not curing it — but being able to think very clearly about what had happened to me, and also saying to myself, ‘This is part of you. This is not only part of your story, but it belongs to your nervous system. It may never go away.’ It became very important for me to take it into myself as part of myself and not as an alien invader.”\u003c/p>\n\u003cp>224 pages, $15, Picador\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2011/01/04/star_custom.jpg?t=1294173979&s=1\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"star\">\u003c/p>\n\u003cp>\u003cstrong>Star\u003c/strong>\u003cbr>How Warren Beatty Seduced America\u003cbr>\u003cstrong>by Peter Biskind\u003c/strong>\u003c/p>\n\u003cp>Warren Beatty’s greatness as an actor, writer, producer and director rests on more than a half-dozen films, from 1967’s revolutionary \u003cem>Bonnie and Clyde\u003c/em> to \u003cem>Splendor in the Grass\u003c/em> (1961), \u003cem>McCabe & Mrs. Miller\u003c/em> (1971), \u003cem>Shampoo\u003c/em> (1975), \u003cem>Heaven Can Wait\u003c/em> (1978), \u003cem>Reds\u003c/em> (1981) and \u003cem>Bugsy\u003c/em> (1991). What dims Beatty’s aura are the things that make Biskind’s book such a compulsive and sometimes salacious read: Beatty’s unrivaled escapades as a lady killer and his central role in some of the most ignominious and expensive flops in Hollywood history, including \u003cem>Ishtar\u003c/em> (1987), \u003cem>Love Affair\u003c/em> (1994) and \u003cem>Town & Country\u003c/em> (2001). Intriguingly, each of those films was to some extent undermined by the same Beatty neuroses and working methods that sparked his masterpieces: perfectionism, vanity, a theoretically constructive collaborative warfare he liked to call “hostile intelligences,” and the need to manipulate and control everything and everyone around him.\u003c/p>\n\u003cp>640 pages, $16.99, Simon & Schuster\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://media.npr.org/assets/img/2011/01/04/ozzy_custom.jpg?t=1294175292&s=1\" style=\"float:left;margin-right: 15px;margin-bottom: 10px\" alt=\"i am ozzy\">\u003c/p>\n\u003cp>\u003cstrong>I Am Ozzy\u003c/strong>\u003cbr>\u003cstrong>by Ozzy Osbourne \u003c/strong>\u003c/p>\n\u003cp>Ozzy Osbourne is an original member of the heavy metal rock band Black Sabbath. He has staged a successful solo career and starred in \u003cem>The Osbournes\u003c/em>, a reality show with his wife, Sharon, and two of their children. But there’s one thing Osbourne says he wishes everyone could forget: the incidents involving him biting off the heads of a dove and a bat. Yet in a book that candidly imparts so much about these animal sacrifices and taking one drug after another, the real dirty little secret is that — God bless him — Ozzy loves his wife.\u003c/p>\n\u003cp>416 pages, $15.99, Grand Central Publishing\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Charlotte Abbott edits “New in Paperback.” A contributing editor for Publishers Weekly, she also leads a weekly chat on books and reading in the digital age every Friday from 4-5p.m. ET on Twitter. Follow her at @charabbott or check out the #followreader hashtag\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Philadelphia Museum Sells Objects To Get A Face-Lift",
"headTitle": "Philadelphia Museum Sells Objects To Get A Face-Lift | KQED",
"content": "\u003cp>The \u003ca href=\"http://www.philadelphiahistory.org/index.php\" target=\"_blank\" rel=\"noopener\">Philadelphia History Museum\u003c/a> has been closed for two years, and when it reopens this spring, it will display thousands of objects — everything from fine art to firearms. But more than 2,000 items from the museum’s collection will be more notable for their absence.\u003c/p>\n\u003cp>That’s because they were sold to help pay for the multimillion-dollar renovation of the museum’s 19th century building, sparking a debate in the field of museum ethics.\u003c/p>\n\u003cp>Viki Sand, the museum’s former director, says the renovation was essential to the museum’s conservation abilities.\u003c/p>\n\u003cp>“It does no good to conserve an individual object if you put it back into the very environment that caused it to deteriorate in the first place,” she says.\u003c/p>\n\u003cp>Sand says the museum lacked basics like adequate lighting and modern climate control systems. But that won’t be an issue after its $6 million renovation.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“While the amount of money is not insignificant,” she says, it “gives the museum the opportunity to — in a new way for this city — be a compelling city history museum.”\u003c/p>\n\u003cp>But the museum’s renovation isn’t the issue. The issue is how it was financed. Over the past seven years, the Philadelphia History Museum — formerly known as the Atwater Kent Museum — quietly sold some 2,600 items from its collection. In the museum world, that’s known as deaccessioning, and it’s a loaded word.\u003c/p>\n\u003cp>Russell Lewis, chief historian at the Chicago History Museum, says his institution tries to avoid deaccessioning because of the message it can send to potential donors.\u003c/p>\n\u003cp>“It can be a slippery slope,” he says. “Why wouldn’t somebody say, ‘Why should I give this to you? What guarantee do I have that you’re not going to sell this tomorrow?’ “\u003c/p>\n\u003cp>That’s exactly why art museums have strict rules about what they can do with the proceeds from deaccessioning. The \u003ca href=\"http://www.aamd.org/\" target=\"_blank\" rel=\"noopener\">Association of Art Museum Directors\u003c/a> says you can only use deaccessioning funds to acquire more art, but the \u003ca href=\"http://www.aaslh.org/\" target=\"_blank\" rel=\"noopener\">American Association for State and Local History\u003c/a> takes a more nuanced position. Terry Davis, that association’s president, says, “As long as deaccessioning is done according to institutional policies that have been set ahead of time, for the long-term goal of taking care of collections, it’s a perfectly fine practice to do.”\u003c/p>\n\u003cp>That’s exactly what the Philadelphia History Museum says it did. Sand, the former director, says the museum only sold items that fell outside of its mission and that they’ve been careful to use the proceeds — nearly $3 million or half the cost of the renovation — to care for the collection.\u003c/p>\n\u003cp>“We’re not paying for paint. We’re not paying for lights. We’re not paying for development salaries,” Sand says. “We’re paying to create an environment where we can now exhibit the premier collection of Philadelphia material culture.”\u003c/p>\n\u003cp>Still, other Philadelphia institutions are troubled. Page Talbott sits on the board of the \u003ca href=\"http://www.hsp.org/default.aspx\" target=\"_blank\" rel=\"noopener\">Historical Society of Pennsylvania\u003c/a>, which had donated many of the items the history museum deaccessioned.\u003c/p>\n\u003cp>“If there are local institutions that care about this patrimony, give them the chance to raise the money to purchase the objects,” Talbott says. “Take the time to work within the community in a neighborly kind of way.”\u003c/p>\n\u003cp>Talbott says that while the museum did make an effort to get the word out, “it could have been done better.”\u003c/p>\n\u003cp>Local institutions are also unhappy about the museum’s decision to sell a painting by Raphaelle Peale, son of Charles Willson Peale who founded the country’s first art museum in Philadelphia in the 19th century.\u003c/p>\n\u003cp>Sand declines to comment about reports that the museum plans to raise an additional $1.5 million through the sale of a single object, but she says institutions \u003cem>did\u003c/em> know what her museum was selling and failed to come forward to talk about making a deal\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have tried in every way not to be secretive,” Sand says. “You know, we haven’t stood on a street corner and said, ‘We’re deaccessioning, we’re deaccessioning.’ But we have certainly not hidden it.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"http://www.philadelphiahistory.org/index.php\" target=\"_blank\" rel=\"noopener\">Philadelphia History Museum\u003c/a> has been closed for two years, and when it reopens this spring, it will display thousands of objects — everything from fine art to firearms. But more than 2,000 items from the museum’s collection will be more notable for their absence.\u003c/p>\n\u003cp>That’s because they were sold to help pay for the multimillion-dollar renovation of the museum’s 19th century building, sparking a debate in the field of museum ethics.\u003c/p>\n\u003cp>Viki Sand, the museum’s former director, says the renovation was essential to the museum’s conservation abilities.\u003c/p>\n\u003cp>“It does no good to conserve an individual object if you put it back into the very environment that caused it to deteriorate in the first place,” she says.\u003c/p>\n\u003cp>Sand says the museum lacked basics like adequate lighting and modern climate control systems. But that won’t be an issue after its $6 million renovation.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“While the amount of money is not insignificant,” she says, it “gives the museum the opportunity to — in a new way for this city — be a compelling city history museum.”\u003c/p>\n\u003cp>But the museum’s renovation isn’t the issue. The issue is how it was financed. Over the past seven years, the Philadelphia History Museum — formerly known as the Atwater Kent Museum — quietly sold some 2,600 items from its collection. In the museum world, that’s known as deaccessioning, and it’s a loaded word.\u003c/p>\n\u003cp>Russell Lewis, chief historian at the Chicago History Museum, says his institution tries to avoid deaccessioning because of the message it can send to potential donors.\u003c/p>\n\u003cp>“It can be a slippery slope,” he says. “Why wouldn’t somebody say, ‘Why should I give this to you? What guarantee do I have that you’re not going to sell this tomorrow?’ “\u003c/p>\n\u003cp>That’s exactly why art museums have strict rules about what they can do with the proceeds from deaccessioning. The \u003ca href=\"http://www.aamd.org/\" target=\"_blank\" rel=\"noopener\">Association of Art Museum Directors\u003c/a> says you can only use deaccessioning funds to acquire more art, but the \u003ca href=\"http://www.aaslh.org/\" target=\"_blank\" rel=\"noopener\">American Association for State and Local History\u003c/a> takes a more nuanced position. Terry Davis, that association’s president, says, “As long as deaccessioning is done according to institutional policies that have been set ahead of time, for the long-term goal of taking care of collections, it’s a perfectly fine practice to do.”\u003c/p>\n\u003cp>That’s exactly what the Philadelphia History Museum says it did. Sand, the former director, says the museum only sold items that fell outside of its mission and that they’ve been careful to use the proceeds — nearly $3 million or half the cost of the renovation — to care for the collection.