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"content": "\u003cfigure id=\"attachment_13938702\" class=\"wp-caption aligncenter\" style=\"max-width: 987px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938702\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81JCa5NDOeL._SL1500_.jpg\" alt=\"A book cover featuring a woman's face in close up, partially obscured by her own hand.\" width=\"987\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81JCa5NDOeL._SL1500_.jpg 987w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81JCa5NDOeL._SL1500_-800x1216.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81JCa5NDOeL._SL1500_-160x243.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81JCa5NDOeL._SL1500_-768x1167.jpg 768w\" sizes=\"(max-width: 987px) 100vw, 987px\">\u003cfigcaption class=\"wp-caption-text\">‘Here in the Dark,’ by Alexis Soloski. \u003ccite>(Flat Iron Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How could I resist a suspense novel in which \u003cem>a critic\u003c/em> becomes an amateur detective in order to avoid becoming a murder suspect or even a victim? I inhaled Alexis Soloski’s debut thriller, \u003cem>Here in the Dark\u003c/em>; but, even readers who don’t feel a professional kinship with Soloski’s main character should be drawn to this moody and erudite mystery. Soloski, who herself is a theater critic for \u003cem>The New York Times\u003c/em>, nods to other stories like the classic noir, \u003ca href=\"https://www.youtube.com/watch?v=Xrz4ODPV1XQ\">\u003cem>Laura\u003c/em>\u003c/a>, and even the screwball comedy, \u003ca href=\"https://www.youtube.com/watch?v=U8rMpemxZrU\">\u003cem>The Man Who Came to Dinner\u003c/em>\u003c/a>, where a critic takes center stage.\u003c/p>\n\u003cp>Our troubled 30-something year old heroine, Vivian Parry, has been the junior theater critic at a New York magazine for years. After a serious breakdown in college, Vivian feels OK about the “small life” she created for herself consisting of a walk-up apartment in the East Village; and lots of casual sex, drinking and theater.\u003c/p>\n\u003cp>Here’s how Vivian explains herself:\u003c/p>\n\u003cblockquote>\u003cp>Warmth is not my forte. As far as the rich palette of human experience goes, I live on a gray scale. Aristotle said that drama was an imitation of an action. I am, of necessity, an imitation of myself — a sharp smile, an acid joke, an abyss where a woman should be. …\u003c/p>\n\u003cp>Except when I’m seeing theater, good theater. When I’m in the dark, at that safe remove from daily life, I feel it all — rage, joy, surprise. Until the houselights come on and break it all apart again, I am alive.\u003c/p>\u003c/blockquote>\n\u003cp>Vivian’s notorious prickliness, however, may be her undoing. The position of chief critic at the magazine has become vacant and Vivian is competing for it against a likeable colleague whom she describes as having “a retina-scarring smile, and the aesthetic discernment of a wedge salad.”\u003c/p>\n\u003cp>When a graduate student requests an interview with Vivian and her participation on a panel on criticism, Vivian thinks this outside validation may just tip the odds for promotion in her favor. Instead, she becomes a person of interest to the police after that grad student vanishes and she discovers the corpse of a stranger in a nearby park.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Is this just a series of unfortunate events or is something more sinister going on? Vivian starts investigating on her own, which puts her in the sights of Russian mobsters and a sexually vicious police detective who could have been cast in \u003cem>Marat/Sade\u003c/em>. Maybe Vivian should have played it safe and contented herself with writing snarky reviews of Rockettes holiday shows.\u003c/p>\n\u003cp>[aside postid='arts_13938263']Soloski, too, might have played it safe, but, fortunately for us readers she didn’t. Instead of writing a coy send-up of a theatrical thriller, she’s written a genuinely disturbing suspense tale that explores the theater of cruelty life can sometimes be.\u003c/p>\n\u003cp>Critics should be aware of their biases. For instance I know that given a choice, I’ll pass up a cozy mystery and reach for the hard stuff. That’s why I missed Nita Prose’s mega bestselling cozy debut, \u003ca href=\"https://www.npr.org/2022/01/05/1070131496/in-the-maid-a-devoted-hotel-cleaning-lady-is-a-prime-murder-suspect\">\u003cem>The Maid\u003c/em>\u003c/a>, when it came out nearly two years ago. A mystery featuring a hotel maid named Molly seemed to promise a lot of heartwarming fluff.\u003c/p>\n\u003cp>Heartwarming, yes; but the only fluff in \u003cem>The Maid —\u003c/em> and in its new sequel, \u003cem>The Mystery Guest — \u003c/em>is the kind stuffed into the pillows of the Regency Grand Hotel.\u003c/p>\n\u003cfigure id=\"attachment_13938699\" class=\"wp-caption aligncenter\" style=\"max-width: 1673px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/9780593356180_custom-fad200a511d08fd54734260d5db3d6e7eca24a54-scaled.jpg\" alt=\"A blue cover featuring an illustrated hand moving through a doorway, clutching a dangling key.\" width=\"1673\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/9780593356180_custom-fad200a511d08fd54734260d5db3d6e7eca24a54-scaled.jpg 1673w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/9780593356180_custom-fad200a511d08fd54734260d5db3d6e7eca24a54-800x1224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/9780593356180_custom-fad200a511d08fd54734260d5db3d6e7eca24a54-1020x1560.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/9780593356180_custom-fad200a511d08fd54734260d5db3d6e7eca24a54-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/9780593356180_custom-fad200a511d08fd54734260d5db3d6e7eca24a54-768x1175.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/9780593356180_custom-fad200a511d08fd54734260d5db3d6e7eca24a54-1004x1536.jpg 1004w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/9780593356180_custom-fad200a511d08fd54734260d5db3d6e7eca24a54-1339x2048.jpg 1339w\" sizes=\"(max-width: 1673px) 100vw, 1673px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mystery Guest’, by Nita Prose. \u003ccite>(Ballantine Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the center of both novels is our narrator, Molly Gray, a sensitive young woman who processes the world differently. She’s hyper-attentive to details: a tiny smudge on a TV remote, say, but not so sharp when it comes to reading people. That’s why the meaner employees at the Regency Grand mockingly call her names like “Roomba the Robot.”\u003c/p>\n\u003cp>[aside postid='arts_13936828']In \u003cem>The Mystery Guest\u003c/em>, Molly, who’s now “head maid,” has to clean up a real mess: A famous mystery writer who’s signing books at the Regency keels over dead, the victim of foul play.\u003c/p>\n\u003cp>It turns out Molly knew this writer because her beloved late grandmother was his maid. Of course, he failed to recognize Molly because he’s one of those people who just looks through the help and their kin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Mystery Guest\u003c/em> takes readers into Molly’s childhood and fills in the backstory — some of it painful — of her grandmother’s life. Like Agatha Christie’s Miss Marple, who’s rendered invisible because she’s an old woman, Molly and her grandmother are not seen because of the kind of work they do. In this affecting and socially-pointed mystery series, however, invisibility becomes the superpower of the pink-collar proletariat.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+theater+critic+and+a+hotel+maid+are+on+the+case+in+2+captivating+mystery+novels&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Soloski, too, might have played it safe, but, fortunately for us readers she didn’t. Instead of writing a coy send-up of a theatrical thriller, she’s written a genuinely disturbing suspense tale that explores the theater of cruelty life can sometimes be.\u003c/p>\n\u003cp>Critics should be aware of their biases. For instance I know that given a choice, I’ll pass up a cozy mystery and reach for the hard stuff. That’s why I missed Nita Prose’s mega bestselling cozy debut, \u003ca href=\"https://www.npr.org/2022/01/05/1070131496/in-the-maid-a-devoted-hotel-cleaning-lady-is-a-prime-murder-suspect\">\u003cem>The Maid\u003c/em>\u003c/a>, when it came out nearly two years ago. A mystery featuring a hotel maid named Molly seemed to promise a lot of heartwarming fluff.\u003c/p>\n\u003cp>Heartwarming, yes; but the only fluff in \u003cem>The Maid —\u003c/em> and in its new sequel, \u003cem>The Mystery Guest — \u003c/em>is the kind stuffed into the pillows of the Regency Grand Hotel.\u003c/p>\n\u003cfigure id=\"attachment_13938699\" class=\"wp-caption aligncenter\" style=\"max-width: 1673px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938699\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/9780593356180_custom-fad200a511d08fd54734260d5db3d6e7eca24a54-scaled.jpg\" alt=\"A blue cover featuring an illustrated hand moving through a doorway, clutching a dangling key.\" width=\"1673\" height=\"2560\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/9780593356180_custom-fad200a511d08fd54734260d5db3d6e7eca24a54-scaled.jpg 1673w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/9780593356180_custom-fad200a511d08fd54734260d5db3d6e7eca24a54-800x1224.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/9780593356180_custom-fad200a511d08fd54734260d5db3d6e7eca24a54-1020x1560.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/9780593356180_custom-fad200a511d08fd54734260d5db3d6e7eca24a54-160x245.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/9780593356180_custom-fad200a511d08fd54734260d5db3d6e7eca24a54-768x1175.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/9780593356180_custom-fad200a511d08fd54734260d5db3d6e7eca24a54-1004x1536.jpg 1004w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/9780593356180_custom-fad200a511d08fd54734260d5db3d6e7eca24a54-1339x2048.jpg 1339w\" sizes=\"(max-width: 1673px) 100vw, 1673px\">\u003cfigcaption class=\"wp-caption-text\">‘The Mystery Guest’, by Nita Prose. \u003ccite>(Ballantine Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>At the center of both novels is our narrator, Molly Gray, a sensitive young woman who processes the world differently. She’s hyper-attentive to details: a tiny smudge on a TV remote, say, but not so sharp when it comes to reading people. That’s why the meaner employees at the Regency Grand mockingly call her names like “Roomba the Robot.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In \u003cem>The Mystery Guest\u003c/em>, Molly, who’s now “head maid,” has to clean up a real mess: A famous mystery writer who’s signing books at the Regency keels over dead, the victim of foul play.\u003c/p>\n\u003cp>It turns out Molly knew this writer because her beloved late grandmother was his maid. Of course, he failed to recognize Molly because he’s one of those people who just looks through the help and their kin.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The Mystery Guest\u003c/em> takes readers into Molly’s childhood and fills in the backstory — some of it painful — of her grandmother’s life. Like Agatha Christie’s Miss Marple, who’s rendered invisible because she’s an old woman, Molly and her grandmother are not seen because of the kind of work they do. In this affecting and socially-pointed mystery series, however, invisibility becomes the superpower of the pink-collar proletariat.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+theater+critic+and+a+hotel+maid+are+on+the+case+in+2+captivating+mystery+novels&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Reach for a Nonfiction Read When Choosing Holiday Gifts, Pop Art to Ballet",
"headTitle": "Reach for a Nonfiction Read When Choosing Holiday Gifts, Pop Art to Ballet | KQED",
"content": "\u003cp>A good book packs power. A good book thoughtfully chosen as a gift can add a layer of joy.\u003c/p>\n\u003cp>The holidays are a great time to track down just the right coffee table reads for loved ones. There’s a wide array this time of year. Some options:\u003c/p>\n\u003cfigure id=\"attachment_13938293\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_.jpg\" alt=\"A book cover featuring people sunbathing on a stark white roof in front of an expanse of blue ocean and trees on the shoreline.\" width=\"900\" height=\"1140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_-800x1013.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_-768x973.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">‘Slim Aarons: The Essential Collection,’ photographs by Slim Aarons \u003ccite>(Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://store.abramsbooks.com/products/slim-aarons\">\u003cem>Slim Aarons: The Essential Collection\u003c/em>\u003c/a>, photographs by Slim Aarons, text by Shawn Waldron.\u003c/h2>\n\u003cp>The World War II photographer turned Hollywood insider had incredible access to the uber rich, from the pools of Palm Beach to the ski slopes of Gstaad. But he was so much more, shooting war orphans in Rome to tailgaters in Aiken, South Carolina. This hefty career-spanning collection has meaty text and includes more than 100 previously unpublished photos. Getty Images purchased his archive in 1997.\u003c/p>\n\u003cp>(Abrams, $175.)\u003c/p>\n\u003cfigure id=\"attachment_13938294\" class=\"wp-caption aligncenter\" style=\"max-width: 1293px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_.jpg\" alt=\"A red book cover depicting simple dotted artwork that resembles a Christmas tree covered with gold baubles.\" width=\"1293\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_.jpg 1293w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_-800x928.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_-1020x1183.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_-160x186.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_-768x891.jpg 768w\" sizes=\"(max-width: 1293px) 100vw, 1293px\">\u003cfigcaption class=\"wp-caption-text\">‘The Christmas Book,’ by Phaidon editors. \u003ccite>(Phaidon Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.phaidon.com/store/fashion-and-pop-culture/the-christmas-book-9781838665968/\">The Christmas Book\u003c/a>\u003c/em>, by Phaidon editors, with essays by David Trigg, Sam Bilton and Dolph Gotelli.\u003c/h2>\n\u003cp>The holiday, in festive cultural imagery. This is a jolly look at Christmas via design and artifacts. There’s a history of Christmas pudding charms, to be hidden within the holiday treat. And there’s an angel made of beads by an artisan in the Woza Moya collective of South Africa. Picasso’s Dove of Peace is included along with a Lego Santa’s Visit set.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(Phaidon, $49.95.)\u003c/p>\n\u003cfigure id=\"attachment_13938295\" class=\"wp-caption aligncenter\" style=\"max-width: 1144px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_.jpg\" alt=\"A book cover depicting an elegant and beautiful Black woman posing on a staircase wearing a white one-shouldered gown.\" width=\"1144\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_.jpg 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_-800x1049.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_-1020x1337.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_-768x1007.jpg 768w\" sizes=\"(max-width: 1144px) 100vw, 1144px\">\u003cfigcaption class=\"wp-caption-text\">‘Lena Horne: Goddess Reclaimed,’ by Donald Bogle. \u003ccite>(Running Press Adult)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.hachettebookgroup.com/titles/donald-bogle/lena-horne/9780762475209/\">Lena Horne: Goddess Reclaimed\u003c/a>\u003c/em>, by Donald Bogle.\u003c/h2>\n\u003cp>The authority on Black representation in film and entertainment history based this biography on decades of research. Bogle dug deep into Horne’s chaotic childhood, which took her from Brooklyn to the Deep South and beyond. He spells out in detail her Cotton Club start as a teen and her years as a racial justice activist. He doesn’t smooth over the star’s bitter disappointments. Plenty of photos included.\u003c/p>\n\u003cp>(Running Press, $35.)\u003c/p>\n\u003cfigure id=\"attachment_13938297\" class=\"wp-caption aligncenter\" style=\"max-width: 1208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_.jpg\" alt=\"A young Black woman stands in side profile, arm raised above her head.\" width=\"1208\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_.jpg 1208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_-1020x1267.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_-768x954.jpg 768w\" sizes=\"(max-width: 1208px) 100vw, 1208px\">\u003cfigcaption class=\"wp-caption-text\">‘The Color of Dance,’ by TaKiyah Wallace-McMillian. \u003ccite>(Black Dog & Leventhal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.hachettebookgroup.com/titles/takiyah-wallace-mcmillian/the-color-of-dance/9780762479559/?lens=black-dog-leventhal\">The Color of Dance\u003c/a>\u003c/em>, by TaKiyah Wallace-McMillian.\u003c/h2>\n\u003cp>The photographer behind the Instagram account \u003ca href=\"https://www.instagram.com/browngirlsdoballet/?hl=en\">Brown Girls Do Ballet\u003c/a> has put together a celebratory essay in images of just that. Filled with insights from inside the dance world and hopeful girls in training, her portraits are set indoors and out with her subjects speaking for themselves. One young ballerina, Kailyn Scales, says of her craft: “I am small but mighty. When I dance, I feel powerful. I don’t feel like the smallest person in the room.”\u003c/p>\n\u003cp>(Black Dog & Leventhal, $30.)\u003c/p>\n\u003cfigure id=\"attachment_13938299\" class=\"wp-caption aligncenter\" style=\"max-width: 1246px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_.jpg\" alt=\"A book cover depicting photos of a variety of fresh foods over a large 'Y.'\" width=\"1246\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_.jpg 1246w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_-800x963.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_-1020x1228.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_-768x925.jpg 768w\" sizes=\"(max-width: 1246px) 100vw, 1246px\">\u003cfigcaption class=\"wp-caption-text\">‘Yellowstone: The Official Dutton Ranch Family Cookbook,’ by Chef Gabriel ‘Gator’ Guilbeau with Kim Laidlaw. \u003ccite>(Insight Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://insighteditions.com/products/yellowstone-the-official-dutton-ranch-family-cookbook\">Yellowstone: The Official Dutton Ranch Family Cookbook\u003c/a>\u003c/em>, by Chef Gabriel “Gator” Guilbeau with Kim Laidlaw.\u003c/h2>\n\u003cp>Guilbeau was the set caterer for \u003cem>Yellowstone\u003c/em> and played the Dutton family’s cook on the hit series. This book is filled with more than 55 recipes beloved by the cast and featured on screen, some inspired by Guilbeau’s Cajun roots. Showrunner Taylor Sheridan is a fan of his Louisiana fried shrimp. Anybody remember that octopus Gator set in front of John, Kayce and Beth in Season 2? It didn’t go over well, but it looks delicious with lemon and roasted potatoes.\u003c/p>\n\u003cp>(Insight Editions, $34.99.)\u003c/p>\n\u003cfigure id=\"attachment_13938300\" class=\"wp-caption aligncenter\" style=\"max-width: 1104px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938300\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_.jpg\" alt=\"A book cover depicting a woman in 1950s-era clothing. She is wearing yellow heels and a green raincoat. \" width=\"1104\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_-800x1087.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_-1020x1386.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_-768x1043.jpg 768w\" sizes=\"(max-width: 1104px) 100vw, 1104px\">\u003cfigcaption class=\"wp-caption-text\">‘Dressing the Part: Television’s Most Stylish Shows,’ by Hal Rubenstein. \u003ccite>(Harper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.harpercollins.com/products/dressing-the-part-hal-rubenstein?variant=40991772639266\">Dressing the Part: Television’s Most Stylish Shows\u003c/a>\u003c/em>, by Hal Rubenstein.\u003c/h2>\n\u003cp>In interviews, images and commentary, this frank, veteran fashion expert takes readers through the cultural significance of clothes in 50 top TV shows dating to the dawn of the medium. There’s the predictable period dramas. And there’s Mary Tyler Moore’s black capris pants as Laura Petrie. On \u003cem>The Dick Van Dyke Show\u003c/em>, Moore insisted on dumping the TV practice of wearing cocktail attire to vacuum, and met 1960s network pushback. Within a month, Rubenstein writes, there was a nationwide run on capris. Within two years, Dawn Wells was wearing second-skin short shorts as Mary Ann on \u003cem>Gilligan’s Island\u003c/em>. The network for both? CBS.\u003c/p>\n\u003cp>(HarperCollins, $40.)\u003c/p>\n\u003cfigure id=\"attachment_13938302\" class=\"wp-caption aligncenter\" style=\"max-width: 1036px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81EOruS2TL._SL1500_.jpg\" alt=\"A book cover depicting a yellow bird hanging from a tangled round nest.\" width=\"1036\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_.jpg 1036w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_-800x1158.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_-1020x1477.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_-768x1112.jpg 768w\" sizes=\"(max-width: 1036px) 100vw, 1036px\">\u003cfigcaption class=\"wp-caption-text\">‘Birding for a Better World,’ by Molly Adams and Sydney Golden Anderson. \u003ccite>(Princeton Architectural Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://papress.com/products/birding-for-a-better-world\">Birding for a Better World\u003c/a>\u003c/em>, by Molly Adams and Sydney Golden Anderson.\u003c/h2>\n\u003cp>Adams, founder of the Feminist Bird Club, and Golden Anderson, a habitat coordinator for the National Wildlife Federation, have produced a helpful primer on birding for all. It includes basic vocabulary and equipment use, and ways to make birding safer and more inclusive. They’ve included journal prompts and blank pages to record observations.\u003c/p>\n\u003cp>(Princeton Architectural Press, $22.95.)\u003c/p>\n\u003cfigure id=\"attachment_13938303\" class=\"wp-caption aligncenter\" style=\"max-width: 1121px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938303\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_.jpg\" alt=\"A plain grey book cover with the words Thom Browne on it.\" width=\"1121\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_.jpg 1121w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_-800x1070.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_-1020x1365.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_-768x1028.jpg 768w\" sizes=\"(max-width: 1121px) 100vw, 1121px\">\u003cfigcaption class=\"wp-caption-text\">‘Thom Browne,’ by Thom Browne and Andrew Bolton. \u003ccite>(Phaidon Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.phaidon.com/store/signed-editions/thom-browne--9781838667474/\">\u003cem>Thom Browne\u003c/em>\u003c/a>, by Thom Browne and Andrew Bolton.\u003c/h2>\n\u003cp>Marking the 20th anniversary of the designer’s eponymous brand, this 420-page tome lets his clothes speak for themselves. Set against white backgrounds, images in this comprehensive book include commissioned photography by Johnny Dufort that was curated by the Met’s Bolton, Browne’s husband. It also includes glimpses of Browne’s conceptual fashion shows.\u003c/p>\n\u003cp>(Phaidon, $150.)\u003c/p>\n\u003cfigure id=\"attachment_13938304\" class=\"wp-caption aligncenter\" style=\"max-width: 1250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938304\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_.jpg\" alt=\"A book cover depicting a little Black girl wearing a frilled and lace gown with prominent shoulders. She is standing proudly.\" width=\"1250\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_.jpg 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_-800x960.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_-1020x1224.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_-768x922.jpg 768w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003cfigcaption class=\"wp-caption-text\">‘The New Brownies’ Book: A Love Letter to Black Families,’ by Karida L. Brown and Charly Palmer. \u003ccite>(Chronicle Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.chroniclebooks.com/products/new-brownies-book\">The New Brownies’ Book: A Love Letter to Black Families\u003c/a>\u003c/em>, by Karida L. Brown and Charly Palmer.\u003c/h2>\n\u003cp>This husband-and-wife team have created an homage to the monthly children’s magazine founded by W.E.B. Du Bois in 1920. They’ve mixed poems of Langston Hughes and other works that ran in \u003cem>The Brownies’ Book\u003c/em> with stunning new short stories, art, poetry and plays of leading Black artists today. The mission then and now: To serve and inspire Black youth.\u003c/p>\n\u003cp>(Chronicle Books, $40.)\u003c/p>\n\u003cfigure id=\"attachment_13938305\" class=\"wp-caption aligncenter\" style=\"max-width: 993px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938305\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_.jpg\" alt=\"A beige book cover with pink and black lettering.\" width=\"993\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_.jpg 993w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_-768x1160.jpg 768w\" sizes=\"(max-width: 993px) 100vw, 993px\">\u003cfigcaption class=\"wp-caption-text\">‘Dressing the Part: Television’s Most Stylish Shows,’ by Hal Rubenstein. \u003ccite>(Viking)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/678235/mother-tongue-by-jenni-nuttall/\">Mother Tongue: The Surprising History of Women’s Words\u003c/a>\u003c/em>, by Jenni Nuttall.