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"content": "\u003cp>For Veterans Day, journalist and filmmaker Sarah Hill wanted to make a movie to honor her late grandfather, who served in the U.S. Army Air Corps during World War II. Her film, \u003cem>\u003ca href=\"https://www.jauntvr.com/title/b984169d3b\" target=\"_blank\" rel=\"noopener\">Honor Everywhere 360\u003c/a>,\u003c/em> is a virtual reality (VR) tour of war memorials in Washington, D.C.\u003c/p>\n\u003cp>As the CEO and chief storyteller for the Missouri-based VR film company \u003ca href=\"http://www.story-up.com/\" target=\"_blank\" rel=\"noopener\">StoryUP VR\u003c/a>, Hill made a 10-minute VR movie for veterans who would like to visit their memorials but might not be able to travel to D.C. for health or financial reasons. “My grandfather never had the opportunity to see his memorial,” Hill says. “When I look at those guys, I see his face. He would have loved something like that.”\u003c/p>\n\u003cp>Those “guys” to which Hill refers are veterans in D.C. visiting the memorials for the first time, seen by donning the VR headset. Viewers are not only up close to the expressions on their faces, but also immersed in a 360-degree view of the landscape — the landed reality of the veterans’ experience.\u003c/p>\n\u003ch3>From journalism to VR filmmaking\u003c/h3>\n\u003cp>Hill’s film is one of several being released today in partnership with the Palo Alto-based VR company Jaunt. Jaunt provided Hill’s production company with a VR camera to film the project for free.\u003c/p>\n\u003cfigure id=\"attachment_12325886\" class=\"wp-caption aligncenter\" style=\"max-width: 619px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12325886 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/jaunt-e1478818604759.png\" alt=\"Jaunt's VR camera at the Vietnam Veterans Memorial. (Courtesy Jaunt)\" width=\"619\" height=\"349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/jaunt-e1478818604759.png 619w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/jaunt-e1478818604759-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/jaunt-e1478818604759-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/jaunt-e1478818604759-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/jaunt-e1478818604759-520x293.png 520w\" sizes=\"(max-width: 619px) 100vw, 619px\">\u003cfigcaption class=\"wp-caption-text\">Jaunt’s VR camera at the Vietnam Veterans Memorial. \u003ccite>(Photo: Courtesy Jaunt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hill had worked for 20 years as a broadcast journalist before starting her VR company. While fundraising for the project, Hill reached out to a friend of hers at Jaunt who agreed to partner with her.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The goal of the film was to create an immersive experience told through the eyes of veterans. So Hill captured footage of veterans at the World War II Memorial\u003cb> \u003c/b>in Washington, D.C. Since then, Hill says all of the people who were featured in the film have passed away. But Hill says having filmed these war heroes captures their experience for their loved ones. “They can be feet away from them again, in full glory, and feel like they’re there with them,” she says.\u003c/p>\n\u003ch3>Getting VR headsets into veterans’ hands\u003c/h3>\n\u003cp>VR filmmaking has only slowly edged its way into mainstream culture over the past two years. Device adoption of VR headsets is not yet as widespread as laptops or gaming consoles, despite the fact that a pair of VR glasses for a mobile device can be purchased for under a dollar. Consumers can also watch experiences online or on a player outside of a headset.\u003c/p>\n\u003cp>The currently low uptake of VR hardware has posed a challenge for Hill in connecting her film with the people she most wants to reach. So Hill takes a proactive approach to the technology, putting devices into veterans’ hands and seeking donations of headsets from Google and other manufacturers. “We take the devices to them,” she says of enabling veterans to experience her project. “We’ve just been flying there as our budget allows.”