\u003c/p>\n\u003cp>“We’re not paying for paint. We’re not paying for lights. We’re not paying for development salaries,” Sand says. “We’re paying to create an environment where we can now exhibit the premier collection of Philadelphia material culture.”\u003c/p>\n\u003cp>Still, other Philadelphia institutions are troubled. Page Talbott sits on the board of the \u003ca href=\"http://www.hsp.org/default.aspx\" target=\"_blank\" rel=\"noopener\">Historical Society of Pennsylvania\u003c/a>, which had donated many of the items the history museum deaccessioned.\u003c/p>\n\u003cp>“If there are local institutions that care about this patrimony, give them the chance to raise the money to purchase the objects,” Talbott says. “Take the time to work within the community in a neighborly kind of way.”\u003c/p>\n\u003cp>Talbott says that while the museum did make an effort to get the word out, “it could have been done better.”\u003c/p>\n\u003cp>Local institutions are also unhappy about the museum’s decision to sell a painting by Raphaelle Peale, son of Charles Willson Peale who founded the country’s first art museum in Philadelphia in the 19th century.\u003c/p>\n\u003cp>Sand declines to comment about reports that the museum plans to raise an additional $1.5 million through the sale of a single object, but she says institutions \u003cem>did\u003c/em> know what her museum was selling and failed to come forward to talk about making a deal\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We have tried in every way not to be secretive,” Sand says. “You know, we haven’t stood on a street corner and said, ‘We’re deaccessioning, we’re deaccessioning.’ But we have certainly not hidden it.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Celebrating the Phillips Collection's 90th Birthday",
"headTitle": "Celebrating the Phillips Collection’s 90th Birthday | KQED",
"content": "\u003cp>In 1962, as newlyweds and new Washingtonians, my husband and I would stroll down Connecticut Avenue to the Phillips Collection on Sunday afternoons, arrange ourselves on a brocade love seat, light up cigarettes and read \u003cem>The New York Times \u003c/em>— looking up from time to time at a Matisse or a Manet. It was like visiting a really rich friend — with fabulous taste and a collector’s eye.\u003c/p>\n\u003cp>Duncan Phillips’ great-niece Alice Phillips Swistel remembers making similar visits as a child (although she didn’t smoke). Uncle Duncan, who founded the museum in 1921, once came into the nursery where Alice was playing.\u003c/p>\n\u003cp>“He sat and watched me blow soap bubbles,” she says. “He just loved the color of the bubbles, floating, and I thought, that’s very unusual for an adult, to want to sit here and not want to talk.”\u003c/p>\n\u003cp>He \u003cem>was\u003c/em>\u003cem> \u003c/em>unusual. Duncan Phillips loved to look. And he loved to buy what he loved. Phillips director Dorothy Kosinski says that Phillips looked with his eyes and his heart. “It was never about trophies — I don’t think he really thought in those terms,” she says of the art collector. “There’s the sense of a love affair, that Phillips looks at this and says, ‘Oh my god, I’ve got to have this.’ “\u003c/p>\n\u003cp>The Phillips Collection was created from tragedy. In 1917, Phillips buried his father. A year later, his beloved brother died. In his grief, the collector decided their memorial would be a museum — free and open to the public. He put new and recent artworks on view in his own home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“He decided that art for him was a way to pull out of depression,” says Swistel. “And to stimulate his love of life and ideas and thinking.”\u003c/p>\n\u003cp>Since then, many have found strength as well as beauty at Duncan Phillips’ museum. I went there right after 9/11, to be surrounded, in the midst of all that horror and confusion, by some eternals — Renoir’s remarkable \u003cem>Luncheon of the Boating Party\u003c/em>. Goyas, Van Goghs, Cezannes.\u003c/p>\n\u003cp>“Someone once said the Phillips is like an easy armchair,” says artist William Christenberry, whose work is on display at the museum. He says that he loved the intimacy of the place — as do so many artists. Mark Rothko said it was his favorite museum.\u003c/p>\n\u003cp>Actor Alfred Molina — who recently portrayed Rothko on Broadway in the play \u003cem>Red\u003c/em> — says that he came to the Phillips Collection to really experience the painter. Years ago, seeing Rothkos in London, Molina says that he didn’t “get” the artist at first: “I thought, OK, they are a bit dull, a bit gloomy.”\u003c/p>\n\u003cp>But in preparing to play Rothko on stage, Molina read up on the painter and then visited the Phillips’ Rothko Room — a small and silent space, with a simple wooden bench in the center and big, dark, glowing canvases on all four walls.\u003c/p>\n\u003cp>“I found it very moving,” says the actor. “Looking at those paintings, in that room. The sense of getting lost inside them. I found it very emotional.”\u003c/p>\n\u003cp>Which is just what Rothko wanted, Molina says: “He didn’t want a room full of rational people saying, ‘Yes, I like the way the blue turns into green.’ He wanted someone to be moved, to be changed by them.”\u003c/p>\n\u003cp>“I’m here to stop your heart” says Rothko in \u003cem>Red\u003c/em>. “I’m not here to make pretty pictures.” And in the Phillips’ Rothko Room, Molina came to understand how to speak the line.