\u003c/h2>\n\u003cp>This lecturer in English at Exeter College has investigated dictionaries, manuals, poems, letters and more to lend an exacting analysis to today’s conversation over the words used to discuss and perceive the female experience. What surprised her most? “For every sexist idea which leaves its traces in our vocabulary, you can usually find a contemporary voice in the past challenging or even making fun of the extremes of misogyny.”\u003c/p>\n\u003cp>(Viking, $29.)\u003c/p>\n\u003cfigure id=\"attachment_13938307\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_.jpg\" alt=\"A black cover with gold lettering.\" width=\"900\" height=\"1159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_-800x1030.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_-768x989.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">‘Vanity Fair: Oscar Night Sessions,’ photos by Mark Seliger. \u003ccite>(Harry N. Abrams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.abramsbooks.com/product/vanity-fair-oscar-night-sessions_9781419754784/\">Vanity Fair: Oscar Night Sessions\u003c/a>\u003c/em>, photos by Mark Seliger.\u003c/h2>\n\u003cp>For a decade, Seliger has set up a pop-up studio inside the \u003cem>Vanity Fair\u003c/em> after-party on Oscar night. This stunning collection of his A-list portraits over the years is telling and bittersweet. Couples have split (Joe Jonas and Sophie Turner). Stars have passed (Chadwick Boseman). Controversies later unfolded (Will Smith and Jada Pinkett Smith). Others have carried on (Robert De Niro). “Everything captured by a camera is ephemeral,” Seliger writes in an introduction. “It’s the art that lives on.”\u003c/p>\n\u003cp>(Abrams, $80.)\u003c/p>\n\u003cfigure id=\"attachment_13938309\" class=\"wp-caption aligncenter\" style=\"max-width: 1224px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71uId8H07jL._SL1500_.jpg\" alt=\"A book cover depicting a painting of a glass vase of tulips.\" width=\"1224\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_-800x980.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_-1020x1250.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_-768x941.jpg 768w\" sizes=\"(max-width: 1224px) 100vw, 1224px\">\u003cfigcaption class=\"wp-caption-text\">‘Art in Flower,’ by Lindsey Taylor. \u003ccite>(The Monacelli Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.phaidon.com/monacelli/art-in-flower-finding-inspiration-in-art-and-nature-9781580936200/\">Art in Flower\u003c/a>\u003c/em>, by Lindsey Taylor.\u003c/h2>\n\u003cp>The floral and garden designer behind the \u003cem>Wall Street Journal\u003c/em> column “Flower School” has collected 40 of her floral arrangements with the art that inspired them. And they’re all wonders. Her column ran from 2014 to 2019. She takes readers through her thoughtful process for choosing vessels, along with flower gathering. On foraging, for instance, Taylor writes: “Try not to be greedy. The shrub or tree we’re cutting from is more important than our fleeting arrangement.”\u003c/p>\n\u003cp>(Monacelli, $60.)\u003c/p>\n\u003cfigure id=\"attachment_13938311\" class=\"wp-caption aligncenter\" style=\"max-width: 1301px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938311\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_.jpg\" alt=\"A pink book cover depicting a colorful and surrealist rendition of a group of people. \" width=\"1301\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_.jpg 1301w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_-800x922.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_-1020x1176.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_-768x885.jpg 768w\" sizes=\"(max-width: 1301px) 100vw, 1301px\">\u003cfigcaption class=\"wp-caption-text\">‘Milton Glaser: Pop,’ by Steven Heller. \u003ccite>(The Monacelli Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.phaidon.com/monacelli/art-and-photography/milton-glaser-pop-9781580936132/\">\u003cem>Milton Glaser: Pop\u003c/em>\u003c/a>, by Steven Heller, Mirko Ilić and Beth Kleber.\u003c/h2>\n\u003cp>Glaser, the graphic designer who gave the world the I (Heart) New York logo, was at his best in the 1960s and ‘70s. Amid a revolution in graphic design, Glaser busied himself on book, magazine and album covers. He also created typefaces that endure today. More than 1,100 color images included in this broad overview, Glaser’s wit ever-present.\u003c/p>\n\u003cp>(Monacelli, $65.)\u003c/p>\n\u003cfigure id=\"attachment_13938313\" class=\"wp-caption aligncenter\" style=\"max-width: 1036px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938313\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/818MspA5HlL._SL1500_.jpg\" alt=\"A book cover depicting a wall of boom boxes.\" width=\"1036\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_.jpg 1036w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_-800x1158.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_-1020x1477.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_-768x1112.jpg 768w\" sizes=\"(max-width: 1036px) 100vw, 1036px\">\u003cfigcaption class=\"wp-caption-text\">‘LL Cool J Presents the Streets Win,’ by LL Cool J, Vikki Tobak and Alec Banks. \u003ccite>(Rizzoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.rizzoliusa.com/book/9780847873166/\">LL Cool J Presents the Streets Win\u003c/a>\u003c/em>, by LL Cool J, Vikki Tobak and Alec Banks.\u003c/h2>\n\u003cp>A beautifully illustrated homage to 50 years of hip-hop in the words of the icons who were there at the beginning. Includes rarely seen images and recollections from Salt-N-Pepa, Public Enemy, Run-D.M.C., Mary J. Blige and more. Peep Ludacris as a cutie child on page 288.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>(Rizzoli New York, $55.)\u003c/p>\n\n",
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"excerpt": "Fourteen coffee table books that could make great presents for loved ones this holiday season.",
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"description": "Fourteen coffee table books that could make great presents for loved ones this holiday season.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A good book packs power. A good book thoughtfully chosen as a gift can add a layer of joy.\u003c/p>\n\u003cp>The holidays are a great time to track down just the right coffee table reads for loved ones. There’s a wide array this time of year. Some options:\u003c/p>\n\u003cfigure id=\"attachment_13938293\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938293\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_.jpg\" alt=\"A book cover featuring people sunbathing on a stark white roof in front of an expanse of blue ocean and trees on the shoreline.\" width=\"900\" height=\"1140\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_-800x1013.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_-160x203.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71CwOiRKZBL._SL1140_-768x973.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">‘Slim Aarons: The Essential Collection,’ photographs by Slim Aarons \u003ccite>(Abrams Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://store.abramsbooks.com/products/slim-aarons\">\u003cem>Slim Aarons: The Essential Collection\u003c/em>\u003c/a>, photographs by Slim Aarons, text by Shawn Waldron.\u003c/h2>\n\u003cp>The World War II photographer turned Hollywood insider had incredible access to the uber rich, from the pools of Palm Beach to the ski slopes of Gstaad. But he was so much more, shooting war orphans in Rome to tailgaters in Aiken, South Carolina. This hefty career-spanning collection has meaty text and includes more than 100 previously unpublished photos. Getty Images purchased his archive in 1997.\u003c/p>\n\u003cp>(Abrams, $175.)\u003c/p>\n\u003cfigure id=\"attachment_13938294\" class=\"wp-caption aligncenter\" style=\"max-width: 1293px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938294\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_.jpg\" alt=\"A red book cover depicting simple dotted artwork that resembles a Christmas tree covered with gold baubles.\" width=\"1293\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_.jpg 1293w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_-800x928.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_-1020x1183.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_-160x186.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81y-Dcg5UhL._SL1500_-768x891.jpg 768w\" sizes=\"(max-width: 1293px) 100vw, 1293px\">\u003cfigcaption class=\"wp-caption-text\">‘The Christmas Book,’ by Phaidon editors. \u003ccite>(Phaidon Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.phaidon.com/store/fashion-and-pop-culture/the-christmas-book-9781838665968/\">The Christmas Book\u003c/a>\u003c/em>, by Phaidon editors, with essays by David Trigg, Sam Bilton and Dolph Gotelli.\u003c/h2>\n\u003cp>The holiday, in festive cultural imagery. This is a jolly look at Christmas via design and artifacts. There’s a history of Christmas pudding charms, to be hidden within the holiday treat. And there’s an angel made of beads by an artisan in the Woza Moya collective of South Africa. Picasso’s Dove of Peace is included along with a Lego Santa’s Visit set.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(Phaidon, $49.95.)\u003c/p>\n\u003cfigure id=\"attachment_13938295\" class=\"wp-caption aligncenter\" style=\"max-width: 1144px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938295\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_.jpg\" alt=\"A book cover depicting an elegant and beautiful Black woman posing on a staircase wearing a white one-shouldered gown.\" width=\"1144\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_.jpg 1144w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_-800x1049.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_-1020x1337.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_-160x210.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81ReQ61SWuL._SL1500_-768x1007.jpg 768w\" sizes=\"(max-width: 1144px) 100vw, 1144px\">\u003cfigcaption class=\"wp-caption-text\">‘Lena Horne: Goddess Reclaimed,’ by Donald Bogle. \u003ccite>(Running Press Adult)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.hachettebookgroup.com/titles/donald-bogle/lena-horne/9780762475209/\">Lena Horne: Goddess Reclaimed\u003c/a>\u003c/em>, by Donald Bogle.\u003c/h2>\n\u003cp>The authority on Black representation in film and entertainment history based this biography on decades of research. Bogle dug deep into Horne’s chaotic childhood, which took her from Brooklyn to the Deep South and beyond. He spells out in detail her Cotton Club start as a teen and her years as a racial justice activist. He doesn’t smooth over the star’s bitter disappointments. Plenty of photos included.\u003c/p>\n\u003cp>(Running Press, $35.)\u003c/p>\n\u003cfigure id=\"attachment_13938297\" class=\"wp-caption aligncenter\" style=\"max-width: 1208px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938297\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_.jpg\" alt=\"A young Black woman stands in side profile, arm raised above her head.\" width=\"1208\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_.jpg 1208w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_-800x993.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_-1020x1267.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_-160x199.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81zXGOUjwkL._SL1500_-768x954.jpg 768w\" sizes=\"(max-width: 1208px) 100vw, 1208px\">\u003cfigcaption class=\"wp-caption-text\">‘The Color of Dance,’ by TaKiyah Wallace-McMillian. \u003ccite>(Black Dog & Leventhal)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.hachettebookgroup.com/titles/takiyah-wallace-mcmillian/the-color-of-dance/9780762479559/?lens=black-dog-leventhal\">The Color of Dance\u003c/a>\u003c/em>, by TaKiyah Wallace-McMillian.\u003c/h2>\n\u003cp>The photographer behind the Instagram account \u003ca href=\"https://www.instagram.com/browngirlsdoballet/?hl=en\">Brown Girls Do Ballet\u003c/a> has put together a celebratory essay in images of just that. Filled with insights from inside the dance world and hopeful girls in training, her portraits are set indoors and out with her subjects speaking for themselves. One young ballerina, Kailyn Scales, says of her craft: “I am small but mighty. When I dance, I feel powerful. I don’t feel like the smallest person in the room.”\u003c/p>\n\u003cp>(Black Dog & Leventhal, $30.)\u003c/p>\n\u003cfigure id=\"attachment_13938299\" class=\"wp-caption aligncenter\" style=\"max-width: 1246px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938299\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_.jpg\" alt=\"A book cover depicting photos of a variety of fresh foods over a large 'Y.'\" width=\"1246\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_.jpg 1246w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_-800x963.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_-1020x1228.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_-160x193.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81fmCdmbAL._SL1500_-768x925.jpg 768w\" sizes=\"(max-width: 1246px) 100vw, 1246px\">\u003cfigcaption class=\"wp-caption-text\">‘Yellowstone: The Official Dutton Ranch Family Cookbook,’ by Chef Gabriel ‘Gator’ Guilbeau with Kim Laidlaw. \u003ccite>(Insight Editions)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://insighteditions.com/products/yellowstone-the-official-dutton-ranch-family-cookbook\">Yellowstone: The Official Dutton Ranch Family Cookbook\u003c/a>\u003c/em>, by Chef Gabriel “Gator” Guilbeau with Kim Laidlaw.\u003c/h2>\n\u003cp>Guilbeau was the set caterer for \u003cem>Yellowstone\u003c/em> and played the Dutton family’s cook on the hit series. This book is filled with more than 55 recipes beloved by the cast and featured on screen, some inspired by Guilbeau’s Cajun roots. Showrunner Taylor Sheridan is a fan of his Louisiana fried shrimp. Anybody remember that octopus Gator set in front of John, Kayce and Beth in Season 2? It didn’t go over well, but it looks delicious with lemon and roasted potatoes.\u003c/p>\n\u003cp>(Insight Editions, $34.99.)\u003c/p>\n\u003cfigure id=\"attachment_13938300\" class=\"wp-caption aligncenter\" style=\"max-width: 1104px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938300\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_.jpg\" alt=\"A book cover depicting a woman in 1950s-era clothing. She is wearing yellow heels and a green raincoat. \" width=\"1104\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_.jpg 1104w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_-800x1087.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_-1020x1386.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_-160x217.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/914Lx18fsOL._SL1500_-768x1043.jpg 768w\" sizes=\"(max-width: 1104px) 100vw, 1104px\">\u003cfigcaption class=\"wp-caption-text\">‘Dressing the Part: Television’s Most Stylish Shows,’ by Hal Rubenstein. \u003ccite>(Harper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.harpercollins.com/products/dressing-the-part-hal-rubenstein?variant=40991772639266\">Dressing the Part: Television’s Most Stylish Shows\u003c/a>\u003c/em>, by Hal Rubenstein.\u003c/h2>\n\u003cp>In interviews, images and commentary, this frank, veteran fashion expert takes readers through the cultural significance of clothes in 50 top TV shows dating to the dawn of the medium. There’s the predictable period dramas. And there’s Mary Tyler Moore’s black capris pants as Laura Petrie. On \u003cem>The Dick Van Dyke Show\u003c/em>, Moore insisted on dumping the TV practice of wearing cocktail attire to vacuum, and met 1960s network pushback. Within a month, Rubenstein writes, there was a nationwide run on capris. Within two years, Dawn Wells was wearing second-skin short shorts as Mary Ann on \u003cem>Gilligan’s Island\u003c/em>. The network for both? CBS.\u003c/p>\n\u003cp>(HarperCollins, $40.)\u003c/p>\n\u003cfigure id=\"attachment_13938302\" class=\"wp-caption aligncenter\" style=\"max-width: 1036px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938302\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81EOruS2TL._SL1500_.jpg\" alt=\"A book cover depicting a yellow bird hanging from a tangled round nest.\" width=\"1036\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_.jpg 1036w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_-800x1158.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_-1020x1477.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81EOruS2TL._SL1500_-768x1112.jpg 768w\" sizes=\"(max-width: 1036px) 100vw, 1036px\">\u003cfigcaption class=\"wp-caption-text\">‘Birding for a Better World,’ by Molly Adams and Sydney Golden Anderson. \u003ccite>(Princeton Architectural Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://papress.com/products/birding-for-a-better-world\">Birding for a Better World\u003c/a>\u003c/em>, by Molly Adams and Sydney Golden Anderson.\u003c/h2>\n\u003cp>Adams, founder of the Feminist Bird Club, and Golden Anderson, a habitat coordinator for the National Wildlife Federation, have produced a helpful primer on birding for all. It includes basic vocabulary and equipment use, and ways to make birding safer and more inclusive. They’ve included journal prompts and blank pages to record observations.\u003c/p>\n\u003cp>(Princeton Architectural Press, $22.95.)\u003c/p>\n\u003cfigure id=\"attachment_13938303\" class=\"wp-caption aligncenter\" style=\"max-width: 1121px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938303\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_.jpg\" alt=\"A plain grey book cover with the words Thom Browne on it.\" width=\"1121\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_.jpg 1121w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_-800x1070.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_-1020x1365.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_-160x214.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71Q2WL8Us6L._SL1500_-768x1028.jpg 768w\" sizes=\"(max-width: 1121px) 100vw, 1121px\">\u003cfigcaption class=\"wp-caption-text\">‘Thom Browne,’ by Thom Browne and Andrew Bolton. \u003ccite>(Phaidon Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.phaidon.com/store/signed-editions/thom-browne--9781838667474/\">\u003cem>Thom Browne\u003c/em>\u003c/a>, by Thom Browne and Andrew Bolton.\u003c/h2>\n\u003cp>Marking the 20th anniversary of the designer’s eponymous brand, this 420-page tome lets his clothes speak for themselves. Set against white backgrounds, images in this comprehensive book include commissioned photography by Johnny Dufort that was curated by the Met’s Bolton, Browne’s husband. It also includes glimpses of Browne’s conceptual fashion shows.\u003c/p>\n\u003cp>(Phaidon, $150.)\u003c/p>\n\u003cfigure id=\"attachment_13938304\" class=\"wp-caption aligncenter\" style=\"max-width: 1250px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938304\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_.jpg\" alt=\"A book cover depicting a little Black girl wearing a frilled and lace gown with prominent shoulders. She is standing proudly.\" width=\"1250\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_.jpg 1250w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_-800x960.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_-1020x1224.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_-160x192.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81nwXp6lCYL._SL1500_-768x922.jpg 768w\" sizes=\"(max-width: 1250px) 100vw, 1250px\">\u003cfigcaption class=\"wp-caption-text\">‘The New Brownies’ Book: A Love Letter to Black Families,’ by Karida L. Brown and Charly Palmer. \u003ccite>(Chronicle Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.chroniclebooks.com/products/new-brownies-book\">The New Brownies’ Book: A Love Letter to Black Families\u003c/a>\u003c/em>, by Karida L. Brown and Charly Palmer.\u003c/h2>\n\u003cp>This husband-and-wife team have created an homage to the monthly children’s magazine founded by W.E.B. Du Bois in 1920. They’ve mixed poems of Langston Hughes and other works that ran in \u003cem>The Brownies’ Book\u003c/em> with stunning new short stories, art, poetry and plays of leading Black artists today. The mission then and now: To serve and inspire Black youth.\u003c/p>\n\u003cp>(Chronicle Books, $40.)\u003c/p>\n\u003cfigure id=\"attachment_13938305\" class=\"wp-caption aligncenter\" style=\"max-width: 993px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938305\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_.jpg\" alt=\"A beige book cover with pink and black lettering.\" width=\"993\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_.jpg 993w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_-800x1208.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_-160x242.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81LTRFKutkL._SL1500_-768x1160.jpg 768w\" sizes=\"(max-width: 993px) 100vw, 993px\">\u003cfigcaption class=\"wp-caption-text\">‘Dressing the Part: Television’s Most Stylish Shows,’ by Hal Rubenstein. \u003ccite>(Viking)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.penguinrandomhouse.com/books/678235/mother-tongue-by-jenni-nuttall/\">Mother Tongue: The Surprising History of Women’s Words\u003c/a>\u003c/em>, by Jenni Nuttall.\u003c/h2>\n\u003cp>This lecturer in English at Exeter College has investigated dictionaries, manuals, poems, letters and more to lend an exacting analysis to today’s conversation over the words used to discuss and perceive the female experience. What surprised her most? “For every sexist idea which leaves its traces in our vocabulary, you can usually find a contemporary voice in the past challenging or even making fun of the extremes of misogyny.”\u003c/p>\n\u003cp>(Viking, $29.)\u003c/p>\n\u003cfigure id=\"attachment_13938307\" class=\"wp-caption aligncenter\" style=\"max-width: 900px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938307\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_.jpg\" alt=\"A black cover with gold lettering.\" width=\"900\" height=\"1159\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_.jpg 900w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_-800x1030.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_-160x206.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/61GSFZjRSL._SL1159_-768x989.jpg 768w\" sizes=\"(max-width: 900px) 100vw, 900px\">\u003cfigcaption class=\"wp-caption-text\">‘Vanity Fair: Oscar Night Sessions,’ photos by Mark Seliger. \u003ccite>(Harry N. Abrams)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.abramsbooks.com/product/vanity-fair-oscar-night-sessions_9781419754784/\">Vanity Fair: Oscar Night Sessions\u003c/a>\u003c/em>, photos by Mark Seliger.\u003c/h2>\n\u003cp>For a decade, Seliger has set up a pop-up studio inside the \u003cem>Vanity Fair\u003c/em> after-party on Oscar night. This stunning collection of his A-list portraits over the years is telling and bittersweet. Couples have split (Joe Jonas and Sophie Turner). Stars have passed (Chadwick Boseman). Controversies later unfolded (Will Smith and Jada Pinkett Smith). Others have carried on (Robert De Niro). “Everything captured by a camera is ephemeral,” Seliger writes in an introduction. “It’s the art that lives on.”\u003c/p>\n\u003cp>(Abrams, $80.)\u003c/p>\n\u003cfigure id=\"attachment_13938309\" class=\"wp-caption aligncenter\" style=\"max-width: 1224px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71uId8H07jL._SL1500_.jpg\" alt=\"A book cover depicting a painting of a glass vase of tulips.\" width=\"1224\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_.jpg 1224w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_-800x980.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_-1020x1250.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_-160x196.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71uId8H07jL._SL1500_-768x941.jpg 768w\" sizes=\"(max-width: 1224px) 100vw, 1224px\">\u003cfigcaption class=\"wp-caption-text\">‘Art in Flower,’ by Lindsey Taylor. \u003ccite>(The Monacelli Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.phaidon.com/monacelli/art-in-flower-finding-inspiration-in-art-and-nature-9781580936200/\">Art in Flower\u003c/a>\u003c/em>, by Lindsey Taylor.\u003c/h2>\n\u003cp>The floral and garden designer behind the \u003cem>Wall Street Journal\u003c/em> column “Flower School” has collected 40 of her floral arrangements with the art that inspired them. And they’re all wonders. Her column ran from 2014 to 2019. She takes readers through her thoughtful process for choosing vessels, along with flower gathering. On foraging, for instance, Taylor writes: “Try not to be greedy. The shrub or tree we’re cutting from is more important than our fleeting arrangement.”\u003c/p>\n\u003cp>(Monacelli, $60.)\u003c/p>\n\u003cfigure id=\"attachment_13938311\" class=\"wp-caption aligncenter\" style=\"max-width: 1301px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938311\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_.jpg\" alt=\"A pink book cover depicting a colorful and surrealist rendition of a group of people. \" width=\"1301\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_.jpg 1301w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_-800x922.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_-1020x1176.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_-160x184.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/81-tTABpxGL._SL1500_-768x885.jpg 768w\" sizes=\"(max-width: 1301px) 100vw, 1301px\">\u003cfigcaption class=\"wp-caption-text\">‘Milton Glaser: Pop,’ by Steven Heller. \u003ccite>(The Monacelli Press)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003ca href=\"https://www.phaidon.com/monacelli/art-and-photography/milton-glaser-pop-9781580936132/\">\u003cem>Milton Glaser: Pop\u003c/em>\u003c/a>, by Steven Heller, Mirko Ilić and Beth Kleber.\u003c/h2>\n\u003cp>Glaser, the graphic designer who gave the world the I (Heart) New York logo, was at his best in the 1960s and ‘70s. Amid a revolution in graphic design, Glaser busied himself on book, magazine and album covers. He also created typefaces that endure today. More than 1,100 color images included in this broad overview, Glaser’s wit ever-present.\u003c/p>\n\u003cp>(Monacelli, $65.)\u003c/p>\n\u003cfigure id=\"attachment_13938313\" class=\"wp-caption aligncenter\" style=\"max-width: 1036px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938313\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/818MspA5HlL._SL1500_.jpg\" alt=\"A book cover depicting a wall of boom boxes.\" width=\"1036\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_.jpg 1036w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_-800x1158.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_-1020x1477.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_-160x232.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/818MspA5HlL._SL1500_-768x1112.jpg 768w\" sizes=\"(max-width: 1036px) 100vw, 1036px\">\u003cfigcaption class=\"wp-caption-text\">‘LL Cool J Presents the Streets Win,’ by LL Cool J, Vikki Tobak and Alec Banks. \u003ccite>(Rizzoli)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>\u003cem>\u003ca href=\"https://www.rizzoliusa.com/book/9780847873166/\">LL Cool J Presents the Streets Win\u003c/a>\u003c/em>, by LL Cool J, Vikki Tobak and Alec Banks.\u003c/h2>\n\u003cp>A beautifully illustrated homage to 50 years of hip-hop in the words of the icons who were there at the beginning. Includes rarely seen images and recollections from Salt-N-Pepa, Public Enemy, Run-D.M.C., Mary J. Blige and more. Peep Ludacris as a cutie child on page 288.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "E-40 Discusses New Album, His Cookbook With Snoop, and Being Underrated",