\u003c/p>\n\u003ch3>No subsitute for reality\u003c/h3>\n\u003cp>Despite Hill’s ambitious goal of providing her VR film to as many veterans as possible, she doesn’t see it matching the experience of visiting the war memorials in real life. “There is no substitute for seeing a memorial in person,” Hill says. Hill actively encourages senior veterans, in particular, to contact the non-profit organization \u003ca href=\"https://www.honorflight.org/\" target=\"_blank\" rel=\"noopener\">Honor Flight Network\u003c/a>, which transports veterans to Washington, D.C. to visit and reflect on war memorials.\u003c/p>\n\u003cfigure id=\"attachment_12326263\" class=\"wp-caption alignnone\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12326263 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Honoring_screenshot.png\" alt=\"Image from ‘Honor Everywhere 360.’\" width=\"604\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Honoring_screenshot.png 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Honoring_screenshot-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Honoring_screenshot-240x134.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Honoring_screenshot-375x210.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Honoring_screenshot-520x291.png 520w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">Image from ‘Honor Everywhere 360.’ \u003ccite>(Photo: Courtesy of StoryUP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if you happen to have a VR headset gathering dust in a corner, Hill suggests lending or donating it to your nearest and dearest veteran. “On a day where we honor the people who gave the ultimate sacrifice, to be able to give a gift to veterans who aren’t able to travel, it’s a perfect day for that,” Hill says. “Tell a veteran about the experience. That headset is not for you, it’s for them.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>In recognition of Veterans Day, these are the films featured on the Jaunt \u003ca href=\"https://www.jauntvr.com/\" target=\"_blank\" rel=\"noopener\">site\u003c/a> and \u003ca href=\"https://www.jauntvr.com/get-the-app/\" target=\"_blank\" rel=\"noopener\">app\u003c/a>:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.jauntvr.com/title/ef1910abff\" target=\"_blank\" rel=\"noopener\">Honor Everywhere 360\u003c/a> | \u003ca href=\"https://www.jauntvr.com/title/06a1a02c41\" target=\"_blank\" rel=\"noopener\">Bild: Life on an Aircraft Carrier\u003c/a> | \u003ca href=\"https://www.jauntvr.com/title/83c460652a\" target=\"_blank\" rel=\"noopener\">Bild: Flight Operations\u003c/a> | \u003ca href=\"https://www.jauntvr.com/title/a2714236c7\" target=\"_blank\" rel=\"noopener\">War Knows No Nation\u003c/a> | \u003ca href=\"https://www.jauntvr.com/title/6ad2192d68\" target=\"_blank\" rel=\"noopener\">1941 Battle Reenactment\u003c/a> | \u003ca href=\"https://www.jauntvr.com/title/2644eb6c3f\" target=\"_blank\" rel=\"noopener\">Rapid Fire: A Brief History of Flight\u003c/a> | \u003ca href=\"https://www.jauntvr.com/title/563aef5f0a\">Honor Everywhere Vietnam\u003c/a>\u003c/em>\u003c/p>\n\n",
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"excerpt": "For Veterans Day, journalist and filmmaker Sarah Hill discusses 'Honor Everywhere 360,' a virtual reality tour of war memorials in Washington, D.C. made to honor her late grandfather.",
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"title": "Veterans Visit War Memorials in Virtual Reality | KQED",
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"headline": "Veterans Visit War Memorials in Virtual Reality",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For Veterans Day, journalist and filmmaker Sarah Hill wanted to make a movie to honor her late grandfather, who served in the U.S. Army Air Corps during World War II. Her film, \u003cem>\u003ca href=\"https://www.jauntvr.com/title/b984169d3b\" target=\"_blank\" rel=\"noopener\">Honor Everywhere 360\u003c/a>,\u003c/em> is a virtual reality (VR) tour of war memorials in Washington, D.C.\u003c/p>\n\u003cp>As the CEO and chief storyteller for the Missouri-based VR film company \u003ca href=\"http://www.story-up.com/\" target=\"_blank\" rel=\"noopener\">StoryUP VR\u003c/a>, Hill made a 10-minute VR movie for veterans who would like to visit their memorials but might not be able to travel to D.C. for health or financial reasons. “My grandfather never had the opportunity to see his memorial,” Hill says. “When I look at those guys, I see his face. He would have loved something like that.”