\u003c/p>\n\u003cp>Another artist, author Julia Alvarez, says that she found courage at the Phillips. At the age of 34, divorced with no children (and so a “failure” in her Dominican Republic culture), Alvarez had spent years as a struggling writer.\u003c/p>\n\u003cp>“In fact, I called myself a migrant poet,” Alvarez says. “I’d go anywhere where I got a job, teaching poetry in the schools, in prisons, in nursing homes.”\u003c/p>\n\u003cp>In 1984, Alvarez got a teaching and writing position in Washington, and each day on her way to school, she passed the Phillips. One day, she decided to go inside. “I went in there and I wandered into this big wood-paneled room,” she says. “And I fell in love.”\u003c/p>\n\u003cp>She spotted a small painting from 1894 by Pierre Bonnard called \u003cem>The Circus Rider\u003c/em>.\u003c/p>\n\u003cp>“That little circus rider was on top of this horse that was such a powerful steed that it was racing off the canvas,” Alvarez recalls.\u003c/p>\n\u003cp>The rider Alvarez describes lies on one hip along the horse’s back. She’s holding on, not exactly for life, but with great purpose. Behind her, in the stands, some circus-goers are all clad in black. To Alvarez, they looked like judges, just waiting for the rider to lose her grip, but the rider held strong.\u003c/p>\n\u003cp>“She just stayed focused,” Alvarez muses about Bonnard’s painting. “She didn’t look down, because she would get terrified … and fall off. She didn’t look up at the figures of judgment because she would’ve gotten scared that they were being critical of her. She just stayed focused. And I thought, she’s telling me how to do this. So all that year, when I would have to give a big reading or teach a workshop, I would drop in and get my little infusion of hope. I really think she carried me through that year.”\u003c/p>\n\u003cp>Now a published, prize-winning author, Alvarez returned to Washington recently and went back to the Phillips. The museum had changed and grown since her last visit. There’s an admission fee now, plus several additions to Duncan Phillips’ original home.\u003c/p>\n\u003cp>Alvarez had to do some hunting before she found her circus rider once again. But when she found the painting, she says, “My eyes filled, and I said, ‘So here we are.’ And when no one was looking — and I’ll say this on public radio — I reached up and touched the canvas.”\u003c/p>\n\u003cp>Alvarez tells her students at Middlebury College about the Phillips Collection and its \u003cem>Circus Rider\u003c/em>. There’s a great lesson in it, she says — that it’s all about the work. It’s not about what people might say or about how dangerous it might get. But it’s about staying focused on what you do, and doing what you love.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Duncan Phillips lived that lesson when he began giving beauty to the public 90 years ago. The Phillips Collection remains a repository of lessons about beauty and generosity.\u003c/p>\n\n",
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"excerpt": "This year marks the 90th anniversary of The Phillips Collection, one of Washington D.C.'s premier art museums. Susan Stamberg reports on the man behind the museum, and what the space has meant to artists, writers and actors over time.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In 1962, as newlyweds and new Washingtonians, my husband and I would stroll down Connecticut Avenue to the Phillips Collection on Sunday afternoons, arrange ourselves on a brocade love seat, light up cigarettes and read \u003cem>The New York Times \u003c/em>— looking up from time to time at a Matisse or a Manet. It was like visiting a really rich friend — with fabulous taste and a collector’s eye.\u003c/p>\n\u003cp>Duncan Phillips’ great-niece Alice Phillips Swistel remembers making similar visits as a child (although she didn’t smoke). Uncle Duncan, who founded the museum in 1921, once came into the nursery where Alice was playing.\u003c/p>\n\u003cp>“He sat and watched me blow soap bubbles,” she says. “He just loved the color of the bubbles, floating, and I thought, that’s very unusual for an adult, to want to sit here and not want to talk.”\u003c/p>\n\u003cp>He \u003cem>was\u003c/em>\u003cem> \u003c/em>unusual. Duncan Phillips loved to look. And he loved to buy what he loved. Phillips director Dorothy Kosinski says that Phillips looked with his eyes and his heart. “It was never about trophies — I don’t think he really thought in those terms,” she says of the art collector. “There’s the sense of a love affair, that Phillips looks at this and says, ‘Oh my god, I’ve got to have this.’ “\u003c/p>\n\u003cp>The Phillips Collection was created from tragedy. In 1917, Phillips buried his father. A year later, his beloved brother died. In his grief, the collector decided their memorial would be a museum — free and open to the public. He put new and recent artworks on view in his own home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“He decided that art for him was a way to pull out of depression,” says Swistel. “And to stimulate his love of life and ideas and thinking.”\u003c/p>\n\u003cp>Since then, many have found strength as well as beauty at Duncan Phillips’ museum. I went there right after 9/11, to be surrounded, in the midst of all that horror and confusion, by some eternals — Renoir’s remarkable \u003cem>Luncheon of the Boating Party\u003c/em>. Goyas, Van Goghs, Cezannes.