"headTitle": "E-40 Discusses New Album, His Cookbook With Snoop, and Being Underrated | KQED",
"content": "\u003cp>\u003ca href=\"https://www.kqed.org/arts/13936776/e-40-gets-the-key-to-the-city-of-vallejo-and-a-street-named-in-his-honor\">E-40\u003c/a> built a three decade-plus career on the foundations of an unorthodox rap flow, schooling listeners with life lessons through his streetwise perspective.\u003c/p>\n\u003cp>With a heavy dose of Bay Area slang, E-40 created a lane for his unique hip-hop vernacular that has made him one of the genre’s most revered artists. As a savvy businessman, he’s leveraged his connections in the rap world to the wine, ice cream and food brand industries, including a Filipino food business inside Oracle Park in San Francisco.\u003c/p>\n\u003cp>[aside postid='arts_13927874']Now at 56, there’s no slowing down for E-40, who released his 27th studio album \u003cem>Rule of Thumb: Rule 1\u003c/em> on Friday. His new project comes more than 30 years after his debut, \u003cem>Federal\u003c/em>.\u003c/p>\n\u003cp>The new album — which features NBA YoungBoy, Too Short, Larry June, Gucci Mane, B.G. and E-40’s son Droop-E — is the first installment of the \u003cem>Rule of Thumb\u003c/em> album series. He plans to release the sequel album early next year.\u003c/p>\n\u003cp>In a recent interview, E-40 spoke with The Associated Press about being an underrated legend, his unorthodox rap style and the new cookbook called \u003cem>Snoop Dogg Presents: Goon With the Spoon\u003c/em>, which released earlier this week.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Answers have been edited for brevity and clarity.\u003c/p>\n\u003cp>\u003cstrong>Jonathan Landrum, Jr:\u003c/strong> \u003cstrong>What’s the meaning behind your album title?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>E-40:\u003c/strong> I feel like \u003cem>Rule of Thumb\u003c/em> is just common sense. It’s certain rules and regulations that you must just know off top. It doesn’t take a rocket scientist. You don’t have to have a quarter of a brain to comprehend that. I’m teaching life lessons. Giving it to them straight, not fake and not fabricating things. It’s a lot of lightweight storytelling and a lot of life lessons, consequences and repercussions. I mix it up like a gumbo pot. I’m multi-dimensional. I don’t do just one style of rap. My beats aren’t always the same. I’m everywhere like air.\u003c/p>\n\u003cfigure id=\"attachment_13938195\" class=\"wp-caption aligncenter\" style=\"max-width: 1050px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/rule-of-thumb.jpg\" alt=\"An album cover depicting rapper E-40 in miniature. He is sitting on a scroll next to handcuffs, a key and a quill. A courthouse and scales are visible behind him.\" width=\"1050\" height=\"1050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb.jpg 1050w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-768x768.jpg 768w\" sizes=\"(max-width: 1050px) 100vw, 1050px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Rule of Thumb: Rule 1.’ \u003ccite>(Heavy on the Grind)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Where does your unorthodox rap style and wisdom come from?\u003c/strong>\u003c/p>\n\u003cp>Being chipped from a different cliff, being carved from a different clay, and made from a different fabric. I’m wired different than most. I’m from an era of morals and respect, and we follow guidelines. That’s always been me… I always told stories. I talked about the repercussions and the consequences. If you go do this, you do know that little 30-second decision that you made could cost you 30 years in prison or you might be buried 6 feet deep. I always talked about the consequences if you go do something. I speak the real.\u003c/p>\n\u003cp>\u003cstrong>You’re highly respected within hip-hop, but how does the feeling of being underrated bother you?\u003c/strong>\u003c/p>\n\u003cp>My life is beautiful. I’m very successful. I’m financially set. I’m financially good. I’m still accumulating bread. I’m still breaking boundaries. But anything that’s different is always going to be questionable. There will never be a rapper like E-40, whether you like me or not. You just got to give it to me. I got my own thing. I’ve been successful for 36 years with music since 1988. Let that soak in. I’ve got to be doing something right. Can’t just be no damn luck. I come from the ground up. All your favorite independent CEOs, they respect me because I was first. I laid the foundation for independent music.\u003c/p>\n\u003cp>Do I still feel underrated? Yes, I do. But I know what comes with the package. They like people that’s in the pocket and never go outside the box. That’s not me.\u003c/p>\n\u003cp>\u003cstrong>You have a new cookbook. When did your passion for cooking start?\u003c/strong>\u003c/p>\n\u003cp>I’m the oldest of four. Moms would work two or three jobs. My mom and dad divorced when I was 8 years old. I had a lot of responsibilities being the oldest, so I cooked. We all knew how to cook. We taught ourselves how to cook. I worked at a restaurant when I was a teenager. There was a Caucasian man that I love dearly to this day. His name is Lewis. He taught me how to cook escargot, orange roughy with almonds with lemon butter sauce with white wine. He taught me how to do London Broil and chicken cordon bleu.\u003c/p>\n\u003cfigure id=\"attachment_13938194\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_.jpg\" alt=\"A book cover featuring two Black men. One is wearing an apron and chef's hat and holding up a large meat sandwich. The other is wearing a bucket hat, Death Row Records shirt and white spectacles.\" width=\"1294\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-800x927.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-1020x1182.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-768x890.jpg 768w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">‘Snoop Dogg Presents: Goon With the Spoon’ by Snoop Dogg and Earl ‘E-40’ Stevens. \u003ccite>(Chronicle Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you and Snoop connect on this cookbook?\u003c/strong>\u003c/p>\n\u003cp>Snoop, that’s my guy. He cooks as well. He was like, “Earl, my book was very successful. I sold over a million copies. It’s a bestseller. Let me present it.”\u003c/p>\n\u003cp>I was like “Snoop, I rock with you. You’re legendary. You’re a good friend of mine. I’ve been knowing you for over 30-plus years. We’re family. Thank you. Let’s do it.”\u003c/p>\n\u003cp>When you put your pride to the side, bigger things happen. He’s got some recipes in there. I got some recipes in there. He’s got adult beverages. I have adult beverages. It only makes sense. We both co-pack. We do the whole thing. Teamwork makes the dream work. It’s enough money out there for all of us.\u003c/p>\n\u003cp>\u003cstrong>You’ve met with Vice President Kamala Harris at the White House, received an honorary doctorate from Grambling State University and had a street named after you in your hometown of Vallejo, California. How has hip-hop impacted your life?\u003c/strong>\u003c/p>\n\u003cp>Shout out to DJ Kool Herc, Grandmaster Flash and the Furious Five, Run-DMC. Those dudes really paved the way for people like myself to diversify our portfolios and find other ways to make financial gain on a legitimate note. This beats the streets. You can make more money here than you could ever in the streets.\u003c/p>\n\u003cp>\u003cstrong>Will you ever release a book with your slang terms?\u003c/strong>\u003c/p>\n\u003cp>If I do the book of slang, it’s going to hurt people’s feelings. Because they think that their favorite rapper made the words up, and it came from me. Or if it didn’t come from me, I got it from the soil — the trenches where most rappers that are from the urban community get their (expletive) from.\u003c/p>\n\u003cp>I’ve been around for more than a half a century. I know all this. I’ve got receipts to back it up. One day, I want to sit down and go word-for-word of all the words I’ve coined. I want to go to the year, the song, everything. I want to ask “Who said it before me?” If they try to lie about it, I’ve got receipts. I was the first rapper screaming “Tycoon.” That’s one of many. “Slappin.” “Choppers.” I’ve got so many of them. Just for that, I’m going to do a book of slang. The real way in 2024 style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Rule of Thumb: Rule 1’ is out on Nov. 17, 2023. ‘Snoop Dogg Presents: Goon With the Spoon’ by Snoop Dogg and Earl ‘E-40’ Stevens (with Photos by Antonis Achilleos) is out now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.kqed.org/arts/13936776/e-40-gets-the-key-to-the-city-of-vallejo-and-a-street-named-in-his-honor\">E-40\u003c/a> built a three decade-plus career on the foundations of an unorthodox rap flow, schooling listeners with life lessons through his streetwise perspective.\u003c/p>\n\u003cp>With a heavy dose of Bay Area slang, E-40 created a lane for his unique hip-hop vernacular that has made him one of the genre’s most revered artists. As a savvy businessman, he’s leveraged his connections in the rap world to the wine, ice cream and food brand industries, including a Filipino food business inside Oracle Park in San Francisco.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Now at 56, there’s no slowing down for E-40, who released his 27th studio album \u003cem>Rule of Thumb: Rule 1\u003c/em> on Friday. His new project comes more than 30 years after his debut, \u003cem>Federal\u003c/em>.\u003c/p>\n\u003cp>The new album — which features NBA YoungBoy, Too Short, Larry June, Gucci Mane, B.G. and E-40’s son Droop-E — is the first installment of the \u003cem>Rule of Thumb\u003c/em> album series. He plans to release the sequel album early next year.\u003c/p>\n\u003cp>In a recent interview, E-40 spoke with The Associated Press about being an underrated legend, his unorthodox rap style and the new cookbook called \u003cem>Snoop Dogg Presents: Goon With the Spoon\u003c/em>, which released earlier this week.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Answers have been edited for brevity and clarity.\u003c/p>\n\u003cp>\u003cstrong>Jonathan Landrum, Jr:\u003c/strong> \u003cstrong>What’s the meaning behind your album title?\u003c/strong>\u003c/p>\n\u003cp>\u003cstrong>E-40:\u003c/strong> I feel like \u003cem>Rule of Thumb\u003c/em> is just common sense. It’s certain rules and regulations that you must just know off top. It doesn’t take a rocket scientist. You don’t have to have a quarter of a brain to comprehend that. I’m teaching life lessons. Giving it to them straight, not fake and not fabricating things. It’s a lot of lightweight storytelling and a lot of life lessons, consequences and repercussions. I mix it up like a gumbo pot. I’m multi-dimensional. I don’t do just one style of rap. My beats aren’t always the same. I’m everywhere like air.\u003c/p>\n\u003cfigure id=\"attachment_13938195\" class=\"wp-caption aligncenter\" style=\"max-width: 1050px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938195\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/rule-of-thumb.jpg\" alt=\"An album cover depicting rapper E-40 in miniature. He is sitting on a scroll next to handcuffs, a key and a quill. A courthouse and scales are visible behind him.\" width=\"1050\" height=\"1050\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb.jpg 1050w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/rule-of-thumb-768x768.jpg 768w\" sizes=\"(max-width: 1050px) 100vw, 1050px\">\u003cfigcaption class=\"wp-caption-text\">The cover of ‘Rule of Thumb: Rule 1.’ \u003ccite>(Heavy on the Grind)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Where does your unorthodox rap style and wisdom come from?\u003c/strong>\u003c/p>\n\u003cp>Being chipped from a different cliff, being carved from a different clay, and made from a different fabric. I’m wired different than most. I’m from an era of morals and respect, and we follow guidelines. That’s always been me… I always told stories. I talked about the repercussions and the consequences. If you go do this, you do know that little 30-second decision that you made could cost you 30 years in prison or you might be buried 6 feet deep. I always talked about the consequences if you go do something. I speak the real.\u003c/p>\n\u003cp>\u003cstrong>You’re highly respected within hip-hop, but how does the feeling of being underrated bother you?\u003c/strong>\u003c/p>\n\u003cp>My life is beautiful. I’m very successful. I’m financially set. I’m financially good. I’m still accumulating bread. I’m still breaking boundaries. But anything that’s different is always going to be questionable. There will never be a rapper like E-40, whether you like me or not. You just got to give it to me. I got my own thing. I’ve been successful for 36 years with music since 1988. Let that soak in. I’ve got to be doing something right. Can’t just be no damn luck. I come from the ground up. All your favorite independent CEOs, they respect me because I was first. I laid the foundation for independent music.\u003c/p>\n\u003cp>Do I still feel underrated? Yes, I do. But I know what comes with the package. They like people that’s in the pocket and never go outside the box. That’s not me.\u003c/p>\n\u003cp>\u003cstrong>You have a new cookbook. When did your passion for cooking start?\u003c/strong>\u003c/p>\n\u003cp>I’m the oldest of four. Moms would work two or three jobs. My mom and dad divorced when I was 8 years old. I had a lot of responsibilities being the oldest, so I cooked. We all knew how to cook. We taught ourselves how to cook. I worked at a restaurant when I was a teenager. There was a Caucasian man that I love dearly to this day. His name is Lewis. He taught me how to cook escargot, orange roughy with almonds with lemon butter sauce with white wine. He taught me how to do London Broil and chicken cordon bleu.\u003c/p>\n\u003cfigure id=\"attachment_13938194\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13938194\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_.jpg\" alt=\"A book cover featuring two Black men. One is wearing an apron and chef's hat and holding up a large meat sandwich. The other is wearing a bucket hat, Death Row Records shirt and white spectacles.\" width=\"1294\" height=\"1500\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_.jpg 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-800x927.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-1020x1182.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-160x185.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/71ip4o90vZL._SL1500_-768x890.jpg 768w\" sizes=\"(max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">‘Snoop Dogg Presents: Goon With the Spoon’ by Snoop Dogg and Earl ‘E-40’ Stevens. \u003ccite>(Chronicle Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>How did you and Snoop connect on this cookbook?\u003c/strong>\u003c/p>\n\u003cp>Snoop, that’s my guy. He cooks as well. He was like, “Earl, my book was very successful. I sold over a million copies. It’s a bestseller. Let me present it.”\u003c/p>\n\u003cp>I was like “Snoop, I rock with you. You’re legendary. You’re a good friend of mine. I’ve been knowing you for over 30-plus years. We’re family. Thank you. Let’s do it.”\u003c/p>\n\u003cp>When you put your pride to the side, bigger things happen. He’s got some recipes in there. I got some recipes in there. He’s got adult beverages. I have adult beverages. It only makes sense. We both co-pack. We do the whole thing. Teamwork makes the dream work. It’s enough money out there for all of us.\u003c/p>\n\u003cp>\u003cstrong>You’ve met with Vice President Kamala Harris at the White House, received an honorary doctorate from Grambling State University and had a street named after you in your hometown of Vallejo, California. How has hip-hop impacted your life?\u003c/strong>\u003c/p>\n\u003cp>Shout out to DJ Kool Herc, Grandmaster Flash and the Furious Five, Run-DMC. Those dudes really paved the way for people like myself to diversify our portfolios and find other ways to make financial gain on a legitimate note. This beats the streets. You can make more money here than you could ever in the streets.\u003c/p>\n\u003cp>\u003cstrong>Will you ever release a book with your slang terms?\u003c/strong>\u003c/p>\n\u003cp>If I do the book of slang, it’s going to hurt people’s feelings. Because they think that their favorite rapper made the words up, and it came from me. Or if it didn’t come from me, I got it from the soil — the trenches where most rappers that are from the urban community get their (expletive) from.\u003c/p>\n\u003cp>I’ve been around for more than a half a century. I know all this. I’ve got receipts to back it up. One day, I want to sit down and go word-for-word of all the words I’ve coined. I want to go to the year, the song, everything. I want to ask “Who said it before me?” If they try to lie about it, I’ve got receipts. I was the first rapper screaming “Tycoon.” That’s one of many. “Slappin.” “Choppers.” I’ve got so many of them. Just for that, I’m going to do a book of slang. The real way in 2024 style.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "‘Stories of Women and Men’ Explores What Goes Wrong Between Them",
"headTitle": "‘Stories of Women and Men’ Explores What Goes Wrong Between Them | KQED",
"content": "\u003cfigure id=\"attachment_13937952\" class=\"wp-caption aligncenter\" style=\"max-width: 1456px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937952\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/thumbnail_solatedayintheday_hc-1_custom-8355d94497480f86404f46dbe16db70488602f28.jpg\" alt=\"a painting of a rail, river and long stretch of tightly packed buildings overlooking the water. \" width=\"1456\" height=\"2116\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/thumbnail_solatedayintheday_hc-1_custom-8355d94497480f86404f46dbe16db70488602f28.jpg 1456w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/thumbnail_solatedayintheday_hc-1_custom-8355d94497480f86404f46dbe16db70488602f28-800x1163.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/thumbnail_solatedayintheday_hc-1_custom-8355d94497480f86404f46dbe16db70488602f28-1020x1482.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/thumbnail_solatedayintheday_hc-1_custom-8355d94497480f86404f46dbe16db70488602f28-160x233.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/thumbnail_solatedayintheday_hc-1_custom-8355d94497480f86404f46dbe16db70488602f28-768x1116.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/thumbnail_solatedayintheday_hc-1_custom-8355d94497480f86404f46dbe16db70488602f28-1057x1536.jpg 1057w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/thumbnail_solatedayintheday_hc-1_custom-8355d94497480f86404f46dbe16db70488602f28-1409x2048.jpg 1409w\" sizes=\"(max-width: 1456px) 100vw, 1456px\">\u003cfigcaption class=\"wp-caption-text\">‘So Late in the Day,’ by Claire Keegan. \u003ccite>(Grove Atlantic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Claire Keegan’s newly published short story collection, \u003cem>So Late in the Day\u003c/em>, contains three tales that testify to the screwed up relations between women and men. To give you a hint about Keegan’s views on who’s to blame for that situation, be aware that when the title story was published in France earlier this year, it was called, “Misogynie.”\u003c/p>\n\u003cp>[aside postid='arts_13937655']In that story, a Dublin office worker named Cathal is feeling the minutes drag by on a Friday afternoon. Something about the situation soon begins to seem “off.” Cathal’s boss comes over and urges him to “call it a day”; Cathal absentmindedly neglects to save the budget file he’s been working on. He refrains from checking his messages on the bus ride home, because, as we’re told, he: “found he wasn’t ready — then wondered if anyone ever was ready for what was difficult or painful.” Cathal eventually returns to his empty house and thinks about his fiancée who’s moved out.\u003c/p>\n\u003cp>On first reading we think: poor guy, he’s numb because he’s been dumped; on rereading — and Keegan is the kind of writer whose spare, slippery work you want to reread — maybe we think differently. Keegan’s sentences shape shift the second time ’round, twisting themselves into a more emotionally complicated story. For instance, here’s her brief description of how Cathal’s bus ride home ends:\u003c/p>\n\u003cblockquote>\u003cp>[A]t the stop for Jack White’s Inn, a young woman came down the aisle and sat in the vacated seat across from him. He sat breathing in her scent until it occurred to him that there must be thousands if not hundreds of thousands of women who smelled the same.\u003c/p>\u003c/blockquote>\n\u003cp>Perhaps Cathal is clumsily trying to console himself; perhaps, though, the French were onto something in entitling this story, “Misogynie.”\u003c/p>\n\u003cp>[aside postid='arts_13937277']It’s evident from the arrangement of this collection that Keegan’s nuanced, suggestive style is one she’s achieved over the years. The three short stories in \u003cem>So Late in the Day\u003c/em> appear in reverse chronological order, so that the last story, “Antarctica,” is the oldest, first published in 1999. It’s far from an obvious tale, but there’s a definite foreboding “woman-in-peril” vibe going on throughout “Antarctica.” In contrast, the central story of this collection, called, “The Long and Painful Death,” which was originally published in 2007, is a pensive masterpiece about male anger toward successful women and the female impulse to placate that anger.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Our unnamed heroine, a writer, has been awarded a precious two-week’s residency at the isolated Heinrich Böll house on Achill Island, a real place on Ireland’s west coast. She arrives at the house, exhausted, and falls asleep on the couch. Keegan writes that: “When she woke, she felt the tail end of a dream — a feeling, like silk — disappearing; …”\u003c/p>\n\u003cp>The house phone starts ringing and the writer, reluctantly, answers it. A man, who identifies himself as a professor of German literature, says he’s standing right outside and that he’s gotten permission to tour the house.\u003c/p>\n\u003cp>Our writer, like many women, needs more work on her personal boundaries: She puts off this unwanted visitor ’till evening; but she’s not strong enough to refuse him altogether. After she puts the phone down, we’re told that:\u003c/p>\n\u003cp>“What had begun as a fine day was still a fine day, but had changed; now that she had fixed a time, the day in some way was obliged to proceed in the direction of the German’s coming.”\u003c/p>\n\u003cp>[aside postid='arts_13937144']She spends valuable writing time making a cake for her guest, who, when he arrives, turns out to be a man with “a healthy face and angry blue eyes.” He mentions something about how:\u003c/p>\n\u003cp>“Many people want to come here. … Many, many applications.” ”\u003c/p>\n\u003cp>“I am lucky, I know,” [murmurs our writer.]\u003c/p>\n\u003cp>The professor is that tiresome kind of guest who “could neither create conversation nor respond nor be content to have none.” That is, until he reveals himself to be a raging green-eyed monster of an academic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This story is the only one of the three that has what I’d consider to be a happy ending. But, maybe upon rereading I’ll find still another tone lurking in Keegan’s magnificently simple, resonant sentences.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Claire+Keegan%27s+%27stories+of+women+and+men%27+explore+what+goes+wrong+between+them&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In that story, a Dublin office worker named Cathal is feeling the minutes drag by on a Friday afternoon. Something about the situation soon begins to seem “off.” Cathal’s boss comes over and urges him to “call it a day”; Cathal absentmindedly neglects to save the budget file he’s been working on. He refrains from checking his messages on the bus ride home, because, as we’re told, he: “found he wasn’t ready — then wondered if anyone ever was ready for what was difficult or painful.” Cathal eventually returns to his empty house and thinks about his fiancée who’s moved out.