\u003c/p>\n\u003cp>Those “guys” to which Hill refers are veterans in D.C. visiting the memorials for the first time, seen by donning the VR headset. Viewers are not only up close to the expressions on their faces, but also immersed in a 360-degree view of the landscape — the landed reality of the veterans’ experience.\u003c/p>\n\u003ch3>From journalism to VR filmmaking\u003c/h3>\n\u003cp>Hill’s film is one of several being released today in partnership with the Palo Alto-based VR company Jaunt. Jaunt provided Hill’s production company with a VR camera to film the project for free.\u003c/p>\n\u003cfigure id=\"attachment_12325886\" class=\"wp-caption aligncenter\" style=\"max-width: 619px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12325886 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/jaunt-e1478818604759.png\" alt=\"Jaunt's VR camera at the Vietnam Veterans Memorial. (Courtesy Jaunt)\" width=\"619\" height=\"349\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/jaunt-e1478818604759.png 619w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/jaunt-e1478818604759-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/jaunt-e1478818604759-240x135.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/jaunt-e1478818604759-375x211.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/jaunt-e1478818604759-520x293.png 520w\" sizes=\"(max-width: 619px) 100vw, 619px\">\u003cfigcaption class=\"wp-caption-text\">Jaunt’s VR camera at the Vietnam Veterans Memorial. \u003ccite>(Photo: Courtesy Jaunt)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Hill had worked for 20 years as a broadcast journalist before starting her VR company. While fundraising for the project, Hill reached out to a friend of hers at Jaunt who agreed to partner with her.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The goal of the film was to create an immersive experience told through the eyes of veterans. So Hill captured footage of veterans at the World War II Memorial\u003cb> \u003c/b>in Washington, D.C. Since then, Hill says all of the people who were featured in the film have passed away. But Hill says having filmed these war heroes captures their experience for their loved ones. “They can be feet away from them again, in full glory, and feel like they’re there with them,” she says.\u003c/p>\n\u003ch3>Getting VR headsets into veterans’ hands\u003c/h3>\n\u003cp>VR filmmaking has only slowly edged its way into mainstream culture over the past two years. Device adoption of VR headsets is not yet as widespread as laptops or gaming consoles, despite the fact that a pair of VR glasses for a mobile device can be purchased for under a dollar. Consumers can also watch experiences online or on a player outside of a headset.\u003c/p>\n\u003cp>The currently low uptake of VR hardware has posed a challenge for Hill in connecting her film with the people she most wants to reach. So Hill takes a proactive approach to the technology, putting devices into veterans’ hands and seeking donations of headsets from Google and other manufacturers. “We take the devices to them,” she says of enabling veterans to experience her project. “We’ve just been flying there as our budget allows.”\u003c/p>\n\u003ch3>No subsitute for reality\u003c/h3>\n\u003cp>Despite Hill’s ambitious goal of providing her VR film to as many veterans as possible, she doesn’t see it matching the experience of visiting the war memorials in real life. “There is no substitute for seeing a memorial in person,” Hill says. Hill actively encourages senior veterans, in particular, to contact the non-profit organization \u003ca href=\"https://www.honorflight.org/\" target=\"_blank\" rel=\"noopener\">Honor Flight Network\u003c/a>, which transports veterans to Washington, D.C. to visit and reflect on war memorials.\u003c/p>\n\u003cfigure id=\"attachment_12326263\" class=\"wp-caption alignnone\" style=\"max-width: 604px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-12326263 size-full\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Honoring_screenshot.png\" alt=\"Image from ‘Honor Everywhere 360.’