\u003c/p>\n\u003cp>“Someone once said the Phillips is like an easy armchair,” says artist William Christenberry, whose work is on display at the museum. He says that he loved the intimacy of the place — as do so many artists. Mark Rothko said it was his favorite museum.\u003c/p>\n\u003cp>Actor Alfred Molina — who recently portrayed Rothko on Broadway in the play \u003cem>Red\u003c/em> — says that he came to the Phillips Collection to really experience the painter. Years ago, seeing Rothkos in London, Molina says that he didn’t “get” the artist at first: “I thought, OK, they are a bit dull, a bit gloomy.”\u003c/p>\n\u003cp>But in preparing to play Rothko on stage, Molina read up on the painter and then visited the Phillips’ Rothko Room — a small and silent space, with a simple wooden bench in the center and big, dark, glowing canvases on all four walls.\u003c/p>\n\u003cp>“I found it very moving,” says the actor. “Looking at those paintings, in that room. The sense of getting lost inside them. I found it very emotional.”\u003c/p>\n\u003cp>Which is just what Rothko wanted, Molina says: “He didn’t want a room full of rational people saying, ‘Yes, I like the way the blue turns into green.’ He wanted someone to be moved, to be changed by them.”\u003c/p>\n\u003cp>“I’m here to stop your heart” says Rothko in \u003cem>Red\u003c/em>. “I’m not here to make pretty pictures.” And in the Phillips’ Rothko Room, Molina came to understand how to speak the line.\u003c/p>\n\u003cp>Another artist, author Julia Alvarez, says that she found courage at the Phillips. At the age of 34, divorced with no children (and so a “failure” in her Dominican Republic culture), Alvarez had spent years as a struggling writer.\u003c/p>\n\u003cp>“In fact, I called myself a migrant poet,” Alvarez says. “I’d go anywhere where I got a job, teaching poetry in the schools, in prisons, in nursing homes.”\u003c/p>\n\u003cp>In 1984, Alvarez got a teaching and writing position in Washington, and each day on her way to school, she passed the Phillips. One day, she decided to go inside. “I went in there and I wandered into this big wood-paneled room,” she says. “And I fell in love.”\u003c/p>\n\u003cp>She spotted a small painting from 1894 by Pierre Bonnard called \u003cem>The Circus Rider\u003c/em>.\u003c/p>\n\u003cp>“That little circus rider was on top of this horse that was such a powerful steed that it was racing off the canvas,” Alvarez recalls.\u003c/p>\n\u003cp>The rider Alvarez describes lies on one hip along the horse’s back. She’s holding on, not exactly for life, but with great purpose. Behind her, in the stands, some circus-goers are all clad in black. To Alvarez, they looked like judges, just waiting for the rider to lose her grip, but the rider held strong.\u003c/p>\n\u003cp>“She just stayed focused,” Alvarez muses about Bonnard’s painting. “She didn’t look down, because she would get terrified … and fall off. She didn’t look up at the figures of judgment because she would’ve gotten scared that they were being critical of her. She just stayed focused. And I thought, she’s telling me how to do this. So all that year, when I would have to give a big reading or teach a workshop, I would drop in and get my little infusion of hope. I really think she carried me through that year.”\u003c/p>\n\u003cp>Now a published, prize-winning author, Alvarez returned to Washington recently and went back to the Phillips. The museum had changed and grown since her last visit. There’s an admission fee now, plus several additions to Duncan Phillips’ original home.\u003c/p>\n\u003cp>Alvarez had to do some hunting before she found her circus rider once again. But when she found the painting, she says, “My eyes filled, and I said, ‘So here we are.’ And when no one was looking — and I’ll say this on public radio — I reached up and touched the canvas.”\u003c/p>\n\u003cp>Alvarez tells her students at Middlebury College about the Phillips Collection and its \u003cem>Circus Rider\u003c/em>. There’s a great lesson in it, she says — that it’s all about the work. It’s not about what people might say or about how dangerous it might get. But it’s about staying focused on what you do, and doing what you love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>It’s the size of a barn door, weighs more than an elephant, and is one of the most famous and coveted paintings in the world.\u003c/p>\n\u003cp>It’s the Ghent Altarpiece — also called \u003cem>Adoration of the Mystic Lamb, \u003c/em>after a central panel showing hordes of pilgrims gathered to pay homage to the Lamb of God.\u003c/p>\n\u003cp>Other panels depict the Annunciation, Adam and Eve, the Virgin Mary, John the Baptist and a crowned Christ in detail so exacting that you can pick out individual hairs in a beard, or dirt on a pilgrim’s foot.\u003c/p>\n\u003cp>Artist Jan van Eyck completed the Ghent Altarpiece around 1432. Author Noah Charney tells NPR’s Guy Raz that it’s arguably the single most important painting ever made.\u003c/p>\n\u003cp>“It’s the first great oil painting — it influenced oil painting for centuries to come,” Charney says. “It’s the first great panel painting of the Renaissance, a forerunner to artistic realism. The monumentality of it and the complexity of it fascinated people from the moment it was painted.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Charney’s new book, \u003cem>Stealing the Mystic Lamb: the True Story of the World’s Most Coveted Masterpiece\u003c/em>, traces the painting through six centuries of war, theft and intrigue.