\u003c/p>\n\u003cp>On first reading we think: poor guy, he’s numb because he’s been dumped; on rereading — and Keegan is the kind of writer whose spare, slippery work you want to reread — maybe we think differently. Keegan’s sentences shape shift the second time ’round, twisting themselves into a more emotionally complicated story. For instance, here’s her brief description of how Cathal’s bus ride home ends:\u003c/p>\n\u003cblockquote>\u003cp>[A]t the stop for Jack White’s Inn, a young woman came down the aisle and sat in the vacated seat across from him. He sat breathing in her scent until it occurred to him that there must be thousands if not hundreds of thousands of women who smelled the same.\u003c/p>\u003c/blockquote>\n\u003cp>Perhaps Cathal is clumsily trying to console himself; perhaps, though, the French were onto something in entitling this story, “Misogynie.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It’s evident from the arrangement of this collection that Keegan’s nuanced, suggestive style is one she’s achieved over the years. The three short stories in \u003cem>So Late in the Day\u003c/em> appear in reverse chronological order, so that the last story, “Antarctica,” is the oldest, first published in 1999. It’s far from an obvious tale, but there’s a definite foreboding “woman-in-peril” vibe going on throughout “Antarctica.” In contrast, the central story of this collection, called, “The Long and Painful Death,” which was originally published in 2007, is a pensive masterpiece about male anger toward successful women and the female impulse to placate that anger.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Our unnamed heroine, a writer, has been awarded a precious two-week’s residency at the isolated Heinrich Böll house on Achill Island, a real place on Ireland’s west coast. She arrives at the house, exhausted, and falls asleep on the couch. Keegan writes that: “When she woke, she felt the tail end of a dream — a feeling, like silk — disappearing; …”\u003c/p>\n\u003cp>The house phone starts ringing and the writer, reluctantly, answers it. A man, who identifies himself as a professor of German literature, says he’s standing right outside and that he’s gotten permission to tour the house.\u003c/p>\n\u003cp>Our writer, like many women, needs more work on her personal boundaries: She puts off this unwanted visitor ’till evening; but she’s not strong enough to refuse him altogether. After she puts the phone down, we’re told that:\u003c/p>\n\u003cp>“What had begun as a fine day was still a fine day, but had changed; now that she had fixed a time, the day in some way was obliged to proceed in the direction of the German’s coming.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She spends valuable writing time making a cake for her guest, who, when he arrives, turns out to be a man with “a healthy face and angry blue eyes.” He mentions something about how:\u003c/p>\n\u003cp>“Many people want to come here. … Many, many applications.” ”\u003c/p>\n\u003cp>“I am lucky, I know,” [murmurs our writer.]\u003c/p>\n\u003cp>The professor is that tiresome kind of guest who “could neither create conversation nor respond nor be content to have none.” That is, until he reveals himself to be a raging green-eyed monster of an academic.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>This story is the only one of the three that has what I’d consider to be a happy ending. But, maybe upon rereading I’ll find still another tone lurking in Keegan’s magnificently simple, resonant sentences.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 Fresh Air. To see more, visit \u003ca href=\"http://www.npr.org/programs/fresh-air/\">Fresh Air\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Claire+Keegan%27s+%27stories+of+women+and+men%27+explore+what+goes+wrong+between+them&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "Barbra Streisand's Memoir Shows She Wasn't Born a Leading Lady — She Made Herself One",
"headTitle": "Barbra Streisand’s Memoir Shows She Wasn’t Born a Leading Lady — She Made Herself One | KQED",
"content": "\u003cp>The season of the celebrity memoir is upon us. In just the past few months \u003ca href=\"https://www.kqed.org/arts/13936729/britney-spears-book-autobiography-the-woman-in-me-gallery-books\">Britney Spears\u003c/a>, Jada Pinkett Smith, Kerry Washington, and more have showered us with bombshells and revelations about their origin stories and private lives. Despite those heavy hitters and the crowded field they occupy, the celebrity memoir I’ve coveted most is that of the singular Ms. Barbra Streisand. Thanks to the opportunity to speak with her for this week’s edition of \u003cem>It’s Been A Minute\u003c/em>, I was able to get my hands on a copy.\u003c/p>\n\u003cp>For me, the iconography of Streisand begins with her nails. More than the deeply parted bouffant of Streisand’s early stardom, or the sleek bob she adopted in the ’90s, or even the smoky chevrons of her signature cat eye, her elegant talons — all natural, by the way — are visual proof of Streisand’s trademark steadfastness.\u003c/p>\n\u003cp>As the old story goes, when Streisand was a fledgling actor, her mother suggested she take typing classes to become a secretary in the New York school system. Streisand grew out her nails in refusal, went all in on show business, and the rest is history — though Streisand now concedes that the ability to type might have made book writing a bit easier.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937733 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/mynameisbarbra_custom-29d0cf4fa23d7c15d82e2915d82cb3dfe1267e51.jpg\" alt=\"\" width=\"200\" height=\"303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/mynameisbarbra_custom-29d0cf4fa23d7c15d82e2915d82cb3dfe1267e51.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/mynameisbarbra_custom-29d0cf4fa23d7c15d82e2915d82cb3dfe1267e51-160x242.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">Streisand’s memoir, \u003cem>My Name Is Barbra\u003c/em>, is nearly 1,000 pages of such gumption, her rhythmic Brooklyn cadence communicated via countless ellipses and more than a few pleasant divergences on her favorite kind of egg roll or a particularly good antique shopping trip. There was the time Streisand jumped in to offer a blocking cue to Robert Redford on the set of \u003cem>The Way We Were\u003c/em>. And of \u003cem>course\u003c/em> she informed the director of the best way to block herself for her Broadway debut at the tender age of 20.\u003c/p>\n\u003cp>Years later, when everyone from her agent to dozens of producers suggested \u003cem>Yentl\u003c/em> was “too Jewish” to connect with mainstream audiences, she pressed on, eventually garnering five Academy Award nominations and one win for the film. The film took over 15 years to make, but ultimately Streisand’s resolve won out. “I became what I wanted to be … I don’t want somebody telling me what I can’t be,” she told me.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[aside postid='arts_13937207']Across the book’s 59 chapters and many decades, Streisand is careful to uplift the names of those who encouraged, impressed, or even challenged her. Her detractors tend to be aired out or paid dust. She recounts her life as a series of odysseys, and she the ever triumphant victor.\u003c/p>\n\u003cp>Frankly, she’s earned it. Her resumé is living legend: more than 50 albums, a box office titan, and a whole EGOT (Emmy, Grammy, Oscar and Tony for those unfamiliar). She was told to alter her features and change her name, and by not doing so, she redefined Hollywood notions of beauty and relatability. But even I’ve known the diva reputation that has followed her for decades and wanted to go there. “Divas, I don’t think, come from Brooklyn,” Streisand quipped to me, and yet the rumors persist. Sexism and misogyny are to blame, but there’s also a fundamental misread of Streisand’s artistry at play.\u003c/p>\n\u003cfigure id=\"attachment_13937736\" class=\"wp-caption aligncenter\" style=\"max-width: 1808px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937736\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM.png\" alt=\"A young woman, casually dressed, talks on a landline telephone in a dressing room, a table scattered with make-up in front of her.\" width=\"1808\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM.png 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-1020x683.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-1536x1028.png 1536w\" sizes=\"(max-width: 1808px) 100vw, 1808px\">\u003cfigcaption class=\"wp-caption-text\">Barbra Streisand in her dressing room in October 1965. \u003ccite>(Harry Benson/ Daily Express/ Hulton Archive/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Our culture loves to see and persistently pause Streisand as Babs, the consummate prima donna, our forever leading lady. But in doing so, audiences, critics and biographers have failed to acknowledge the shrewd image-maker she has always been — the architect of her persona and performance.\u003c/p>\n\u003cp>[aside postid='arts_13936614']In 1984, Streisand became the first woman to win the Golden Globe for Best Director for her work on \u003cem>Yentl\u003c/em>, and still remains one of only three female winners in history. In 1996, her direction on \u003cem>The Mirror Has Two Faces\u003c/em> led Lauren Bacall to the first Academy Award nomination in Bacall’s then five-decade career. By the time all American women had won the right to open a credit card without a husband, Streisand had already founded two production companies. When I asked Streisand about her legacy as a trailblazing businesswoman, she insisted that her goal wasn’t to become a mogul, but simply to serve her ultimate artistic vision. “I just never thought about, really, the business aspect. I just thought about it from the control aspect,” she said.\u003c/p>\n\u003cp>And still, even as a devoted fan, I don’t think I grasped the depth of Streisand’s mastery until I saw a video of her that recently made the rounds on social media. It’s a behind-the-scenes clip of an explosive scene from \u003cem>Yentl\u003c/em>. Streisand is in a pixie-length wig topped with a yarmulke, seamlessly shifting gears between directing a screaming Mandy Patinkin, instructing the camera operator, and playing a key emotional moment in character. We don’t see a diva, we see a genius.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=d0MngamiROs\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Streisand’s legacy still scatters like a constellation across our cultural landscape; Jane Campion’s Oscar win, Lady Gaga’s screen goddess turn, Beyoncé’s Parkwood Entertainment. But artistic powerhouses like them, like Barbra, don’t spring forth, fully formed. They’re sharpened over years, one overnight shoot, one “let’s take that again from the top,” and one lengthy fingernail at a time. And in a society that tends to value women’s passivity while lauding their accomplishments in hindsight, it’s a distinct pleasure to look back with \u003cem>My Name Is Barbra\u003c/em> and marvel at how the real she came to be.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Barbra+Streisand%27s+memoir+shows+she+wasn%27t+born+a+leading+lady+%E2%80%94+she+made+herself+one&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The season of the celebrity memoir is upon us. In just the past few months \u003ca href=\"https://www.kqed.org/arts/13936729/britney-spears-book-autobiography-the-woman-in-me-gallery-books\">Britney Spears\u003c/a>, Jada Pinkett Smith, Kerry Washington, and more have showered us with bombshells and revelations about their origin stories and private lives. Despite those heavy hitters and the crowded field they occupy, the celebrity memoir I’ve coveted most is that of the singular Ms. Barbra Streisand. Thanks to the opportunity to speak with her for this week’s edition of \u003cem>It’s Been A Minute\u003c/em>, I was able to get my hands on a copy.\u003c/p>\n\u003cp>For me, the iconography of Streisand begins with her nails. More than the deeply parted bouffant of Streisand’s early stardom, or the sleek bob she adopted in the ’90s, or even the smoky chevrons of her signature cat eye, her elegant talons — all natural, by the way — are visual proof of Streisand’s trademark steadfastness.\u003c/p>\n\u003cp>As the old story goes, when Streisand was a fledgling actor, her mother suggested she take typing classes to become a secretary in the New York school system. Streisand grew out her nails in refusal, went all in on show business, and the rest is history — though Streisand now concedes that the ability to type might have made book writing a bit easier.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937733 alignright\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/mynameisbarbra_custom-29d0cf4fa23d7c15d82e2915d82cb3dfe1267e51.jpg\" alt=\"\" width=\"200\" height=\"303\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/mynameisbarbra_custom-29d0cf4fa23d7c15d82e2915d82cb3dfe1267e51.jpg 200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/mynameisbarbra_custom-29d0cf4fa23d7c15d82e2915d82cb3dfe1267e51-160x242.jpg 160w\" sizes=\"(max-width: 200px) 100vw, 200px\">Streisand’s memoir, \u003cem>My Name Is Barbra\u003c/em>, is nearly 1,000 pages of such gumption, her rhythmic Brooklyn cadence communicated via countless ellipses and more than a few pleasant divergences on her favorite kind of egg roll or a particularly good antique shopping trip. There was the time Streisand jumped in to offer a blocking cue to Robert Redford on the set of \u003cem>The Way We Were\u003c/em>. And of \u003cem>course\u003c/em> she informed the director of the best way to block herself for her Broadway debut at the tender age of 20.\u003c/p>\n\u003cp>Years later, when everyone from her agent to dozens of producers suggested \u003cem>Yentl\u003c/em> was “too Jewish” to connect with mainstream audiences, she pressed on, eventually garnering five Academy Award nominations and one win for the film. The film took over 15 years to make, but ultimately Streisand’s resolve won out. “I became what I wanted to be … I don’t want somebody telling me what I can’t be,” she told me.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Across the book’s 59 chapters and many decades, Streisand is careful to uplift the names of those who encouraged, impressed, or even challenged her. Her detractors tend to be aired out or paid dust. She recounts her life as a series of odysseys, and she the ever triumphant victor.\u003c/p>\n\u003cp>Frankly, she’s earned it. Her resumé is living legend: more than 50 albums, a box office titan, and a whole EGOT (Emmy, Grammy, Oscar and Tony for those unfamiliar). She was told to alter her features and change her name, and by not doing so, she redefined Hollywood notions of beauty and relatability. But even I’ve known the diva reputation that has followed her for decades and wanted to go there. “Divas, I don’t think, come from Brooklyn,” Streisand quipped to me, and yet the rumors persist. Sexism and misogyny are to blame, but there’s also a fundamental misread of Streisand’s artistry at play.\u003c/p>\n\u003cfigure id=\"attachment_13937736\" class=\"wp-caption aligncenter\" style=\"max-width: 1808px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937736\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM.png\" alt=\"A young woman, casually dressed, talks on a landline telephone in a dressing room, a table scattered with make-up in front of her.\" width=\"1808\" height=\"1210\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM.png 1808w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-800x535.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-1020x683.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-160x107.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-768x514.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/11/Screen-Shot-2023-11-07-at-12.20.32-PM-1536x1028.png 1536w\" sizes=\"(max-width: 1808px) 100vw, 1808px\">\u003cfigcaption class=\"wp-caption-text\">Barbra Streisand in her dressing room in October 1965. \u003ccite>(Harry Benson/ Daily Express/ Hulton Archive/ Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Our culture loves to see and persistently pause Streisand as Babs, the consummate prima donna, our forever leading lady. But in doing so, audiences, critics and biographers have failed to acknowledge the shrewd image-maker she has always been — the architect of her persona and performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In 1984, Streisand became the first woman to win the Golden Globe for Best Director for her work on \u003cem>Yentl\u003c/em>, and still remains one of only three female winners in history. In 1996, her direction on \u003cem>The Mirror Has Two Faces\u003c/em> led Lauren Bacall to the first Academy Award nomination in Bacall’s then five-decade career. By the time all American women had won the right to open a credit card without a husband, Streisand had already founded two production companies. When I asked Streisand about her legacy as a trailblazing businesswoman, she insisted that her goal wasn’t to become a mogul, but simply to serve her ultimate artistic vision. “I just never thought about, really, the business aspect. I just thought about it from the control aspect,” she said.\u003c/p>\n\u003cp>And still, even as a devoted fan, I don’t think I grasped the depth of Streisand’s mastery until I saw a video of her that recently made the rounds on social media. It’s a behind-the-scenes clip of an explosive scene from \u003cem>Yentl\u003c/em>. Streisand is in a pixie-length wig topped with a yarmulke, seamlessly shifting gears between directing a screaming Mandy Patinkin, instructing the camera operator, and playing a key emotional moment in character. We don’t see a diva, we see a genius.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/d0MngamiROs'\n title='//www.youtube.com/embed/d0MngamiROs'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>Streisand’s legacy still scatters like a constellation across our cultural landscape; Jane Campion’s Oscar win, Lady Gaga’s screen goddess turn, Beyoncé’s Parkwood Entertainment. But artistic powerhouses like them, like Barbra, don’t spring forth, fully formed. They’re sharpened over years, one overnight shoot, one “let’s take that again from the top,” and one lengthy fingernail at a time. And in a society that tends to value women’s passivity while lauding their accomplishments in hindsight, it’s a distinct pleasure to look back with \u003cem>My Name Is Barbra\u003c/em> and marvel at how the real she came to be.\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Barbra+Streisand%27s+memoir+shows+she+wasn%27t+born+a+leading+lady+%E2%80%94+she+made+herself+one&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Poetry takes the pulse of the times.\u003c/p>\n\u003cp>These times are dark: wars raging; a pandemic that, though it has ebbed, still has everyone confused and afraid; monstrous, hate-filled social media posts spreading like wildfire.\u003c/p>\n\u003cp>Poets have been writing about all of this in real time, posting and publishing their poems, and now they’re gathering them up into books. Here are three of the first poetry collections to register the still-unfolding social and physical fallout of the pandemic and Trump-era politics.\u003c/p>\n\u003ch3>\u003cem>English as a Second Language\u003c/em> by Jaswinder Bolina\u003c/h3>\n\u003cp>[aside postid='arts_13928174']With his third collection, Jaswinder Bolina hits his stride, melding fierce and heartbroken politics with a flair for the surreal, to portray America in the throes of the pandemic — and tarnished daily by bold expressions of racism and anti-immigrant sentiment in the years following Trump’s rise to power. It’s a country where one is accosted constantly by urgent, out-of-context messages in waiting rooms; “in hotel bars that used to be/ so well-regarded when white people wore their finest//laundry and ate snails there”; and splattered on consumer products: “IF YOU’RE NOT ANGRY YOU’RE NOT PAYING/ ATTENTION, hollered a passing tote bag.”\u003c/p>\n\u003cp>These poems are tightly packed, a whimsical fabric interwoven with snippets of soundbites and telling phrases gathered by a highly alert ear. I don’t mean at all that this is found poetry, but that Bolina’s poems are precisely attuned to the stupidness, bigotry, and willful ignorance encoded into American English. There’s always this “second language” beneath the one we hear — it’s what people aren’t saying, or aren’t quite saying but, of course, they’re actually saying it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bolina’s ironic humor feels like the inevitable vehicle for this insight, and these poems are often darkly laugh-out-loud funny. The book is set up to be read either from the front or the back, complete with a reversed table of contents at the end. Read from the front, it’s a book about American racism and immigrant experience. From the back, there’s a baby in the picture, and a pandemic happening: “I go on debating with myself whether it’d be better/ to die of the plague or to die of anything other than/ the plague during a plague.”\u003c/p>\n\u003cp>The cynicism of these poems can sometimes feel like too much. Of course, it’s not really cynicism, it’s reportage. Even “the Abominable News,” as Bolina calls it, is ascribed a sinister kind of sentience: “the Bad News hotwires the buzzer,/ invites itself up with its bouquet of wild/ aneurysms and drooping embolisms.” Bolina’s take on parenthood is equally startling and politicized, an occasion for social commentary. “Poor little guy, alighted/ into what he doesn’t know is America.”\u003c/p>\n\u003ch3>\u003cem>The Kingdom of Surfaces\u003c/em> by Sally Wen Mao\u003c/h3>\n\u003cp>In the meditative and sometimes essayistic poems and sequences of \u003cem>The Kingdom of Surfaces\u003c/em>, Sally Wen Mao visits real and imagined art galleries and other sites of cultural production and display, raging against stereotyped and reductive representations of Chinese women in the arenas of fine art, pop culture, and politics. She visits Wuhan, China, and describes its people with a kind of compassion that has been utterly lacking. The elegant surfaces of these poems belie their internal fury: “It’s a shame/ how people die like their animals.”\u003c/p>\n\u003cp>[aside postid='arts_13933527']In a series of concrete poems shaped like vases, Mao excavates the underbelly of the long history of, and fetishization for, porcelain. Elsewhere she recounts the tyranny of Karens (“A white woman feigns distress,/ calls the cops/ \u003ca href=\"https://www.kqed.org/arts/13900749/central-park-karen-amy-cooper-remains-unrepentant-about-central-park-karen-ing\">On a black man, a bird-/ watcher\u003c/a>“); exposes the dark facts of how silk is made and traded; and, most urgently, revisits her childhood memories of the City of Wuhan (“my birthplace”), and recalls the tides of racism directed at Chinese people during the pandemic years: “security camera footage showed a sixty-five-year-old woman shoved, punched, and kicking in front of 360 West 43rd Street.” A poem about a long-ago sexual assault joins a lamenting chorus that grieves millennia of pillaging: “my feelings were leaves/ that bypassed everyone and buried me.”\u003c/p>\n\u003cp>Mao’s sentences here are more straightforward than in her two previous books, which I loved for their careful eye and quiet roiling. In \u003cem>The Kingdom of Surfaces\u003c/em>, the anger bubbles over, is evident everywhere, and yet these poems have a kind of conversational intimacy that is new to Mao, as if recent events have led her to drop some of the pretense and protection of style. She distills all the ugliness of these years, and the many years before, down to its grim essence: “\u003cem>But beauty is political. But beauty is political. But beauty is political\u003c/em>.”\u003c/p>\n\u003ch3>\u003cem>Pig\u003c/em> by Sam Sax\u003c/h3>\n\u003cp>For Jews, pork is terefah, forbidden food — and, in this book, with a surprisingly light touch, Sam Sax makes of the pig a powerful, all purpose symbol. It becomes an injunction to search oneself, in rather informal and conversational terms, for hedging pathways forward: “do your work with care, as i have tried & failed here.”\u003c/p>\n\u003cp>Though every poem involves a pig somehow (as food, as a slur, as a colloquialism for a police officer, as an \u003cem>Animal Farm\u003c/em> fascist, as a quizzical farm animal, as Wilbur, the pig saved by language), this one-species menagerie doesn’t feel like a conceit. Sometimes the pig is the poem’s stated subject, but more often it waddles in from the side, a verbal tick, a reminder that a shared set of concerns is pulling on these poems. Each poem needs its pig, and each pig is different so each poem is different. In a way, Sax could write this book about anything and he even says as much: “what would i learn if i were to write/ this book on an entirely different subject:/ antique clock repair, the sex lives of astronomers, joy.”\u003c/p>\n\u003cp>[aside postid='arts_13932147']One might think Sax’s chattiness would somehow diminish the poems’ gravity, but Sax again and again says profound things very informally. I feel like I am conversing with a very articulate and clever friend who understands that there are some serious things best said with humor. And he’s got a way with a sentence, offhandedly delivered, tonally precise, able to say what it’s not saying. Sax deploys a kind of serious sarcasm that isn’t irony — it’s a tonal admission that things are too messed up to meet head on, but they also aren’t funny, and can’t be ignored: “Everything that happens on earth happens everywhere.”\u003c/p>\n\u003cp>Language is the salve for, or the weapon against, a disordered world: “the phrases either make love or/ set down a border,” Sax writes in “It’s a Little Anxious to Be a Very Small Animal,” a poem that rather remarkably weaves together Passover traditions, the biography of Karl Marx, genetics, fundraising, and the myth of Daphne to speak out of the uncertainty that so many feel in American for so many different reasons.\u003c/p>\n\u003cp>As a fellow Jew, this book hits hard at this particular moment, though it was of course written well before the current war between Israel and Hamas began. Sax registers the fact that, over the last several years, America has come to feel less safe for Jews, that language, which he sees as the true Jewish homeland, has become less hospitable:\u003c/p>\n\u003cblockquote>\u003cp>inside the skin but\u003c/p>\n\u003cp>just exists in language. let me explain. my people\u003c/p>\n\u003cp>kiss books as a form of prayer. if dropped we\u003c/p>\n\u003cp>lift them to our lips & mouth an honest &\u003c/p>\n\u003cp>uncomplicated apology—\u003c/p>\n\u003cp>\u003cem>nowhere on earth belongs to us\u003c/em>.\u003c/p>\u003c/blockquote>\n\u003cp>The stakes are high — this book is about nothing less than survival, and why to survive, what’s worth living for when so much is so obviously so wrong: “what will be left after we’ve left/ I dare not consider it/ instead dance with me a moment/ late in this late extinction/ that you are reading this/ must be enough.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Craig Morgan Teicher is the author of several books, including ‘The Trembling Answers,’ which won the 2018 Lenore Marshall Poetry Prize from the Academy of American Poets, and the essay collection ‘We Begin in Gladness: How Poets Progress.’\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+new+poetry+collections+taking+the+pulse+of+the+times&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Poetry takes the pulse of the times.\u003c/p>\n\u003cp>These times are dark: wars raging; a pandemic that, though it has ebbed, still has everyone confused and afraid; monstrous, hate-filled social media posts spreading like wildfire.\u003c/p>\n\u003cp>Poets have been writing about all of this in real time, posting and publishing their poems, and now they’re gathering them up into books. Here are three of the first poetry collections to register the still-unfolding social and physical fallout of the pandemic and Trump-era politics.\u003c/p>\n\u003ch3>\u003cem>English as a Second Language\u003c/em> by Jaswinder Bolina\u003c/h3>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>With his third collection, Jaswinder Bolina hits his stride, melding fierce and heartbroken politics with a flair for the surreal, to portray America in the throes of the pandemic — and tarnished daily by bold expressions of racism and anti-immigrant sentiment in the years following Trump’s rise to power. It’s a country where one is accosted constantly by urgent, out-of-context messages in waiting rooms; “in hotel bars that used to be/ so well-regarded when white people wore their finest//laundry and ate snails there”; and splattered on consumer products: “IF YOU’RE NOT ANGRY YOU’RE NOT PAYING/ ATTENTION, hollered a passing tote bag.”\u003c/p>\n\u003cp>These poems are tightly packed, a whimsical fabric interwoven with snippets of soundbites and telling phrases gathered by a highly alert ear. I don’t mean at all that this is found poetry, but that Bolina’s poems are precisely attuned to the stupidness, bigotry, and willful ignorance encoded into American English. There’s always this “second language” beneath the one we hear — it’s what people aren’t saying, or aren’t quite saying but, of course, they’re actually saying it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bolina’s ironic humor feels like the inevitable vehicle for this insight, and these poems are often darkly laugh-out-loud funny. The book is set up to be read either from the front or the back, complete with a reversed table of contents at the end. Read from the front, it’s a book about American racism and immigrant experience. From the back, there’s a baby in the picture, and a pandemic happening: “I go on debating with myself whether it’d be better/ to die of the plague or to die of anything other than/ the plague during a plague.”\u003c/p>\n\u003cp>The cynicism of these poems can sometimes feel like too much. Of course, it’s not really cynicism, it’s reportage. Even “the Abominable News,” as Bolina calls it, is ascribed a sinister kind of sentience: “the Bad News hotwires the buzzer,/ invites itself up with its bouquet of wild/ aneurysms and drooping embolisms.” Bolina’s take on parenthood is equally startling and politicized, an occasion for social commentary. “Poor little guy, alighted/ into what he doesn’t know is America.”\u003c/p>\n\u003ch3>\u003cem>The Kingdom of Surfaces\u003c/em> by Sally Wen Mao\u003c/h3>\n\u003cp>In the meditative and sometimes essayistic poems and sequences of \u003cem>The Kingdom of Surfaces\u003c/em>, Sally Wen Mao visits real and imagined art galleries and other sites of cultural production and display, raging against stereotyped and reductive representations of Chinese women in the arenas of fine art, pop culture, and politics. She visits Wuhan, China, and describes its people with a kind of compassion that has been utterly lacking. The elegant surfaces of these poems belie their internal fury: “It’s a shame/ how people die like their animals.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a series of concrete poems shaped like vases, Mao excavates the underbelly of the long history of, and fetishization for, porcelain. Elsewhere she recounts the tyranny of Karens (“A white woman feigns distress,/ calls the cops/ \u003ca href=\"https://www.kqed.org/arts/13900749/central-park-karen-amy-cooper-remains-unrepentant-about-central-park-karen-ing\">On a black man, a bird-/ watcher\u003c/a>“); exposes the dark facts of how silk is made and traded; and, most urgently, revisits her childhood memories of the City of Wuhan (“my birthplace”), and recalls the tides of racism directed at Chinese people during the pandemic years: “security camera footage showed a sixty-five-year-old woman shoved, punched, and kicking in front of 360 West 43rd Street.” A poem about a long-ago sexual assault joins a lamenting chorus that grieves millennia of pillaging: “my feelings were leaves/ that bypassed everyone and buried me.”\u003c/p>\n\u003cp>Mao’s sentences here are more straightforward than in her two previous books, which I loved for their careful eye and quiet roiling. In \u003cem>The Kingdom of Surfaces\u003c/em>, the anger bubbles over, is evident everywhere, and yet these poems have a kind of conversational intimacy that is new to Mao, as if recent events have led her to drop some of the pretense and protection of style. She distills all the ugliness of these years, and the many years before, down to its grim essence: “\u003cem>But beauty is political. But beauty is political. But beauty is political\u003c/em>.”\u003c/p>\n\u003ch3>\u003cem>Pig\u003c/em> by Sam Sax\u003c/h3>\n\u003cp>For Jews, pork is terefah, forbidden food — and, in this book, with a surprisingly light touch, Sam Sax makes of the pig a powerful, all purpose symbol. It becomes an injunction to search oneself, in rather informal and conversational terms, for hedging pathways forward: “do your work with care, as i have tried & failed here.”\u003c/p>\n\u003cp>Though every poem involves a pig somehow (as food, as a slur, as a colloquialism for a police officer, as an \u003cem>Animal Farm\u003c/em> fascist, as a quizzical farm animal, as Wilbur, the pig saved by language), this one-species menagerie doesn’t feel like a conceit. Sometimes the pig is the poem’s stated subject, but more often it waddles in from the side, a verbal tick, a reminder that a shared set of concerns is pulling on these poems. Each poem needs its pig, and each pig is different so each poem is different. In a way, Sax could write this book about anything and he even says as much: “what would i learn if i were to write/ this book on an entirely different subject:/ antique clock repair, the sex lives of astronomers, joy.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One might think Sax’s chattiness would somehow diminish the poems’ gravity, but Sax again and again says profound things very informally. I feel like I am conversing with a very articulate and clever friend who understands that there are some serious things best said with humor. And he’s got a way with a sentence, offhandedly delivered, tonally precise, able to say what it’s not saying. Sax deploys a kind of serious sarcasm that isn’t irony — it’s a tonal admission that things are too messed up to meet head on, but they also aren’t funny, and can’t be ignored: “Everything that happens on earth happens everywhere.”\u003c/p>\n\u003cp>Language is the salve for, or the weapon against, a disordered world: “the phrases either make love or/ set down a border,” Sax writes in “It’s a Little Anxious to Be a Very Small Animal,” a poem that rather remarkably weaves together Passover traditions, the biography of Karl Marx, genetics, fundraising, and the myth of Daphne to speak out of the uncertainty that so many feel in American for so many different reasons.\u003c/p>\n\u003cp>As a fellow Jew, this book hits hard at this particular moment, though it was of course written well before the current war between Israel and Hamas began. Sax registers the fact that, over the last several years, America has come to feel less safe for Jews, that language, which he sees as the true Jewish homeland, has become less hospitable:\u003c/p>\n\u003cblockquote>\u003cp>inside the skin but\u003c/p>\n\u003cp>just exists in language. let me explain. my people\u003c/p>\n\u003cp>kiss books as a form of prayer. if dropped we\u003c/p>\n\u003cp>lift them to our lips & mouth an honest &\u003c/p>\n\u003cp>uncomplicated apology—\u003c/p>\n\u003cp>\u003cem>nowhere on earth belongs to us\u003c/em>.\u003c/p>\u003c/blockquote>\n\u003cp>The stakes are high — this book is about nothing less than survival, and why to survive, what’s worth living for when so much is so obviously so wrong: “what will be left after we’ve left/ I dare not consider it/ instead dance with me a moment/ late in this late extinction/ that you are reading this/ must be enough.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Craig Morgan Teicher is the author of several books, including ‘The Trembling Answers,’ which won the 2018 Lenore Marshall Poetry Prize from the Academy of American Poets, and the essay collection ‘We Begin in Gladness: How Poets Progress.’\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=3+new+poetry+collections+taking+the+pulse+of+the+times&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "In the Bay Area, November Belongs to Rhiannon Giddens",
"headTitle": "In the Bay Area, November Belongs to Rhiannon Giddens | KQED",
"content": "\u003cfigure id=\"attachment_13937306\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937306\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-scaled.jpg\" alt=\"a woman with light brown skin and dark brown hair poses in a blue and orange dress against a blue backdrop\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The musician Rhiannon Giddens has two major works that explore the contributions of immigrants, ‘Omar’ and ‘American Railroad,’ headed to the Bay Area this November. \u003ccite>(Ebru Yildiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rhiannon Giddens has long focused on stories neglected, ignored and devalued in American culture. But the past year has made the musician’s gift for those narratives abundantly clear, and to a powerful effect: What began as a campaign to rewrite the narrative of American roots music in her longtime band, the Grammy Award-winning Carolina Chocolate Drops, has expanded by leaps and bounds, encompassing just about every influx of people that have shaped the so-called “manifest destiny” of the United States.\u003c/p>\n\u003cp>It’s been an extraordinary journey for the acclaimed singer, fiddler, banjo player and composer. And many of its paths converge this month in the Bay Area, starting at the San Francisco Opera, which presents Giddens’ 2023 \u003ca href=\"https://www.sfopera.com/operas/omar/?gad=1&gclid=Cj0KCQjwqP2pBhDMARIsAJQ0CzqA1lD3HMvNdHa7RyC21JTzdIPstpFT5tuJ6PmPKnHQ8tHbaObvQcEaAjYtEALw_wcB\">Pulitzer Prize-winning \u003cem>Omar\u003c/em>\u003c/a> over six performances Nov. 5–22. Originally co-produced by Carolina Performing Arts at the University of North Carolina and Spoleto Festival USA, where the opera premiered last year, \u003cem>Omar\u003c/em> was inspired by the singular 1831 autobiography \u003cem>A Muslim American Slave: The Life of Omar Ibn Said\u003c/em>.\u003c/p>\n\u003cp>Raised in a West African Islamic state in what is now Senegal, kidnapped and sold into servitude in South Carolina, Ibn Said wrote about his experience in Arabic, a work that languished in obscurity until the University of Wisconsin Press published Ala Alryyes’ English translation in 2011. San Francisco Opera and six other companies commissioned the two-act opera, which Giddens co-composed with Michael Abels (she also wrote the libretto). Unfamiliar with Ibn Said’s saga before she received the commission, Giddens plunged into an assignment that took her far from her comfort zone.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=OGuXnIsiA1w\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\n“I was immediately taken with his story and furious that I’d never heard it before,” says Giddens, 46, on a recent video call. “Michael Ables was the perfect collaborator to tell Omar’s story. I know what I can do and what I can’t do, and there were a lot of leaps of imagination. The biography is very short. Omar is telling a lot, but you have to be open to different ways of storytelling. He finds himself in a completely alien world, and is desperately trying to maintain ties to African Muslim identity.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Omar\u003c/em> is directed by Kaneza Schaal and stars New Orleans tenor Jamez McCorkle, who was hailed as the discovery of 2022 Spoleto Festival USA for creating the titular role (“a miraculous voice with abundant body but no apparent weight,” wrote \u003cem>Opera News\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13937308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13937308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-800x533.jpg\" alt=\"a group of people on stage in blue light during an opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jamez McCorkle stars as the titular character in Rhiannon Giddens’ ‘Omar,’ which opens at San Francisco Opera Nov. 5 \u003ccite>(Cory Weaver/LA Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the opera is just one of Giddens’ spectacular projects that’s manifesting around the region. She’s also leading the Silkroad Ensemble’s \u003cem>\u003ca href=\"https://www.silkroad.org/american-railroad\">American Railroad\u003c/a> \u003c/em>production, a multimedia musical excavation revealing the peoples who built the transcontinental railroad.\u003c/p>\n\u003cp>Performing Nov. 15 at \u003ca href=\"https://live.stanford.edu/calendar/november-2023/american-railroad\">Stanford’s Bing Concert Hall\u003c/a>, Nov. 16 at \u003ca href=\"https://www.mondaviarts.org/whats-on/silkroad-ensemble/\">UC Davis’s Mondavi Center\u003c/a>, Nov. 17 at \u003ca href=\"https://calperformances.org/events/2023-24/illuminations-individual-community/american-railroad-silkroad-ensemble-with-rhiannon-giddens/\">UC Berkeley’s Zellerbach Hall\u003c/a>, and Nov. 18 at \u003ca href=\"https://gmc.sonoma.edu/silkroad/\">Sonoma State’s Green Music Center\u003c/a>, \u003cem>American Railroad\u003c/em> builds on the concept and cast first assembled a quarter-century ago by cellist Yo-Yo Ma to explore the East-meets-West cultural confluence conveyed over the course of a millennium by the Silk Road trading route.\u003c/p>\n\u003cp>Under Giddens’ artistic direction, the project trained its focus on the music of the laborers left out of Andrew J. Russell’s iconic 1869 photo “East and West Shaking Hands at Laying of Last Rail” at Promontory Summit, Utah.\u003c/p>\n\u003cp>“That was one inspiration, who’s \u003cem>not\u003c/em> in the photo,” Giddens says. “How do we refocus that story? Many people know about the Chinese contributions, but if you’re talking about the Eastern part, you’re talking about Irish people, and you’re talking about the transition from slavery into convict labor. The other missing piece is Indigenous people.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=VQwOdmsJvqM\u003c/p>\n\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nWith nine Silkroad Ensemble musicians and an array of special guests, the program encompasses Native American and African American music and reimagined traditional songs drawing from Irish, Chinese, Japanese and other immigrant cultures. Running through \u003cem>American Railroad\u003c/em> is Giddens’ arrangement of the bluegrass standard “Swannanoa Tunnel” (also known as “Asheville Junction” and “Swannanoa Town”), a song with largely forgotten origins as a 19th century African-American work song.\u003c/p>\n\u003cp>The production doesn’t unfold as a linear narrative so much as gradually resolve into a fine-grained soundscape of a protean nation, one very much in the initial phase of coalescing.\u003c/p>\n\u003cp>[aside postID='arts_13866441']“We’re going to start here and end up there, so there’s a narrative,” Giddens said. “But everybody took the assignment in different ways, some more from direct cultural inspiration, and some from the locomotive engine and the movement of the train, or the sound of the workers. So there are vocal pieces, instrumental pieces, improvised pieces, and this thread coming back to ‘Swannanoa Tunnel’ in different guises. The audience is on a ride with us.”\u003c/p>\n\u003cp>It’s a ride that boasts an extravagant collection of talent. The cast includes Sandeep Das on tabla, Karen Ouzounian on cello and vocals, Kaoru Watanabe on Japanese flutes and percussion, East Bay percussionist Haruka Fujii and Mazz Swift on violin and vocals. (Swift is then back in town Dec. 8–9 to curate \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SoundBox-MAZZ-SWIFT\">San Francisco Symphony’s latest Soundbox production.\u003c/a>) There are also a number of featured guests, such as Francesco Turrisi on frame drums and accordion and Pura Fé Crescioni on lap-steel guitar and voice.\u003c/p>\n\u003cfigure id=\"attachment_13937309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/cal-performances-silkroad-ensemble-by-adam-gurczak-1-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13937309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/cal-performances-silkroad-ensemble-by-adam-gurczak-1-1-800x554.png\" alt=\"an ensemble of musicians performs on stage in front of a purple curtain\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/cal-performances-silkroad-ensemble-by-adam-gurczak-1-1-800x554.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/cal-performances-silkroad-ensemble-by-adam-gurczak-1-1-1020x707.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/cal-performances-silkroad-ensemble-by-adam-gurczak-1-1-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/cal-performances-silkroad-ensemble-by-adam-gurczak-1-1-768x532.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/cal-performances-silkroad-ensemble-by-adam-gurczak-1-1-1536x1064.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/cal-performances-silkroad-ensemble-by-adam-gurczak-1-1.png 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cal Performances will present Silkroad Ensemble with Rhiannon Giddens on Nov. 17 at Zellerbach Hall. \u003ccite>(Adam Gurczak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giddens presides over the disparate ensemble on banjo and vocals, though she credits Wu Man, a master of the lute-like traditional Chinese pipa, with providing much of the glue that holds all the elements together.\u003c/p>\n\u003cp>A founding member of the Silkroad Ensemble well known to Bay Area audiences via her deep connection to Kronos Quartet, Wu says that Giddens came on board in 2020, “just at the right time.”\u003c/p>\n\u003cp>“She’s an amazing artist and very easy to work with, and when she joined we had many different ideas about how to bring the group forward,” Wu says. “It’s a different time than when we started 25 years ago. \u003cem>American Railroad\u003c/em> is more based in American roots and traditions, reaching out to these different countries, but still rooted in the Silk Road history and instruments from Central Asia. But now we moved to America, the American Silk Road.”\u003c/p>\n\u003cp>[aside postID='arts_13859970']Given Giddens’ last 18 months, the work reads as an expansion on a theme. Rooted in the verdant soil of her native North Carolina, Giddens launched her first mission with the Carolina Chocolate Drops, revealing the pervasive Black contributions to American old-time and string band music. The group, which first formed in 2005, certainly wasn’t the first to make the case — Taj Mahal was connecting the old-time and folk music dots to Piedmont blues, spirituals and work songs more than five decades ago. But with Giddens’ quietly charismatic presence out front, the Chocolate Drops helped widen conversations about the origins of American roots music.\u003c/p>\n\u003cp>With \u003cem>American Railroad\u003c/em>, Giddens opens a portal big enough to drive a train through — in part because the concerts are one component of a much larger undertaking. As the project continues to roll, plans include an album and a documentary series, site-specific visual installations and curricular materials for use by educators and the public.\u003c/p>\n\u003cp>That’s a heaping plate for any one artist. But Giddens is also capping off her 2023 by publishing her second children’s book, following up on last year’s \u003cem>Build a House\u003c/em>. Available on Nov. 7, \u003cem>We Could Fly\u003c/em> is a collaboration with acclaimed graphic artist Briana Mukodiri Uchendu, based on a \u003ca href=\"https://www.youtube.com/watch?v=5KhzRgqcBBc\">song of the same title\u003c/a> that Giddens wrote with Dirk Powell. It’s yet another creative alliance for a musician who has mastered the art of collaboration.\u003c/p>\n\u003cp>“You send them your words, and they come up with what they see needs to happen,” Giddens says. “It really is a partnership. She’s an artist, I’m an artist, and the two art forms come together to make something new.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Omar’ runs for six performances Nov. 5–22 at the San Francisco Opera; \u003ca href=\"https://www.sfopera.com/operas/omar/?gad=1&gclid=Cj0KCQjwqP2pBhDMARIsAJQ0CzqA1lD3HMvNdHa7RyC21JTzdIPstpFT5tuJ6PmPKnHQ8tHbaObvQcEaAjYtEALw_wcB\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘American Railroad’ will be performed Nov. 15 at Stanford’s Bing Concert Hall (\u003ca href=\"https://live.stanford.edu/calendar/november-2023/american-railroad\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>); Nov. 16 at UC Davis’s Mondavi Center (\u003ca href=\"https://www.mondaviarts.org/whats-on/silkroad-ensemble/\">details here\u003c/a>); Nov. 17 at UC Berkeley’s Zellerbach Hall (\u003ca href=\"https://calperformances.org/events/2023-24/illuminations-individual-community/american-railroad-silkroad-ensemble-with-rhiannon-giddens/\">details here\u003c/a>); and Nov. 18 at Sonoma State University’s Green Music Center (\u003ca href=\"https://gmc.sonoma.edu/silkroad/\">details here\u003c/a>).\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13937306\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937306\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-scaled.jpg\" alt=\"a woman with light brown skin and dark brown hair poses in a blue and orange dress against a blue backdrop\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/RhiannonGiddens_EbruYildiz_505-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">The musician Rhiannon Giddens has two major works that explore the contributions of immigrants, ‘Omar’ and ‘American Railroad,’ headed to the Bay Area this November. \u003ccite>(Ebru Yildiz)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Rhiannon Giddens has long focused on stories neglected, ignored and devalued in American culture. But the past year has made the musician’s gift for those narratives abundantly clear, and to a powerful effect: What began as a campaign to rewrite the narrative of American roots music in her longtime band, the Grammy Award-winning Carolina Chocolate Drops, has expanded by leaps and bounds, encompassing just about every influx of people that have shaped the so-called “manifest destiny” of the United States.\u003c/p>\n\u003cp>It’s been an extraordinary journey for the acclaimed singer, fiddler, banjo player and composer. And many of its paths converge this month in the Bay Area, starting at the San Francisco Opera, which presents Giddens’ 2023 \u003ca href=\"https://www.sfopera.com/operas/omar/?gad=1&gclid=Cj0KCQjwqP2pBhDMARIsAJQ0CzqA1lD3HMvNdHa7RyC21JTzdIPstpFT5tuJ6PmPKnHQ8tHbaObvQcEaAjYtEALw_wcB\">Pulitzer Prize-winning \u003cem>Omar\u003c/em>\u003c/a> over six performances Nov. 5–22. Originally co-produced by Carolina Performing Arts at the University of North Carolina and Spoleto Festival USA, where the opera premiered last year, \u003cem>Omar\u003c/em> was inspired by the singular 1831 autobiography \u003cem>A Muslim American Slave: The Life of Omar Ibn Said\u003c/em>.