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ghent.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cstrong>150 Years Of Peace\u003c/strong>\u003c/p>\n\u003cp>The altarpiece was painted for the cathedral of St. Bavo, in Ghent. And during the first century of its existence, nothing much happened.\u003c/p>\n\u003cp>Then, in 1566, all hell broke loose. Protestant militants broke down the cathedral doors with an improvised battering ram, intending to burn the altarpiece, which they considered to be an example of Catholic idolatry and excess. But alert Catholic guards had disassembled the enormous work and hidden it in the cathedral tower, where it survived unscathed.\u003c/p>\n\u003cp>Over the next few centuries, the Ghent Altarpiece was taken as booty in the Napoleonic Wars and then returned to Ghent. Parts of it were stolen by a vicar at St. Bavo and ended up, after several sales, in a Berlin museum.\u003c/p>\n\u003cp>When World War I broke out, a brave cathedral canon hid the painting away in a junkman’s wagon for safety. It took the Treaty of Versailles to finally reunite all the panels in their original home.\u003c/p>\n\u003cp>\u003cstrong>Enduring Mystery\u003c/strong>\u003c/p>\n\u003cp>The Ghent Altarpiece didn’t stay safe for long. Thieves broke into the cathedral one night in 1934 and made off with the lower left panel.\u003c/p>\n\u003cp>“This is the enduring mystery that really is part of the popular cultural awareness of the people of Ghent still to this day,” Charney says.\u003c/p>\n\u003cp>The theft has never been solved. Visitors to St. Bavo Cathedral today will see a copy of the missing panel, painted during World War II. The copy is so good that many people thought it might be the original, hidden in plain sight, though recent conservation work has disproved that theory.\u003c/p>\n\u003cp>\u003cstrong>Raiders Of The Mystic Lamb\u003c/strong>\u003c/p>\n\u003cp>Missing panel and all, the Ghent Altarpiece was stolen one last time during World War II, on the orders of Nazi Gen. Hermann Goering.\u003c/p>\n\u003cp>“This may sound very silly,” says Charney, “but in fact, the Nazis and Hitler in particular were absolutely convinced that the occult and the supernatural was real,” and the Ghent Altarpiece was thought to be a sort of mystical treasure map showing the location of relics of Christ’s passion.\u003c/p>\n\u003cp>The altarpiece ended up hidden with thousands of other looted artworks in a converted salt mine in Austria. The local SS commander had wired the mine with dynamite, determined to destroy all the art as the Allies began closing in.\u003c/p>\n\u003cp>Charney says the Ghent Altarpiece was eventually saved through the heroism of salt miners who disabled the bombs, and the work of local Austrian resistance fighters and Allied “monuments men” whose job it was to hunt for stolen art.\u003c/p>\n\u003cp>“There was this race,” Charney says, “with the Allies trying to get to the mine before the SS could blow it up, and it was very close to every one of those works being completely destroyed.”\u003c/p>\n\u003cp>But the painting was saved, and you can see it today at the St. Bavo Cathedral in Ghent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Each time I see it, I notice something new,” Charney says. “For instance, I think it may be the first work of the pre-modern period to show someone laughing.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s the size of a barn door, weighs more than an elephant, and is one of the most famous and coveted paintings in the world.\u003c/p>\n\u003cp>It’s the Ghent Altarpiece — also called \u003cem>Adoration of the Mystic Lamb, \u003c/em>after a central panel showing hordes of pilgrims gathered to pay homage to the Lamb of God.\u003c/p>\n\u003cp>Other panels depict the Annunciation, Adam and Eve, the Virgin Mary, John the Baptist and a crowned Christ in detail so exacting that you can pick out individual hairs in a beard, or dirt on a pilgrim’s foot.\u003c/p>\n\u003cp>Artist Jan van Eyck completed the Ghent Altarpiece around 1432. Author Noah Charney tells NPR’s Guy Raz that it’s arguably the single most important painting ever made.\u003c/p>\n\u003cp>“It’s the first great oil painting — it influenced oil painting for centuries to come,” Charney says. “It’s the first great panel painting of the Renaissance, a forerunner to artistic realism. The monumentality of it and the complexity of it fascinated people from the moment it was painted.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Charney’s new book, \u003cem>Stealing the Mystic Lamb: the True Story of the World’s Most Coveted Masterpiece\u003c/em>, traces the painting through six centuries of war, theft and intrigue.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ghent.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003cstrong>150 Years Of Peace\u003c/strong>\u003c/p>\n\u003cp>The altarpiece was painted for the cathedral of St. Bavo, in Ghent. And during the first century of its existence, nothing much happened.\u003c/p>\n\u003cp>Then, in 1566, all hell broke loose. Protestant militants broke down the cathedral doors with an improvised battering ram, intending to burn the altarpiece, which they considered to be an example of Catholic idolatry and excess. But alert Catholic guards had disassembled the enormous work and hidden it in the cathedral tower, where it survived unscathed.\u003c/p>\n\u003cp>Over the next few centuries, the Ghent Altarpiece was taken as booty in the Napoleonic Wars and then returned to Ghent. Parts of it were stolen by a vicar at St. Bavo and ended up, after several sales, in a Berlin museum.