\u003c/p>\n\u003cp>Raised in a West African Islamic state in what is now Senegal, kidnapped and sold into servitude in South Carolina, Ibn Said wrote about his experience in Arabic, a work that languished in obscurity until the University of Wisconsin Press published Ala Alryyes’ English translation in 2011. San Francisco Opera and six other companies commissioned the two-act opera, which Giddens co-composed with Michael Abels (she also wrote the libretto). Unfamiliar with Ibn Said’s saga before she received the commission, Giddens plunged into an assignment that took her far from her comfort zone.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/OGuXnIsiA1w'\n title='//www.youtube.com/embed/OGuXnIsiA1w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\n“I was immediately taken with his story and furious that I’d never heard it before,” says Giddens, 46, on a recent video call. “Michael Ables was the perfect collaborator to tell Omar’s story. I know what I can do and what I can’t do, and there were a lot of leaps of imagination. The biography is very short. Omar is telling a lot, but you have to be open to different ways of storytelling. He finds himself in a completely alien world, and is desperately trying to maintain ties to African Muslim identity.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Omar\u003c/em> is directed by Kaneza Schaal and stars New Orleans tenor Jamez McCorkle, who was hailed as the discovery of 2022 Spoleto Festival USA for creating the titular role (“a miraculous voice with abundant body but no apparent weight,” wrote \u003cem>Opera News\u003c/em>).\u003c/p>\n\u003cfigure id=\"attachment_13937308\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-scaled.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13937308\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-800x533.jpg\" alt=\"a group of people on stage in blue light during an opera\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/DSC0745-ZF-4430-27850-1-002-1920x1280.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Jamez McCorkle stars as the titular character in Rhiannon Giddens’ ‘Omar,’ which opens at San Francisco Opera Nov. 5 \u003ccite>(Cory Weaver/LA Opera)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But the opera is just one of Giddens’ spectacular projects that’s manifesting around the region. She’s also leading the Silkroad Ensemble’s \u003cem>\u003ca href=\"https://www.silkroad.org/american-railroad\">American Railroad\u003c/a> \u003c/em>production, a multimedia musical excavation revealing the peoples who built the transcontinental railroad.\u003c/p>\n\u003cp>Performing Nov. 15 at \u003ca href=\"https://live.stanford.edu/calendar/november-2023/american-railroad\">Stanford’s Bing Concert Hall\u003c/a>, Nov. 16 at \u003ca href=\"https://www.mondaviarts.org/whats-on/silkroad-ensemble/\">UC Davis’s Mondavi Center\u003c/a>, Nov. 17 at \u003ca href=\"https://calperformances.org/events/2023-24/illuminations-individual-community/american-railroad-silkroad-ensemble-with-rhiannon-giddens/\">UC Berkeley’s Zellerbach Hall\u003c/a>, and Nov. 18 at \u003ca href=\"https://gmc.sonoma.edu/silkroad/\">Sonoma State’s Green Music Center\u003c/a>, \u003cem>American Railroad\u003c/em> builds on the concept and cast first assembled a quarter-century ago by cellist Yo-Yo Ma to explore the East-meets-West cultural confluence conveyed over the course of a millennium by the Silk Road trading route.\u003c/p>\n\u003cp>Under Giddens’ artistic direction, the project trained its focus on the music of the laborers left out of Andrew J. Russell’s iconic 1869 photo “East and West Shaking Hands at Laying of Last Rail” at Promontory Summit, Utah.\u003c/p>\n\u003cp>“That was one inspiration, who’s \u003cem>not\u003c/em> in the photo,” Giddens says. “How do we refocus that story? Many people know about the Chinese contributions, but if you’re talking about the Eastern part, you’re talking about Irish people, and you’re talking about the transition from slavery into convict labor. The other missing piece is Indigenous people.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/VQwOdmsJvqM'\n title='//www.youtube.com/embed/VQwOdmsJvqM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cspan style=\"color: #ffffff\">p\u003c/span>\u003cbr>\nWith nine Silkroad Ensemble musicians and an array of special guests, the program encompasses Native American and African American music and reimagined traditional songs drawing from Irish, Chinese, Japanese and other immigrant cultures. Running through \u003cem>American Railroad\u003c/em> is Giddens’ arrangement of the bluegrass standard “Swannanoa Tunnel” (also known as “Asheville Junction” and “Swannanoa Town”), a song with largely forgotten origins as a 19th century African-American work song.\u003c/p>\n\u003cp>The production doesn’t unfold as a linear narrative so much as gradually resolve into a fine-grained soundscape of a protean nation, one very much in the initial phase of coalescing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“We’re going to start here and end up there, so there’s a narrative,” Giddens said. “But everybody took the assignment in different ways, some more from direct cultural inspiration, and some from the locomotive engine and the movement of the train, or the sound of the workers. So there are vocal pieces, instrumental pieces, improvised pieces, and this thread coming back to ‘Swannanoa Tunnel’ in different guises. The audience is on a ride with us.”\u003c/p>\n\u003cp>It’s a ride that boasts an extravagant collection of talent. The cast includes Sandeep Das on tabla, Karen Ouzounian on cello and vocals, Kaoru Watanabe on Japanese flutes and percussion, East Bay percussionist Haruka Fujii and Mazz Swift on violin and vocals. (Swift is then back in town Dec. 8–9 to curate \u003ca href=\"https://www.sfsymphony.org/Buy-Tickets/2023-24/SoundBox-MAZZ-SWIFT\">San Francisco Symphony’s latest Soundbox production.\u003c/a>) There are also a number of featured guests, such as Francesco Turrisi on frame drums and accordion and Pura Fé Crescioni on lap-steel guitar and voice.\u003c/p>\n\u003cfigure id=\"attachment_13937309\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003ca href=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/cal-performances-silkroad-ensemble-by-adam-gurczak-1-1.png\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13937309\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/cal-performances-silkroad-ensemble-by-adam-gurczak-1-1-800x554.png\" alt=\"an ensemble of musicians performs on stage in front of a purple curtain\" width=\"800\" height=\"554\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/cal-performances-silkroad-ensemble-by-adam-gurczak-1-1-800x554.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/cal-performances-silkroad-ensemble-by-adam-gurczak-1-1-1020x707.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/cal-performances-silkroad-ensemble-by-adam-gurczak-1-1-160x111.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/cal-performances-silkroad-ensemble-by-adam-gurczak-1-1-768x532.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/cal-performances-silkroad-ensemble-by-adam-gurczak-1-1-1536x1064.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/cal-performances-silkroad-ensemble-by-adam-gurczak-1-1.png 1800w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Cal Performances will present Silkroad Ensemble with Rhiannon Giddens on Nov. 17 at Zellerbach Hall. \u003ccite>(Adam Gurczak)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Giddens presides over the disparate ensemble on banjo and vocals, though she credits Wu Man, a master of the lute-like traditional Chinese pipa, with providing much of the glue that holds all the elements together.\u003c/p>\n\u003cp>A founding member of the Silkroad Ensemble well known to Bay Area audiences via her deep connection to Kronos Quartet, Wu says that Giddens came on board in 2020, “just at the right time.”\u003c/p>\n\u003cp>“She’s an amazing artist and very easy to work with, and when she joined we had many different ideas about how to bring the group forward,” Wu says. “It’s a different time than when we started 25 years ago. \u003cem>American Railroad\u003c/em> is more based in American roots and traditions, reaching out to these different countries, but still rooted in the Silk Road history and instruments from Central Asia. But now we moved to America, the American Silk Road.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Given Giddens’ last 18 months, the work reads as an expansion on a theme. Rooted in the verdant soil of her native North Carolina, Giddens launched her first mission with the Carolina Chocolate Drops, revealing the pervasive Black contributions to American old-time and string band music. The group, which first formed in 2005, certainly wasn’t the first to make the case — Taj Mahal was connecting the old-time and folk music dots to Piedmont blues, spirituals and work songs more than five decades ago. But with Giddens’ quietly charismatic presence out front, the Chocolate Drops helped widen conversations about the origins of American roots music.\u003c/p>\n\u003cp>With \u003cem>American Railroad\u003c/em>, Giddens opens a portal big enough to drive a train through — in part because the concerts are one component of a much larger undertaking. As the project continues to roll, plans include an album and a documentary series, site-specific visual installations and curricular materials for use by educators and the public.\u003c/p>\n\u003cp>That’s a heaping plate for any one artist. But Giddens is also capping off her 2023 by publishing her second children’s book, following up on last year’s \u003cem>Build a House\u003c/em>. Available on Nov. 7, \u003cem>We Could Fly\u003c/em> is a collaboration with acclaimed graphic artist Briana Mukodiri Uchendu, based on a \u003ca href=\"https://www.youtube.com/watch?v=5KhzRgqcBBc\">song of the same title\u003c/a> that Giddens wrote with Dirk Powell. It’s yet another creative alliance for a musician who has mastered the art of collaboration.\u003c/p>\n\u003cp>“You send them your words, and they come up with what they see needs to happen,” Giddens says. “It really is a partnership. She’s an artist, I’m an artist, and the two art forms come together to make something new.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003cem>‘Omar’ runs for six performances Nov. 5–22 at the San Francisco Opera; \u003ca href=\"https://www.sfopera.com/operas/omar/?gad=1&gclid=Cj0KCQjwqP2pBhDMARIsAJQ0CzqA1lD3HMvNdHa7RyC21JTzdIPstpFT5tuJ6PmPKnHQ8tHbaObvQcEaAjYtEALw_wcB\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘American Railroad’ will be performed Nov. 15 at Stanford’s Bing Concert Hall (\u003ca href=\"https://live.stanford.edu/calendar/november-2023/american-railroad\" target=\"_blank\" rel=\"noopener\">details here\u003c/a>); Nov. 16 at UC Davis’s Mondavi Center (\u003ca href=\"https://www.mondaviarts.org/whats-on/silkroad-ensemble/\">details here\u003c/a>); Nov. 17 at UC Berkeley’s Zellerbach Hall (\u003ca href=\"https://calperformances.org/events/2023-24/illuminations-individual-community/american-railroad-silkroad-ensemble-with-rhiannon-giddens/\">details here\u003c/a>); and Nov. 18 at Sonoma State University’s Green Music Center (\u003ca href=\"https://gmc.sonoma.edu/silkroad/\">details here\u003c/a>).\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Willie starts with the words.\u003c/p>\n\u003cp>It’s one of the surprising revelations in Willie Nelson’s new book, \u003cem>Energy Follows Thought: The Stories Behind My Songs\u003c/em>, an examination of the 90-year-old country legend and soon-to-be Rock & Roll Hall of Famer’s seven decades of songwriting.\u003c/p>\n\u003cp>[aside postid='arts_13936614']While his guitar is practically an extension of his body at this point, he has always started the writing process by thinking up words rather than strumming chords. To him, it’s doing the hard part first.\u003cbr>\n“The melodies are easier to write than the words,” Nelson told The Associated Press in an interview ahead of Tuesday’s release of his book.\u003c/p>\n\u003cp>He does not, however, write those words down, not even on a napkin.\u003c/p>\n\u003cp>“I have a theory,” he said, “that if you can’t remember ’em, it probably wasn’t that good.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Nelson actually started out as a poet of sorts. At age 6 in Depression-era Texas, he composed a verse in response to the looks he got when he picked his nose and got a nosebleed while standing in front of his church congregation.\u003c/p>\n\u003cp>“My poem was, ‘What are you looking at me for? I ain’t got nothin to say, if you don’t like the looks of me, look some other way,’” he recalled 84 years later. “That was the beginning.”\u003c/p>\n\u003cp>He started writing songs soon after.\u003c/p>\n\u003cp>When he became a superstar in middle age in the mid-1970s, Nelson would be best known for his dynamic live performances and his guitar and vocal stylings.\u003c/p>\n\u003cp>But as a young man in the 1950s and early ’60s, he was best known as one of the struggling songsmiths who spent their days and nights at Tootsie’s Orchid Lounge in Nashville.\u003c/p>\n\u003cp>In 1961, three of his songs became hits for other artists: Billy Walker’s “Funny How Time Slips Away,” Faron Young’s “Hello Walls” and, most importantly, Patsy Cline’s “Crazy,” a song that would become a signature for her and both a financial boon and an ego boost for him.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=_0jOR5DC0rM\u003c/p>\n\u003cp>“Because Patsy liked it, I was poor no longer,” he writes in the book. “This particular ‘Crazy’ convinced me, at a time when I wasn’t a hundred percent sure of my writing talent, that I’d be crazy to stop writing.”\u003c/p>\n\u003cp>He would go on to make other writers’ songs his own in the same way. He didn’t write most of the biggest hits associated with him, which came in the 1970s and ’80s: “Blue Eyes Crying in the Rain,” “Mammas Don’t Let Your Babies Grow Up to Be Cowboys,” “Always on My Mind.”\u003c/p>\n\u003cp>He almost seemed to retire from songwriting when fame finally came to him in the Outlaw Country era, enjoying the chance to record his favorite old standards or the compositions of hot young writers.\u003c/p>\n\u003cp>[aside postid='arts_13913286']But he never stopped composing entirely. Director Sydney Pollack prodded him to write a new song for the 1980 Nelson-starring film \u003cem>Honeysuckle Rose\u003c/em>, on which Pollack was an executive producer.\u003c/p>\n\u003cp>Nelson responded by writing — words first — “On The Road Again.”\u003c/p>\n\u003cp>Pollack was less than thrilled with the lyrics in isolation: “The life I love is makin’ music with my friends, and I can’t wait to get on the road again.”\u003c/p>\n\u003cp>But was pleased when he heard the chugging music that suggested a train, or a tour bus.\u003c/p>\n\u003cp>And Nelson would appreciate the nudge.\u003c/p>\n\u003cp>“Without knowing or trying, in a few little lines, I’d written the story of my life,” he says in the book.\u003c/p>\n\u003cp>But the songs did get fewer and farther between. More than performing, songwriting can be a young man’s game.\u003c/p>\n\u003cp>“I don’t write as much as I used to,” he told the AP. “The ideas don’t come that quick. I still write now and then.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8tXosYPillw\u003c/p>\n\u003cp>He did recently write the song that gives the name to his book, “Energy Follows Thought,” for his 2022 album, \u003cem>A Beautiful Time\u003c/em>.\u003c/p>\n\u003cp>In it, Nelson and co-authors David Ritz and Mickey Raphael give brief backstories to 160 different songs he’s written through the years.\u003c/p>\n\u003cp>It wasn’t prompted by any great sense of reflection.\u003c/p>\n\u003cp>[aside postid='arts_13922004']“Some of my business guys thought it would be a good thing to do,” Nelson said.\u003c/p>\n\u003cp>The year of his 90th birthday has been overloaded with events. He was feted by a fellow stars, including Neil Young and Snoop Dogg, in a two-night celebration at the Hollywood Bowl in the summer.\u003c/p>\n\u003cp>And on Friday, the same week the book is released, he’ll be inducted into the Rock & Roll Hall of Fame.\u003c/p>\n\u003cp>Last year, fellow country legend Dolly Parton got a spot in the hall, and had mixed feelings about whether she belonged, even turning down the honor at first.\u003c/p>\n\u003cp>But Nelson, whose whole body of work has been built on ignoring the lines between genres, has no such problem.\u003c/p>\n\u003cp>“You can get rock and roll in country, rock and roll in any kind of music,” he said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.harpercollins.com/products/energy-follows-thought-willie-nelsondavid-ritz?variant=41030312263714\">Energy Follows Thought: The Stories Behind My Songs\u003c/a>’ by Willie Nelson and co-authors David Ritz and Mickey Raphael is released on Oct. 31, via William Morrow.\u003c/em>\u003c/p>\n\n",
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"excerpt": "In ‘Energy Follows Thought: The Stories Behind My Songs,’ Nelson gives backstories to 160 tracks he’s written. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>While his guitar is practically an extension of his body at this point, he has always started the writing process by thinking up words rather than strumming chords. To him, it’s doing the hard part first.\u003cbr>\n“The melodies are easier to write than the words,” Nelson told The Associated Press in an interview ahead of Tuesday’s release of his book.\u003c/p>\n\u003cp>He does not, however, write those words down, not even on a napkin.\u003c/p>\n\u003cp>“I have a theory,” he said, “that if you can’t remember ’em, it probably wasn’t that good.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Nelson actually started out as a poet of sorts. At age 6 in Depression-era Texas, he composed a verse in response to the looks he got when he picked his nose and got a nosebleed while standing in front of his church congregation.\u003c/p>\n\u003cp>“My poem was, ‘What are you looking at me for? I ain’t got nothin to say, if you don’t like the looks of me, look some other way,’” he recalled 84 years later. “That was the beginning.”\u003c/p>\n\u003cp>He started writing songs soon after.\u003c/p>\n\u003cp>When he became a superstar in middle age in the mid-1970s, Nelson would be best known for his dynamic live performances and his guitar and vocal stylings.\u003c/p>\n\u003cp>But as a young man in the 1950s and early ’60s, he was best known as one of the struggling songsmiths who spent their days and nights at Tootsie’s Orchid Lounge in Nashville.\u003c/p>\n\u003cp>In 1961, three of his songs became hits for other artists: Billy Walker’s “Funny How Time Slips Away,” Faron Young’s “Hello Walls” and, most importantly, Patsy Cline’s “Crazy,” a song that would become a signature for her and both a financial boon and an ego boost for him.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/_0jOR5DC0rM'\n title='//www.youtube.com/embed/_0jOR5DC0rM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“Because Patsy liked it, I was poor no longer,” he writes in the book. “This particular ‘Crazy’ convinced me, at a time when I wasn’t a hundred percent sure of my writing talent, that I’d be crazy to stop writing.”\u003c/p>\n\u003cp>He would go on to make other writers’ songs his own in the same way. He didn’t write most of the biggest hits associated with him, which came in the 1970s and ’80s: “Blue Eyes Crying in the Rain,” “Mammas Don’t Let Your Babies Grow Up to Be Cowboys,” “Always on My Mind.”\u003c/p>\n\u003cp>He almost seemed to retire from songwriting when fame finally came to him in the Outlaw Country era, enjoying the chance to record his favorite old standards or the compositions of hot young writers.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But he never stopped composing entirely. Director Sydney Pollack prodded him to write a new song for the 1980 Nelson-starring film \u003cem>Honeysuckle Rose\u003c/em>, on which Pollack was an executive producer.\u003c/p>\n\u003cp>Nelson responded by writing — words first — “On The Road Again.”\u003c/p>\n\u003cp>Pollack was less than thrilled with the lyrics in isolation: “The life I love is makin’ music with my friends, and I can’t wait to get on the road again.”\u003c/p>\n\u003cp>But was pleased when he heard the chugging music that suggested a train, or a tour bus.\u003c/p>\n\u003cp>And Nelson would appreciate the nudge.\u003c/p>\n\u003cp>“Without knowing or trying, in a few little lines, I’d written the story of my life,” he says in the book.\u003c/p>\n\u003cp>But the songs did get fewer and farther between. More than performing, songwriting can be a young man’s game.\u003c/p>\n\u003cp>“I don’t write as much as I used to,” he told the AP. “The ideas don’t come that quick. I still write now and then.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8tXosYPillw'\n title='//www.youtube.com/embed/8tXosYPillw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>He did recently write the song that gives the name to his book, “Energy Follows Thought,” for his 2022 album, \u003cem>A Beautiful Time\u003c/em>.\u003c/p>\n\u003cp>In it, Nelson and co-authors David Ritz and Mickey Raphael give brief backstories to 160 different songs he’s written through the years.\u003c/p>\n\u003cp>It wasn’t prompted by any great sense of reflection.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Some of my business guys thought it would be a good thing to do,” Nelson said.\u003c/p>\n\u003cp>The year of his 90th birthday has been overloaded with events. He was feted by a fellow stars, including Neil Young and Snoop Dogg, in a two-night celebration at the Hollywood Bowl in the summer.\u003c/p>\n\u003cp>And on Friday, the same week the book is released, he’ll be inducted into the Rock & Roll Hall of Fame.\u003c/p>\n\u003cp>Last year, fellow country legend Dolly Parton got a spot in the hall, and had mixed feelings about whether she belonged, even turning down the honor at first.\u003c/p>\n\u003cp>But Nelson, whose whole body of work has been built on ignoring the lines between genres, has no such problem.\u003c/p>\n\u003cp>“You can get rock and roll in country, rock and roll in any kind of music,” he said.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘\u003ca href=\"https://www.harpercollins.com/products/energy-follows-thought-willie-nelsondavid-ritz?variant=41030312263714\">Energy Follows Thought: The Stories Behind My Songs\u003c/a>’ by Willie Nelson and co-authors David Ritz and Mickey Raphael is released on Oct. 31, via William Morrow.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13937151\" class=\"wp-caption aligncenter\" style=\"max-width: 908px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937151\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.38.39-PM.png\" alt=\"An illustrated book cover featuring two people, face-to-face. Their eyes are obscured and a house on fire burns between them.\" width=\"908\" height=\"1394\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.38.39-PM.png 908w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.38.39-PM-800x1228.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.38.39-PM-160x246.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.38.39-PM-768x1179.png 768w\" sizes=\"auto, (max-width: 908px) 100vw, 908px\">\u003cfigcaption class=\"wp-caption-text\">‘Diaries of War: Two Visual Accounts from Ukraine and Russia’ by Nora Krug. \u003ccite>(Ten Speed Graphic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>When it comes to critical events happening around the globe, sometimes individuals turn to the past — the sequence of occasions and forces that led to a particular moment — in an attempt to understand. And sometimes they aim to look closely and directly at what is unfolding as it occurs.\u003c/p>\n\u003cp>Both of these kinds of careful efforts — the intensive quest for truth by looking to the past, or by attending to the present — are urgently needed in times of crisis.\u003c/p>\n\u003cp>[aside postid='arts_13926136']Self-described visual journalist Nora Krug undertakes the latter, helping her readers look more closely and deliberately into day-to-day experiences of war, with \u003cem>Diaries of War: Two Visual Accounts from Ukraine and Russia\u003c/em>. In the book, Krug, who is German-born and now lives and works in the United States, follows the day-to-day lives of two people in the year after Russia’s 2022 renewed attacks against Ukraine, a full-scale invasion that continues to this day.\u003c/p>\n\u003cp>These war diaries, as Krug terms them, are in fact culled from text exchanges and interviews between the author and illustrator and two real people whose full names have been withheld. They stretch across a whole year, with Krug’s drawings accompanying words taken from each of her subjects, and her own brief introductory remarks opening the book.\u003c/p>\n\u003cfigure id=\"attachment_13937149\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937149\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM.png\" alt=\"Paragraphs of hand-written text on yellow lined notepaper are broken up with illustrations of people going about every day business.\" width=\"1294\" height=\"996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM-800x616.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM-1020x785.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM-768x591.png 768w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">A page from Nora Krug’s ‘Diaries of War.’ \u003ccite>(Nora Krug/ Ten Speed Graphic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First there is K., a journalist based in Kyiv. Born in western Russia when it was still part of the Soviet Union, K. moved to Crimea, Ukraine as a young teen. Now she is a journalist often reporting from the frontlines, and raising two young children, ages two and six, with her husband when the book’s coverage begins. Early into the diaries, K. and her husband send their children to Denmark to live with her mother. She is the only one of the pair who is able to visit them, as men in Ukraine between ages of 18 and 60 are restricted in leaving the country so that they can be available to fight the war. K. shuttles back and forth regularly between her family members, reporting, “My sons have become children of war. Their generation is broken.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The second story told in these pages is of D., an artist born in Soviet Russia who has lived in St. Petersburg since he was 20. D. now lives there with his wife and two children, who are nine and ten years old, as well as their dog. He explains early on how he opposes the war, though he is, in his own words, not an activist, and he fears speaking out publicly. When the book opens, he explains how he wants to emigrate with his family, but he is the only one with a passport and visa, which makes things tricky. Over the year, Krug tracks D. as he shuttles from one country in the EU to the next, attempting with lots of difficultly to find a way of having his family join him in the long term. Eventually, he also stays out of Russia in order to avoid being drafted to fight for a war he does not support. As time goes on, his opposition only increases.\u003c/p>\n\u003cp>The stories of K. and D. are told throughout the book on pages that face one another, with each side tinted in a slightly different color background. Krug illustrates each page with simple but often powerful images that emphasize her subjects’ mental or physical states, or underscore both the painful and occasionally beautiful moments they are witness to. Both narrators’ words are scripted in matching yellow blocks, with Krug’s fastidious handwriting connecting the two perspectives.\u003c/p>\n\u003cfigure id=\"attachment_13937150\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM.png\" alt=\"Paragraphs of hand-written text on yellow lined notepaper are broken up with two illustrations. On the left a woman sick in bed surrounded by the hands of small children. On the right, a male figure leaning over a bridge rail, talking on a cell phone.\" width=\"1300\" height=\"996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM.png 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM-800x613.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM-1020x781.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM-768x588.png 768w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">A page from Nora Krug’s ‘Diaries of War.’ \u003ccite>(Nora Krug/ Ten Speed Graphic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite these visual parallels, their experiences are often diametrically opposed. Early on, for example, as D. laments the impact that the war has had on his children; he mentions their disappointment about a Nintendo game they won’t be able to get because the company has halted its operations in Russia. “I’m still in stress,” D. narrates above this anecdote, “but not in panic like I was during the first days.” On the opposing page, K.’s narrative tells a very different story. Krug draws an image of young children sleeping between their parents in bed, as the mother, depicted beside them, is very much in a continuous panic. “I hardly slept last night. The sirens started at 2:30AM, and then I was lying there listening to the explosions.” Though her family is OK for the moment, the immediate danger is clear. People, including colleagues, are being killed daily around her. War ages her prematurely.\u003c/p>\n\u003cp>[aside postid='arts_13924682']In Krug’s previous book, \u003cem>Belonging: A German Reckons with History and Home\u003c/em>, she grappled with her own family history, including her grandfather’s involvement in the Nazi regime as what was termed a “follower” during denazification. In addition to telling their stories through traces of whatever documents she could find, in \u003cem>Belonging \u003c/em>Krug also brought in her own perspective as well as the conversations she had with other family members while finding her way to the reality of what had taken place before her time. “Facts are important and incontestable,” Krug writes here in her introduction. “But personal narratives shed light on different aspects of the truth and are therefore important components of it.”\u003c/p>\n\u003cp>As in \u003cem>Belonging\u003c/em>, with \u003cem>Diaries of War \u003c/em>Krug incorporates her careful research and observation skills alongside attentive and thoughtful design and illustration to tell a multilayered story of the many emotional and psychic ravages of war. K. describes many moments of hopelessness, and her frequent sense of a lost future. Nonetheless, through it all, her thirst for life endures.\u003c/p>\n\u003cp>“I don’t ask myself what I’d be willing to die for,” she writes at one point soon after hearing of her friends who have been captured by Russians. “I simply plan not to die. My goal is to survive, to help other people survive this war and to preserve the Ukranian heritage.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Diaries+of+War%27+traces+two+personal+accounts+%E2%80%94+one+from+Ukraine%2C+one+from+Russia&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Self-described visual journalist Nora Krug undertakes the latter, helping her readers look more closely and deliberately into day-to-day experiences of war, with \u003cem>Diaries of War: Two Visual Accounts from Ukraine and Russia\u003c/em>. In the book, Krug, who is German-born and now lives and works in the United States, follows the day-to-day lives of two people in the year after Russia’s 2022 renewed attacks against Ukraine, a full-scale invasion that continues to this day.\u003c/p>\n\u003cp>These war diaries, as Krug terms them, are in fact culled from text exchanges and interviews between the author and illustrator and two real people whose full names have been withheld. They stretch across a whole year, with Krug’s drawings accompanying words taken from each of her subjects, and her own brief introductory remarks opening the book.\u003c/p>\n\u003cfigure id=\"attachment_13937149\" class=\"wp-caption aligncenter\" style=\"max-width: 1294px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937149\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM.png\" alt=\"Paragraphs of hand-written text on yellow lined notepaper are broken up with illustrations of people going about every day business.\" width=\"1294\" height=\"996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM.png 1294w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM-800x616.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM-1020x785.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.23.23-PM-768x591.png 768w\" sizes=\"auto, (max-width: 1294px) 100vw, 1294px\">\u003cfigcaption class=\"wp-caption-text\">A page from Nora Krug’s ‘Diaries of War.’ \u003ccite>(Nora Krug/ Ten Speed Graphic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First there is K., a journalist based in Kyiv. Born in western Russia when it was still part of the Soviet Union, K. moved to Crimea, Ukraine as a young teen. Now she is a journalist often reporting from the frontlines, and raising two young children, ages two and six, with her husband when the book’s coverage begins. Early into the diaries, K. and her husband send their children to Denmark to live with her mother. She is the only one of the pair who is able to visit them, as men in Ukraine between ages of 18 and 60 are restricted in leaving the country so that they can be available to fight the war. K. shuttles back and forth regularly between her family members, reporting, “My sons have become children of war. Their generation is broken.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The second story told in these pages is of D., an artist born in Soviet Russia who has lived in St. Petersburg since he was 20. D. now lives there with his wife and two children, who are nine and ten years old, as well as their dog. He explains early on how he opposes the war, though he is, in his own words, not an activist, and he fears speaking out publicly. When the book opens, he explains how he wants to emigrate with his family, but he is the only one with a passport and visa, which makes things tricky. Over the year, Krug tracks D. as he shuttles from one country in the EU to the next, attempting with lots of difficultly to find a way of having his family join him in the long term. Eventually, he also stays out of Russia in order to avoid being drafted to fight for a war he does not support. As time goes on, his opposition only increases.\u003c/p>\n\u003cp>The stories of K. and D. are told throughout the book on pages that face one another, with each side tinted in a slightly different color background. Krug illustrates each page with simple but often powerful images that emphasize her subjects’ mental or physical states, or underscore both the painful and occasionally beautiful moments they are witness to. Both narrators’ words are scripted in matching yellow blocks, with Krug’s fastidious handwriting connecting the two perspectives.\u003c/p>\n\u003cfigure id=\"attachment_13937150\" class=\"wp-caption aligncenter\" style=\"max-width: 1300px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13937150\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM.png\" alt=\"Paragraphs of hand-written text on yellow lined notepaper are broken up with two illustrations. On the left a woman sick in bed surrounded by the hands of small children. On the right, a male figure leaning over a bridge rail, talking on a cell phone.\" width=\"1300\" height=\"996\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM.png 1300w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM-800x613.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM-1020x781.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM-160x123.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-27-at-12.26.55-PM-768x588.png 768w\" sizes=\"auto, (max-width: 1300px) 100vw, 1300px\">\u003cfigcaption class=\"wp-caption-text\">A page from Nora Krug’s ‘Diaries of War.’ \u003ccite>(Nora Krug/ Ten Speed Graphic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Despite these visual parallels, their experiences are often diametrically opposed. Early on, for example, as D. laments the impact that the war has had on his children; he mentions their disappointment about a Nintendo game they won’t be able to get because the company has halted its operations in Russia. “I’m still in stress,” D. narrates above this anecdote, “but not in panic like I was during the first days.” On the opposing page, K.’s narrative tells a very different story. Krug draws an image of young children sleeping between their parents in bed, as the mother, depicted beside them, is very much in a continuous panic. “I hardly slept last night. The sirens started at 2:30AM, and then I was lying there listening to the explosions.” Though her family is OK for the moment, the immediate danger is clear. People, including colleagues, are being killed daily around her. War ages her prematurely.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In Krug’s previous book, \u003cem>Belonging: A German Reckons with History and Home\u003c/em>, she grappled with her own family history, including her grandfather’s involvement in the Nazi regime as what was termed a “follower” during denazification. In addition to telling their stories through traces of whatever documents she could find, in \u003cem>Belonging \u003c/em>Krug also brought in her own perspective as well as the conversations she had with other family members while finding her way to the reality of what had taken place before her time. “Facts are important and incontestable,” Krug writes here in her introduction. “But personal narratives shed light on different aspects of the truth and are therefore important components of it.”\u003c/p>\n\u003cp>As in \u003cem>Belonging\u003c/em>, with \u003cem>Diaries of War \u003c/em>Krug incorporates her careful research and observation skills alongside attentive and thoughtful design and illustration to tell a multilayered story of the many emotional and psychic ravages of war. K. describes many moments of hopelessness, and her frequent sense of a lost future. Nonetheless, through it all, her thirst for life endures.\u003c/p>\n\u003cp>“I don’t ask myself what I’d be willing to die for,” she writes at one point soon after hearing of her friends who have been captured by Russians. “I simply plan not to die. My goal is to survive, to help other people survive this war and to preserve the Ukranian heritage.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Tahneer Oksman is a writer, teacher, and scholar specializing in memoir as well as graphic novels and comics. She lives in Brooklyn, NY.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=%27Diaries+of+War%27+traces+two+personal+accounts+%E2%80%94+one+from+Ukraine%2C+one+from+Russia&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>It’s almost Halloween — and, anyway, fall is always a great time for mysteries and thrillers.\u003c/p>\n\u003cp>This batch is intriguing, for sure. It includes an homage to Shirley Jackson, an examination of online lists crashing into real life, and an atmospheric look at the world of queer people in the 1950s Navy.\u003c/p>\n\u003ch3>\u003cem>A Haunting on the Hill\u003c/em>\u003c/h3>\n\u003cp>While Elizabeth Hand’s new novel might not be the same as a new novel from Shirley Jackson, it’s pretty close, because Hand (\u003cem>Curious Toys\u003c/em>) wittily and delicately ties her titular locale to Jackson’s famed Hill House and its creepy doings.\u003c/p>\n\u003cp>[aside postid='arts_13935438']\u003cem>A Haunting on the Hill\u003c/em> follows a quartet of theater people who decide to hold rehearsals at a wonderfully decrepit and disturbing old mansion. Each of the four has some kind of secret and each of the four will be triggered by things that happen during their stay; readers should understand, from Hand’s previous books, that she’s more interested in atmosphere and suspense than in gotchas and procedure. Her plots take place in old-time Chicago, contemporary Hawai’i, an English country house, and always play hard with juxtapositions (like placing a rock band in that country house) and interior fears and desires. Despite the misgivings of playwright Holly and her girlfriend Nisa, what happens on the Hill could be benign. It could be. But they should know that anything can happen before the curtain goes down on the play…\u003c/p>\n\u003ch3>\u003cem>The Leftover Woman \u003c/em>\u003c/h3>\n\u003cp>Anyone looking for an of-the-moment page-turner of a novel need look no further. Jean Kwok — whose \u003cem>Girl in Translation\u003c/em> and \u003cem>Searching for Sylvie Lee\u003c/em> are novels that illuminate the Chinese experience in America — expands her material in a thriller about a Chinese woman named Jasmine Yang who comes to American to find the daughter her controlling husband gave away without her knowledge.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moving from teahouse to strip club to Manhattan townhouse and more, the book places Jasmine against publishing executive Rebecca — who has just adopted a much-longed-for baby, a little girl. The tension between the two, especially given Jasmine’s lack of resources and Rebecca’s privilege, places the idea of motherhood in stark relief. What is most important: The primal bond, or the ability to provide? While Kwok is clearly on Team Jasmine (the game complicated by the snakeheads to whom Jasmine owes money for her passage to the States), she also shows how dear the baby Rebecca has named Fiona is to her adoptive family.\u003c/p>\n\u003ch3>\u003cem>West Heart Kill \u003c/em>\u003c/h3>\n\u003cp>Every mystery lover enjoys a closed-room/locked-door whodunnit, whether it’s the on-screen \u003cem>Glass Onion\u003c/em> or a re-read of Agatha Christie’s \u003cem>The Murder of Roger Ackroyd.\u003c/em> In \u003cem>West Heart Kill\u003c/em>, Dann McDorman sets a murder mystery at an upstate New York hunt club on a dark and stormy night in the 1970s. Author McDorman, an MSNBC news producer, doesn’t stint on the murder in murder mystery; as club guests who have gathered for Fourth of July celebrations shrink in fear, three corpses pile up in four days.\u003c/p>\n\u003cp>[aside postid='arts_13936315']There’s lots of clever ripostes and wordplay involved, including quotes from and allusions to lots of great crime writers — the aforementioned Christie, Dashiell Hammett (a Knopf author, like McDorman!), and even Shakespeare, who should be better remembered for his crime writing (Ghosts! Witches! Sleepwalkers!). Since the story takes place in the 1970s, there’s lots of substance use and some adultery, all of which ratchets up the suspicions the tony guests have about each other. Since the novel is published in 2023, the author bakes in some choice about the ending — sheer catnip for readers raised on the “Choose Your Own Adventure” model of interactivity.\u003c/p>\n\u003ch3>\u003cem>The List\u003c/em>\u003c/h3>\n\u003cp>The young, beautiful, and on-the-go journalist Ola Olajide, about to marry the love of her life, Michael, comes crashing down to Earth when Michael’s name appears on a list of sexual predators that’s making the rounds of social media. How can the “the king and queen of #BlackLove” get past this? Author Yomi Adegoke, who actually started her own magazine for young Black women, makes the brilliant choice of having Ola and Michael narrate alternating chapters. Ola tests her faith in her fiancé against her belief in women’s stories and Michael furiously tries to think of who might have accused him of “harassment and sexual assault.”\u003c/p>\n\u003cp>Anyone who’s ever been part of a whisper network will recognize the misogyny in the worlds this couple inhabits, and anyone who has watched \u003cem>The Morning Show\u003c/em> will recognize that there’s going to be a big showdown, although the accusations might surprise everyone. Adegoke does not disappoint and, in fact, has already got a series underway that she’s creating and executive producing.\u003c/p>\n\u003ch3>\u003cem>The Bell in the Fog\u003c/em>\u003c/h3>\n\u003cp>The second Detective Evander “Andy” Mills again takes place in 1950s San Francisco, this time in the world of the United States Navy, where anyone queer remained closeted and closemouthed about their identity.\u003c/p>\n\u003cp>[aside postid='arts_13909309']Lev AC Rosen’s first Mills novel, \u003cem>Lavender House\u003c/em>, ended with Andy’s firing from the San Francisco Police Department when he was outed. Now, Mills has his own office, and when an old lover walks in asking for his help, he takes the case despite his broken heart. That old lover, James Morris, is a USN captain who is being blackmailed. As Det. Mills searches for the incriminating photos and the young man who holds them, readers will take a tour of the era’s gay and lesbian clubs, in many cases the only venues where queer San Franciscans could be at ease and among friends. Rosen has told readers that there are at least two more books coming in this series, and readers who love lively, authentic, historical P.I. stories will not want to miss them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Bethanne Patrick is a freelance writer and critic who tweets \u003ca href=\"https://twitter.com/thebookmaven\">@TheBookMaven\u003c/a> and hosts the podcast Missing Pages.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+mysteries+and+thrillers+new+this+fall+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>A Haunting on the Hill\u003c/em> follows a quartet of theater people who decide to hold rehearsals at a wonderfully decrepit and disturbing old mansion. Each of the four has some kind of secret and each of the four will be triggered by things that happen during their stay; readers should understand, from Hand’s previous books, that she’s more interested in atmosphere and suspense than in gotchas and procedure. Her plots take place in old-time Chicago, contemporary Hawai’i, an English country house, and always play hard with juxtapositions (like placing a rock band in that country house) and interior fears and desires. Despite the misgivings of playwright Holly and her girlfriend Nisa, what happens on the Hill could be benign. It could be. But they should know that anything can happen before the curtain goes down on the play…\u003c/p>\n\u003ch3>\u003cem>The Leftover Woman \u003c/em>\u003c/h3>\n\u003cp>Anyone looking for an of-the-moment page-turner of a novel need look no further. Jean Kwok — whose \u003cem>Girl in Translation\u003c/em> and \u003cem>Searching for Sylvie Lee\u003c/em> are novels that illuminate the Chinese experience in America — expands her material in a thriller about a Chinese woman named Jasmine Yang who comes to American to find the daughter her controlling husband gave away without her knowledge.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moving from teahouse to strip club to Manhattan townhouse and more, the book places Jasmine against publishing executive Rebecca — who has just adopted a much-longed-for baby, a little girl. The tension between the two, especially given Jasmine’s lack of resources and Rebecca’s privilege, places the idea of motherhood in stark relief. What is most important: The primal bond, or the ability to provide? While Kwok is clearly on Team Jasmine (the game complicated by the snakeheads to whom Jasmine owes money for her passage to the States), she also shows how dear the baby Rebecca has named Fiona is to her adoptive family.\u003c/p>\n\u003ch3>\u003cem>West Heart Kill \u003c/em>\u003c/h3>\n\u003cp>Every mystery lover enjoys a closed-room/locked-door whodunnit, whether it’s the on-screen \u003cem>Glass Onion\u003c/em> or a re-read of Agatha Christie’s \u003cem>The Murder of Roger Ackroyd.\u003c/em> In \u003cem>West Heart Kill\u003c/em>, Dann McDorman sets a murder mystery at an upstate New York hunt club on a dark and stormy night in the 1970s. Author McDorman, an MSNBC news producer, doesn’t stint on the murder in murder mystery; as club guests who have gathered for Fourth of July celebrations shrink in fear, three corpses pile up in four days.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There’s lots of clever ripostes and wordplay involved, including quotes from and allusions to lots of great crime writers — the aforementioned Christie, Dashiell Hammett (a Knopf author, like McDorman!), and even Shakespeare, who should be better remembered for his crime writing (Ghosts! Witches! Sleepwalkers!). Since the story takes place in the 1970s, there’s lots of substance use and some adultery, all of which ratchets up the suspicions the tony guests have about each other. Since the novel is published in 2023, the author bakes in some choice about the ending — sheer catnip for readers raised on the “Choose Your Own Adventure” model of interactivity.\u003c/p>\n\u003ch3>\u003cem>The List\u003c/em>\u003c/h3>\n\u003cp>The young, beautiful, and on-the-go journalist Ola Olajide, about to marry the love of her life, Michael, comes crashing down to Earth when Michael’s name appears on a list of sexual predators that’s making the rounds of social media. How can the “the king and queen of #BlackLove” get past this? Author Yomi Adegoke, who actually started her own magazine for young Black women, makes the brilliant choice of having Ola and Michael narrate alternating chapters. Ola tests her faith in her fiancé against her belief in women’s stories and Michael furiously tries to think of who might have accused him of “harassment and sexual assault.”\u003c/p>\n\u003cp>Anyone who’s ever been part of a whisper network will recognize the misogyny in the worlds this couple inhabits, and anyone who has watched \u003cem>The Morning Show\u003c/em> will recognize that there’s going to be a big showdown, although the accusations might surprise everyone. Adegoke does not disappoint and, in fact, has already got a series underway that she’s creating and executive producing.\u003c/p>\n\u003ch3>\u003cem>The Bell in the Fog\u003c/em>\u003c/h3>\n\u003cp>The second Detective Evander “Andy” Mills again takes place in 1950s San Francisco, this time in the world of the United States Navy, where anyone queer remained closeted and closemouthed about their identity.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Lev AC Rosen’s first Mills novel, \u003cem>Lavender House\u003c/em>, ended with Andy’s firing from the San Francisco Police Department when he was outed. Now, Mills has his own office, and when an old lover walks in asking for his help, he takes the case despite his broken heart. That old lover, James Morris, is a USN captain who is being blackmailed. As Det. Mills searches for the incriminating photos and the young man who holds them, readers will take a tour of the era’s gay and lesbian clubs, in many cases the only venues where queer San Franciscans could be at ease and among friends. Rosen has told readers that there are at least two more books coming in this series, and readers who love lively, authentic, historical P.I. stories will not want to miss them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Bethanne Patrick is a freelance writer and critic who tweets \u003ca href=\"https://twitter.com/thebookmaven\">@TheBookMaven\u003c/a> and hosts the podcast Missing Pages.\u003c/em>\u003c/p>\n\u003cdiv class=\"fullattribution\">\u003cem>Copyright 2023 NPR. To see more, \u003ca href=\"https://www.npr.org\">visit NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=5+mysteries+and+thrillers+new+this+fall+&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/em>\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>\u003cstrong>Editor’s note\u003c/strong>: This story is part of \u003c/em>\u003ca href=\"https://www.kqed.org/bayareahiphop\">That’s My Word\u003c/a>\u003cem>, KQED’s year-long exploration of \u003ca href=\"https://www.kqed.org/bayareahiphop\">Bay Area hip-hop\u003c/a> history.