\u003c/p>\n\u003cp>When World War I broke out, a brave cathedral canon hid the painting away in a junkman’s wagon for safety. It took the Treaty of Versailles to finally reunite all the panels in their original home.\u003c/p>\n\u003cp>\u003cstrong>Enduring Mystery\u003c/strong>\u003c/p>\n\u003cp>The Ghent Altarpiece didn’t stay safe for long. Thieves broke into the cathedral one night in 1934 and made off with the lower left panel.\u003c/p>\n\u003cp>“This is the enduring mystery that really is part of the popular cultural awareness of the people of Ghent still to this day,” Charney says.\u003c/p>\n\u003cp>The theft has never been solved. Visitors to St. Bavo Cathedral today will see a copy of the missing panel, painted during World War II. The copy is so good that many people thought it might be the original, hidden in plain sight, though recent conservation work has disproved that theory.\u003c/p>\n\u003cp>\u003cstrong>Raiders Of The Mystic Lamb\u003c/strong>\u003c/p>\n\u003cp>Missing panel and all, the Ghent Altarpiece was stolen one last time during World War II, on the orders of Nazi Gen. Hermann Goering.\u003c/p>\n\u003cp>“This may sound very silly,” says Charney, “but in fact, the Nazis and Hitler in particular were absolutely convinced that the occult and the supernatural was real,” and the Ghent Altarpiece was thought to be a sort of mystical treasure map showing the location of relics of Christ’s passion.\u003c/p>\n\u003cp>The altarpiece ended up hidden with thousands of other looted artworks in a converted salt mine in Austria. The local SS commander had wired the mine with dynamite, determined to destroy all the art as the Allies began closing in.\u003c/p>\n\u003cp>Charney says the Ghent Altarpiece was eventually saved through the heroism of salt miners who disabled the bombs, and the work of local Austrian resistance fighters and Allied “monuments men” whose job it was to hunt for stolen art.\u003c/p>\n\u003cp>“There was this race,” Charney says, “with the Allies trying to get to the mine before the SS could blow it up, and it was very close to every one of those works being completely destroyed.”\u003c/p>\n\u003cp>But the painting was saved, and you can see it today at the St. Bavo Cathedral in Ghent.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“Each time I see it, I notice something new,” Charney says. “For instance, I think it may be the first work of the pre-modern period to show someone laughing.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Adam Sandler’s been a movie star for a long time now, so even viewers who are allergic to his charms have been pretty well immunized against his brand of 12-year-old-boy-in-a-dumpy-man’s-body humor. But there’s still one thing that can chill the Sandler-averse to the marrow: the scene where the jejune hostility drops away so the movie can deliver a lesson about how to be a cool dad.\u003c/p>\n\u003cp>Please, not that! Show us David Spade’s naked backside again instead!\u003c/p>\n\u003cp>By the current standards of the jock-shock comedy, there’s not a lot of male nudity in \u003cem>Grown Ups\u003c/em>, which is star and co-writer Sandler’s latest attempt to portray himself as something resembling an adult. Directed by longtime Sandler collaborator Dennis Dugan, the movie mostly sticks to the bad-boy classics: pratfalls, flatulence, sexual humiliation, public urination and nonstop insults.\u003c/p>\n\u003cp>Indeed, despite occasional attempts at plot and character, this is basically a roast with scenery: Sandler trades smirky, self-amused put-downs with co-stars Spade, Rob Schneider, Chris Rock and Kevin James. (Of these five, all but James joined the cast of \u003cem>Saturday Night Live\u003c/em> in 1990.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/grown-ups.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The comedians play characters who would seem to have nothing in common: Hollywood agent Lenny (Sandler), househusband Kurt (Rock), new-age loon Rob (Schneider), car detailer Eric (James) and professional partier Marcus (Spade). But it turns out that back in 1978, when they were 12, they all played on the only championship basketball team ever coached by the man they called “The Buzzer.”\u003c/p>\n\u003cp>(How gosh-darn cute is \u003cem>Grown Ups\u003c/em>? We learn the coach has died when Lenny’s kindergarten-age daughter crashes the family car while using its navigation system to search for the Buzzer’s new home: heaven.)\u003c/p>\n\u003cp>The coach’s demise reunites his ’78 stars, who follow the funeral with a getaway at the lakeside cabin where they once toasted their victory. They \u003ca href=\"NPR.Player.openPlayer(127993174,%20128030341,%20null,%20NPR.Player.Action.PLAY_NOW,%20NPR.Player.Type.STORY,%20'1')\">bring their wives and kids\u003c/a>, as well as a dog that can’t bark straight and Kurt’s fat, nasty mother-in-law.\u003c/p>\n\u003cp>Erotic queasiness spreads like Legionnaire’s disease. Rob’s latest wife is a sexually aggressive older (\u003cem>much\u003c/em> older) woman; Eric’s spouse regularly opens her top \u003ca href=\"NPR.Player.openPlayer(127993174,%20128033087,%20null,%20NPR.Player.Action.PLAY_NOW,%20NPR.Player.Type.STORY,%20'1')\">to breast-feed their 4-year-old son\u003c/a>; Kurt is emasculated by his stay-at-home status and his wife’s third pregnancy. And everyone expects Marcus to seduce one or both of Eric’s sexy, scantily clad daughters.