\u003c/em>\u003c/p>\n\u003cp>On Thursday night, \u003ca href=\"https://www.kqed.org/arts/13924167/mac-mall-illegal-business-my-opinion-excerpt\">Mac Mall\u003c/a> and RBL Posse’s \u003ca href=\"https://www.kqed.org/arts/13923766/rbl-posse-a-lesson-to-be-learned-album-cover\">Black C\u003c/a> came to KQED’s stage to discuss their published autobiographies live and in person. Representing a golden era for Bay Area rap, the two shared stories from their books about growing up in Vallejo and Hunters Point; surviving gang wars and shootings; scraping together resources to record classic debut albums; and prospering against all odds to stand as legends.\u003c/p>\n\u003cp>Watch above to see the discussion (starts at 21:00), co-presented by \u003ca href=\"https://www.litquake.org/\">Litquake\u003c/a>, with bonus performances of RBL Posse’s “A Part of Survival” and “Don’t Give Me No Bammer Weed,” and Mac Mall’s “Get Right,” “Sic Wit Tis” and “Wide Open.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Britney Spears’ highly anticipated memoir \u003cem>The Woman in Me\u003c/em> will be released Tuesday, revealing the pop superstar’s personal take on events that have played out publicly in her decades as one of the most scrutinized figures in American life, along with private moments that she previously kept under wraps.\u003c/p>\n\u003cp>The book details her childhood and rise to stardom, along with her marriages, her nearly-14-year court conservatorship and even a brief mention of a July incident where she was hit in the face by security for NBA player Victor Wembanyama.\u003c/p>\n\u003cp>[aside postid='pop_111253']Much of \u003cem>The Woman in Me\u003c/em> focuses on the father and sons, the husbands and boyfriends, who have dominated her life, for better and for worse. Several chapters are devoted to her relationship with Justin Timberlake, including deeply personal details about a pregnancy, abortion and painful breakup. In others she chronicles her custody fight with ex-husband Kevin Federline, and how it fueled what was viewed as a public meltdown.\u003c/p>\n\u003cp>Spears speaks much less of recent events, making no mention of her pending divorce from Sam Asghari, whom she describes as holding her hand while she addressed a judge during a key hearing that freed her from court control in 2021.\u003c/p>\n\u003cp>In the opening dedication, she writes simply, “For my boys, who are the loves of my life.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Here are some of the details revealed in\u003cem> The Woman in Me\u003c/em>:\u003c/p>\n\u003ch2>The Timberlake years\u003c/h2>\n\u003cfigure id=\"attachment_13936732\" class=\"wp-caption aligncenter\" style=\"max-width: 1728px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-76235990.jpg\" alt=\"A young white man with short curly hair and a diamond stud in his ear sits with a young, tan blonde woman. She is smiling and resting her head on his shoulder. He is wearing a white sweater, she is wearing a low cut black top and choker.\" width=\"1728\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990.jpg 1728w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-1536x1024.jpg 1536w\" sizes=\"(max-width: 1728px) 100vw, 1728px\">\u003cfigcaption class=\"wp-caption-text\">Britney Spears and Justin Timberlake at the MTV VMAs in 2000. \u003ccite>(Kevin Mazur/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a period at the turn of the millennium, Spears and Timberlake were America’s it couple. As Spears writes, they were in love — but purity was a facade. “There were a couple of times during our relationship when I knew Justin had cheated on me. Especially because I was so infatuated and so in love, I let it go, even though the tabloids seemed determined to rub my face in it,” she writes.\u003c/p>\n\u003cp>Although Spears was painted in the press as the unfaithful one, she says she only stepped out on the relationship once, to kiss choreographer Wade Robson, confirming a long-speculated rumor.\u003c/p>\n\u003cp>She also writes of her pregnancy and Timberlake’s dismay, first reported in excerpts published by \u003cem>People\u003c/em> earlier this week.\u003c/p>\n\u003cp>“I’m sure people will hate me for this, but I agreed not to have the baby. Abortion was something I never could have imagined choosing for myself, but given the circumstances, that is what we did,” she writes.\u003c/p>\n\u003cp>They decided she would not go to a doctor or hospital: “It was important that no one find out about the pregnancy or the abortion, which meant doing everything at home,” she writes, adding that they didn’t tell her family.\u003c/p>\n\u003cp>She describes the physical pain of the medication abortion as “excruciating.”\u003c/p>\n\u003cp>“I kept crying and sobbing until it was all over,” she writes. “It took hours, and I don’t remember how it ended, but I do, twenty years later, remember the pain of it, and the fear.”\u003c/p>\n\u003ch2>Magical musical moments\u003c/h2>\n\u003cp>The song that launched Spears’ solo career, “…Baby One More Time” was directly inspired by Soft Cell’s “Tainted Love.” Spears was listening to it the night before she was going in to record with famed Swedish producer Max Martin (who Spears describes simply as “magic.”) She wanted to mimic the English synthpop duo’s sound, so she stayed up late, giving her voice the fried, raspy tone that would become iconic.\u003c/p>\n\u003cp>The concept for the music video, too, was her idea. Jive Records wanted her to “play a futuristic astronaut,” she writes. “I told the executives at the label that I thought people would want to see my friends and me sitting at school, bored, and then as soon as the bell rang, boom — we’d start dancing.”\u003c/p>\n\u003ch2>Heartbreak\u003c/h2>\n\u003cp>Spears says Timberlake broke up with her via text message while making his 2002 solo debut album, \u003cem>Justified\u003c/em>.\u003c/p>\n\u003cp>[aside postid='pop_33345']“He started being very standoffish with me. I think that was because he’d decided to use me as ammunition for his record, and so it made it awkward for him to be around me staring at him with all that affection and devotion,” she writes.\u003c/p>\n\u003cp>In the period following the breakup, Spears became isolated, writing that she experienced ‘serious social anxiety.’\u003c/p>\n\u003cp>She found herself living in an apartment alone in New York for a few months, rarely leaving. (One of her few visitors? Madonna, who dreamt up their 2003 kiss at the MTV Video Music Awards as a reclamation of personal autonomy.)\u003c/p>\n\u003cp>Not long after, Spears felt pressured by her father to do what would become an infamous interview with Diane Sawyer, in which the host pushed her to explain what she did to Justin Timberlake to cause him “so much pain.”\u003c/p>\n\u003cp>“I felt like I had been exploited,” she writes, “set up in front of the whole world.”\u003c/p>\n\u003cp>Representatives for Timberlake did not respond to messages seeking comment.\u003c/p>\n\u003ch2>Motherhood and mental health struggles\u003c/h2>\n\u003cfigure id=\"attachment_13936733\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848.jpg\" alt=\"A laughing young woman wearing a green sweater and an blue LA baseball cap embraces two young boys. The children are wearing LA Dodgers jerseys and baseball caps.\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Spears poses with sons Sean Preston Federline (L) and Jayden James Federline (R) at Dodger Stadium in 2013. \u003ccite>(Jon SooHoo/ LA Dodgers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Spears married dancer Kevin Federline and they had two sons together. After the children were born, she says she suffered from perinatal depression, displaying symptoms of sadness, anxiety and fatigue.\u003c/p>\n\u003cp>“Being a new mom is challenge enough without trying to do everything under a microscope,” she writes. “With Kevin away so much, no one was around to see me spiral—except every paparazzo in America.”\u003c/p>\n\u003cp>The couple divorced in 2007.\u003c/p>\n\u003ch2>A custody standoff\u003c/h2>\n\u003cp>Spears describes what she calls a “SWAT team” bursting into a bathroom where she was holding 16-month-old son Jayden, instead of returning him to Federline as required. The moment in January 2008 led to her being hospitalized on a 72-hour psychiatric hold and was a major factor in the establishment of a court conservatorship that took over her life.\u003c/p>\n\u003cp>[aside postid='arts_13903795']She said that amid a custody battle, she felt that Federline and his lawyers were keeping her kids from her for longer and longer stretches. She had already put 2-year-old Sean Preston in the car of a security guard who had come to get him when she became “terrified that I wouldn’t get the kids again if I gave them back.”\u003c/p>\n\u003cp>That’s when she fled to the bathroom.\u003c/p>\n\u003cp>“I just couldn’t let him go. I didn’t want anyone taking my baby,” she writes. “Before I knew what was happening, a SWAT team in black suits burst through the bathroom door as if I’d hurt someone.”\u003c/p>\n\u003cp>An attorney for Federline did not immediately respond to an email seeking comment.\u003c/p>\n\u003ch2>The shaved head\u003c/h2>\n\u003cp>Other moments in her slide toward the conservatorship were anything but private, and Spears gives her take with a degree of emotion previously kept in check by those surrounding her.\u003c/p>\n\u003cp>She says she shaved her own head at a Los Angeles salon as an act of rebellion against the media, the paparazzi, and her family, who expected her to behave like a pretty and proper pop star even though she was “out of my mind with grief” over the custody battle.\u003c/p>\n\u003cp>“Shaving my head was a way of saying to the world: F—- you,” she writes.”\u003c/p>\n\u003cp>A few days later at a gas station, she attacked the car of a photographer with an umbrella.\u003c/p>\n\u003cp>She writes the man would not stop taunting her and asking her “terrible” questions, including how it felt not seeing her kids, as he smirked, at “one of the worst moments in my whole life.” She says he was clearly trying to provoke a reaction, and to her regret she gave him one.\u003c/p>\n\u003cp>“You can’t even do any damage with an umbrella,” she says. “It was a desperate move by a desperate person.”\u003c/p>\n\u003ch2>Her father takes control\u003c/h2>\n\u003cp>When the court established the conservatorship in February of 2008, Spears said her father, with the power of law behind him, established absolute control over her life decisions and finances, at one point even telling her, “I’m Britney Spears now.”\u003c/p>\n\u003cp>[aside postid='arts_13901695']Spears says he forced her to break up with the photographer she had been dating, and subjected anyone else she wanted to date to extensive background checks. She said he persistently told her she looked fat, and put the staff that surrounded her on strict instructions not to allow her any unapproved food.\u003c/p>\n\u003cp>But she said she felt that from the start, the arrangement existed so that he could pay himself handsomely, while her allowance left her hardly able to buy dinner for her dancers.\u003c/p>\n\u003cp>“He’s always been all about the money,” she writes.\u003c/p>\n\u003cp>An attorney for Spears’ father declined comment. But James Spears has said in multiple court filings that he only ever acted in her best interest.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘The Woman in Me’ is released on Oct. 24, via Gallery Books.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13936731\" class=\"wp-caption aligncenter\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM.png\" alt=\"A book cover featuring a black and white photo of a young blonde woman standing in profile, topless, with her arms folded across her chest. Her face is pensive.\" width=\"692\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM.png 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM-160x251.png 160w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">‘The Woman in Me’ by Britney Spears. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Much of \u003cem>The Woman in Me\u003c/em> focuses on the father and sons, the husbands and boyfriends, who have dominated her life, for better and for worse. Several chapters are devoted to her relationship with Justin Timberlake, including deeply personal details about a pregnancy, abortion and painful breakup. In others she chronicles her custody fight with ex-husband Kevin Federline, and how it fueled what was viewed as a public meltdown.\u003c/p>\n\u003cp>Spears speaks much less of recent events, making no mention of her pending divorce from Sam Asghari, whom she describes as holding her hand while she addressed a judge during a key hearing that freed her from court control in 2021.\u003c/p>\n\u003cp>In the opening dedication, she writes simply, “For my boys, who are the loves of my life.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Here are some of the details revealed in\u003cem> The Woman in Me\u003c/em>:\u003c/p>\n\u003ch2>The Timberlake years\u003c/h2>\n\u003cfigure id=\"attachment_13936732\" class=\"wp-caption aligncenter\" style=\"max-width: 1728px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936732\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-76235990.jpg\" alt=\"A young white man with short curly hair and a diamond stud in his ear sits with a young, tan blonde woman. She is smiling and resting her head on his shoulder. He is wearing a white sweater, she is wearing a low cut black top and choker.\" width=\"1728\" height=\"1152\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990.jpg 1728w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-76235990-1536x1024.jpg 1536w\" sizes=\"(max-width: 1728px) 100vw, 1728px\">\u003cfigcaption class=\"wp-caption-text\">Britney Spears and Justin Timberlake at the MTV VMAs in 2000. \u003ccite>(Kevin Mazur/ WireImage)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>For a period at the turn of the millennium, Spears and Timberlake were America’s it couple. As Spears writes, they were in love — but purity was a facade. “There were a couple of times during our relationship when I knew Justin had cheated on me. Especially because I was so infatuated and so in love, I let it go, even though the tabloids seemed determined to rub my face in it,” she writes.\u003c/p>\n\u003cp>Although Spears was painted in the press as the unfaithful one, she says she only stepped out on the relationship once, to kiss choreographer Wade Robson, confirming a long-speculated rumor.\u003c/p>\n\u003cp>She also writes of her pregnancy and Timberlake’s dismay, first reported in excerpts published by \u003cem>People\u003c/em> earlier this week.\u003c/p>\n\u003cp>“I’m sure people will hate me for this, but I agreed not to have the baby. Abortion was something I never could have imagined choosing for myself, but given the circumstances, that is what we did,” she writes.\u003c/p>\n\u003cp>They decided she would not go to a doctor or hospital: “It was important that no one find out about the pregnancy or the abortion, which meant doing everything at home,” she writes, adding that they didn’t tell her family.\u003c/p>\n\u003cp>She describes the physical pain of the medication abortion as “excruciating.”\u003c/p>\n\u003cp>“I kept crying and sobbing until it was all over,” she writes. “It took hours, and I don’t remember how it ended, but I do, twenty years later, remember the pain of it, and the fear.”\u003c/p>\n\u003ch2>Magical musical moments\u003c/h2>\n\u003cp>The song that launched Spears’ solo career, “…Baby One More Time” was directly inspired by Soft Cell’s “Tainted Love.” Spears was listening to it the night before she was going in to record with famed Swedish producer Max Martin (who Spears describes simply as “magic.”) She wanted to mimic the English synthpop duo’s sound, so she stayed up late, giving her voice the fried, raspy tone that would become iconic.\u003c/p>\n\u003cp>The concept for the music video, too, was her idea. Jive Records wanted her to “play a futuristic astronaut,” she writes. “I told the executives at the label that I thought people would want to see my friends and me sitting at school, bored, and then as soon as the bell rang, boom — we’d start dancing.”\u003c/p>\n\u003ch2>Heartbreak\u003c/h2>\n\u003cp>Spears says Timberlake broke up with her via text message while making his 2002 solo debut album, \u003cem>Justified\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“He started being very standoffish with me. I think that was because he’d decided to use me as ammunition for his record, and so it made it awkward for him to be around me staring at him with all that affection and devotion,” she writes.\u003c/p>\n\u003cp>In the period following the breakup, Spears became isolated, writing that she experienced ‘serious social anxiety.’\u003c/p>\n\u003cp>She found herself living in an apartment alone in New York for a few months, rarely leaving. (One of her few visitors? Madonna, who dreamt up their 2003 kiss at the MTV Video Music Awards as a reclamation of personal autonomy.)\u003c/p>\n\u003cp>Not long after, Spears felt pressured by her father to do what would become an infamous interview with Diane Sawyer, in which the host pushed her to explain what she did to Justin Timberlake to cause him “so much pain.”\u003c/p>\n\u003cp>“I felt like I had been exploited,” she writes, “set up in front of the whole world.”\u003c/p>\n\u003cp>Representatives for Timberlake did not respond to messages seeking comment.\u003c/p>\n\u003ch2>Motherhood and mental health struggles\u003c/h2>\n\u003cfigure id=\"attachment_13936733\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936733\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848.jpg\" alt=\"A laughing young woman wearing a green sweater and an blue LA baseball cap embraces two young boys. The children are wearing LA Dodgers jerseys and baseball caps.\" width=\"1920\" height=\"1278\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-1020x679.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-768x511.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/GettyImages-166911960-scaled-e1697791404848-1536x1022.jpg 1536w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Spears poses with sons Sean Preston Federline (L) and Jayden James Federline (R) at Dodger Stadium in 2013. \u003ccite>(Jon SooHoo/ LA Dodgers via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>In 2004, Spears married dancer Kevin Federline and they had two sons together. After the children were born, she says she suffered from perinatal depression, displaying symptoms of sadness, anxiety and fatigue.\u003c/p>\n\u003cp>“Being a new mom is challenge enough without trying to do everything under a microscope,” she writes. “With Kevin away so much, no one was around to see me spiral—except every paparazzo in America.”\u003c/p>\n\u003cp>The couple divorced in 2007.\u003c/p>\n\u003ch2>A custody standoff\u003c/h2>\n\u003cp>Spears describes what she calls a “SWAT team” bursting into a bathroom where she was holding 16-month-old son Jayden, instead of returning him to Federline as required. The moment in January 2008 led to her being hospitalized on a 72-hour psychiatric hold and was a major factor in the establishment of a court conservatorship that took over her life.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>She said that amid a custody battle, she felt that Federline and his lawyers were keeping her kids from her for longer and longer stretches. She had already put 2-year-old Sean Preston in the car of a security guard who had come to get him when she became “terrified that I wouldn’t get the kids again if I gave them back.”\u003c/p>\n\u003cp>That’s when she fled to the bathroom.\u003c/p>\n\u003cp>“I just couldn’t let him go. I didn’t want anyone taking my baby,” she writes. “Before I knew what was happening, a SWAT team in black suits burst through the bathroom door as if I’d hurt someone.”\u003c/p>\n\u003cp>An attorney for Federline did not immediately respond to an email seeking comment.\u003c/p>\n\u003ch2>The shaved head\u003c/h2>\n\u003cp>Other moments in her slide toward the conservatorship were anything but private, and Spears gives her take with a degree of emotion previously kept in check by those surrounding her.\u003c/p>\n\u003cp>She says she shaved her own head at a Los Angeles salon as an act of rebellion against the media, the paparazzi, and her family, who expected her to behave like a pretty and proper pop star even though she was “out of my mind with grief” over the custody battle.\u003c/p>\n\u003cp>“Shaving my head was a way of saying to the world: F—- you,” she writes.”\u003c/p>\n\u003cp>A few days later at a gas station, she attacked the car of a photographer with an umbrella.\u003c/p>\n\u003cp>She writes the man would not stop taunting her and asking her “terrible” questions, including how it felt not seeing her kids, as he smirked, at “one of the worst moments in my whole life.” She says he was clearly trying to provoke a reaction, and to her regret she gave him one.\u003c/p>\n\u003cp>“You can’t even do any damage with an umbrella,” she says. “It was a desperate move by a desperate person.”\u003c/p>\n\u003ch2>Her father takes control\u003c/h2>\n\u003cp>When the court established the conservatorship in February of 2008, Spears said her father, with the power of law behind him, established absolute control over her life decisions and finances, at one point even telling her, “I’m Britney Spears now.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Spears says he forced her to break up with the photographer she had been dating, and subjected anyone else she wanted to date to extensive background checks. She said he persistently told her she looked fat, and put the staff that surrounded her on strict instructions not to allow her any unapproved food.\u003c/p>\n\u003cp>But she said she felt that from the start, the arrangement existed so that he could pay himself handsomely, while her allowance left her hardly able to buy dinner for her dancers.\u003c/p>\n\u003cp>“He’s always been all about the money,” she writes.\u003c/p>\n\u003cp>An attorney for Spears’ father declined comment. But James Spears has said in multiple court filings that he only ever acted in her best interest.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Woman in Me’ is released on Oct. 24, via Gallery Books.\u003c/em>\u003c/p>\n\u003cfigure id=\"attachment_13936731\" class=\"wp-caption aligncenter\" style=\"max-width: 692px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13936731\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM.png\" alt=\"A book cover featuring a black and white photo of a young blonde woman standing in profile, topless, with her arms folded across her chest. Her face is pensive.\" width=\"692\" height=\"1086\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM.png 692w, https://cdn.kqed.org/wp-content/uploads/sites/2/2023/10/Screen-Shot-2023-10-20-at-1.24.55-AM-160x251.png 160w\" sizes=\"(max-width: 692px) 100vw, 692px\">\u003cfigcaption class=\"wp-caption-text\">‘The Woman in Me’ by Britney Spears. \u003ccite>(Gallery Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\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": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"marketplace": {
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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.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
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"masters-of-scale": {
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},
"mindshift": {
"id": "mindshift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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"morning-edition": {
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"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
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"onourwatch": {
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"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"order": 11
},
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"on-the-media": {
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"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
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},
"link": "/radio/program/on-the-media",
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},
"pbs-newshour": {
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"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
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},
"perspectives": {
"id": "perspectives",
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"order": 14
},
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"planet-money": {
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"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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"order": 5
},
"link": "/podcasts/politicalbreakdown",
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"amazon": "https://music.amazon.com/podcasts/e0c2d153-ad36-4c8d-901d-f1da6a724824/political-breakdown",
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"possible": {
"id": "possible",
"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Possible-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.possible.fm/",
"meta": {
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"source": "Possible"
},
"link": "/radio/program/possible",
"subscribe": {
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"spotify": "https://open.spotify.com/show/730YpdUSNlMyPQwNnyjp4k"
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},
"pri-the-world": {
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