\u003c/p>\n\u003cp>The main act, of course, involves Lenny and his family. The agent worries that his two sons have become pampered, tech-addled brats who don’t appreciate the traditional joys of childhood. Not so Lenny’s wife, Roxanne (Salma Hayek), a top fashion designer who’s in a hurry to leave the cabin for a trip to Milan. Sandler the auteur clearly thinks that what these fractious folk need is some time to appreciate rope swings, water slides and skipping stones across the lake.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Balancing this Norman Rockwell vision with the meaner aspects of Sandler’s humor might have been difficult, had the creative team bothered to try, but \u003cem>Grown Ups\u003c/em> doesn’t. It just dumps all the ingredients into the cinema blender — and then has the chutzpah to flip the dial from “puree” to “sports flick” in the final minutes. The anticlimactic climax — a basketball rematch — ends with another cool-dad lesson, revealing Lenny/Sandler’s essential benevolence. It’s a moment that doesn’t compare all that well to a shot of David Spade’s naked backside.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Adam Sandler’s been a movie star for a long time now, so even viewers who are allergic to his charms have been pretty well immunized against his brand of 12-year-old-boy-in-a-dumpy-man’s-body humor. But there’s still one thing that can chill the Sandler-averse to the marrow: the scene where the jejune hostility drops away so the movie can deliver a lesson about how to be a cool dad.\u003c/p>\n\u003cp>Please, not that! Show us David Spade’s naked backside again instead!\u003c/p>\n\u003cp>By the current standards of the jock-shock comedy, there’s not a lot of male nudity in \u003cem>Grown Ups\u003c/em>, which is star and co-writer Sandler’s latest attempt to portray himself as something resembling an adult. Directed by longtime Sandler collaborator Dennis Dugan, the movie mostly sticks to the bad-boy classics: pratfalls, flatulence, sexual humiliation, public urination and nonstop insults.\u003c/p>\n\u003cp>Indeed, despite occasional attempts at plot and character, this is basically a roast with scenery: Sandler trades smirky, self-amused put-downs with co-stars Spade, Rob Schneider, Chris Rock and Kevin James. (Of these five, all but James joined the cast of \u003cem>Saturday Night Live\u003c/em> in 1990.)\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/grown-ups.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The comedians play characters who would seem to have nothing in common: Hollywood agent Lenny (Sandler), househusband Kurt (Rock), new-age loon Rob (Schneider), car detailer Eric (James) and professional partier Marcus (Spade). But it turns out that back in 1978, when they were 12, they all played on the only championship basketball team ever coached by the man they called “The Buzzer.”\u003c/p>\n\u003cp>(How gosh-darn cute is \u003cem>Grown Ups\u003c/em>? We learn the coach has died when Lenny’s kindergarten-age daughter crashes the family car while using its navigation system to search for the Buzzer’s new home: heaven.)\u003c/p>\n\u003cp>The coach’s demise reunites his ’78 stars, who follow the funeral with a getaway at the lakeside cabin where they once toasted their victory. They \u003ca href=\"NPR.Player.openPlayer(127993174,%20128030341,%20null,%20NPR.Player.Action.PLAY_NOW,%20NPR.Player.Type.STORY,%20'1')\">bring their wives and kids\u003c/a>, as well as a dog that can’t bark straight and Kurt’s fat, nasty mother-in-law.\u003c/p>\n\u003cp>Erotic queasiness spreads like Legionnaire’s disease. Rob’s latest wife is a sexually aggressive older (\u003cem>much\u003c/em> older) woman; Eric’s spouse regularly opens her top \u003ca href=\"NPR.Player.openPlayer(127993174,%20128033087,%20null,%20NPR.Player.Action.PLAY_NOW,%20NPR.Player.Type.STORY,%20'1')\">to breast-feed their 4-year-old son\u003c/a>; Kurt is emasculated by his stay-at-home status and his wife’s third pregnancy. And everyone expects Marcus to seduce one or both of Eric’s sexy, scantily clad daughters.\u003c/p>\n\u003cp>The main act, of course, involves Lenny and his family. The agent worries that his two sons have become pampered, tech-addled brats who don’t appreciate the traditional joys of childhood. Not so Lenny’s wife, Roxanne (Salma Hayek), a top fashion designer who’s in a hurry to leave the cabin for a trip to Milan. Sandler the auteur clearly thinks that what these fractious folk need is some time to appreciate rope swings, water slides and skipping stones across the lake.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Balancing this Norman Rockwell vision with the meaner aspects of Sandler’s humor might have been difficult, had the creative team bothered to try, but \u003cem>Grown Ups\u003c/em> doesn’t. It just dumps all the ingredients into the cinema blender — and then has the chutzpah to flip the dial from “puree” to “sports flick” in the final minutes. The anticlimactic climax — a basketball rematch — ends with another cool-dad lesson, revealing Lenny/Sandler’s essential benevolence. It’s a moment that doesn’t compare all that well to a shot of David Spade’s naked backside.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"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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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
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