\" width=\"604\" height=\"338\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Honoring_screenshot.png 604w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Honoring_screenshot-160x90.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Honoring_screenshot-240x134.png 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Honoring_screenshot-375x210.png 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Honoring_screenshot-520x291.png 520w\" sizes=\"(max-width: 604px) 100vw, 604px\">\u003cfigcaption class=\"wp-caption-text\">Image from ‘Honor Everywhere 360.’ \u003ccite>(Photo: Courtesy of StoryUP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And if you happen to have a VR headset gathering dust in a corner, Hill suggests lending or donating it to your nearest and dearest veteran. “On a day where we honor the people who gave the ultimate sacrifice, to be able to give a gift to veterans who aren’t able to travel, it’s a perfect day for that,” Hill says. “Tell a veteran about the experience. That headset is not for you, it’s for them.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" 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>In recognition of Veterans Day, these are the films featured on the Jaunt \u003ca href=\"https://www.jauntvr.com/\" target=\"_blank\" rel=\"noopener\">site\u003c/a> and \u003ca href=\"https://www.jauntvr.com/get-the-app/\" target=\"_blank\" rel=\"noopener\">app\u003c/a>:\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>\u003ca href=\"https://www.jauntvr.com/title/ef1910abff\" target=\"_blank\" rel=\"noopener\">Honor Everywhere 360\u003c/a> | \u003ca href=\"https://www.jauntvr.com/title/06a1a02c41\" target=\"_blank\" rel=\"noopener\">Bild: Life on an Aircraft Carrier\u003c/a> | \u003ca href=\"https://www.jauntvr.com/title/83c460652a\" target=\"_blank\" rel=\"noopener\">Bild: Flight Operations\u003c/a> | \u003ca href=\"https://www.jauntvr.com/title/a2714236c7\" target=\"_blank\" rel=\"noopener\">War Knows No Nation\u003c/a> | \u003ca href=\"https://www.jauntvr.com/title/6ad2192d68\" target=\"_blank\" rel=\"noopener\">1941 Battle Reenactment\u003c/a> | \u003ca href=\"https://www.jauntvr.com/title/2644eb6c3f\" target=\"_blank\" rel=\"noopener\">Rapid Fire: A Brief History of Flight\u003c/a> | \u003ca href=\"https://www.jauntvr.com/title/563aef5f0a\">Honor Everywhere Vietnam\u003c/a>\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "baryshnikov-and-wilson-excavate-nijinskys-diary-in-letter-to-a-man",
"title": "Baryshnikov and Wilson Excavate Nijinsky's Diary in 'Letter to a Man'",
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"headTitle": "Baryshnikov and Wilson Excavate Nijinsky’s Diary in ‘Letter to a Man’ | KQED",
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"content": "\u003cp>Only the cruelest of Gods would have bothered to create Vaslav Nijinsky (1889-1950), the Russian dancer who burst to fame with the groundbreaking Russian dance company Ballet Russes under the direction of the impresario Serge Diaghilev. To fashion a mind and body that approached the perfection of music and then to let it shatter and decay into madness, and all of it just before the age of film, is the work of a punk and a sadist.\u003c/p>\n\u003cp>The celebrated Russian-American dancer Mikhail Baryshnikov has had plenty of offers to play Nijinsky and has wisely, so far, said, no. Taking on an artist more myth than man is a probable path to failure. And yet as the 68-year old Baryshnikov has gently aged from the amazing dancer he was to the sly actor and conceptual artist he is today, the question of Nijinsky returned. In collaboration with the iconoclastic stage director Robert Wilson, a master of light and stillness, he may have realized that there was a different Nijinsky waiting just for him.\u003c/p>\n\u003cp>So in Cal Performances’ presentation of their touring production \u003ca href=\"https://calperformances.org/performances/2016-17/special-events/robert-wilson-mikhail-baryshnikov-letter-to-a-man.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Letter to a Man\u003c/em>\u003c/a>, Baryshnikov and Wilson begin with Nijinsky the diarist, who in the act of going mad tries to explain what it means to have the grace of God in your art, or as the man himself proclaimed in the diary he wrote in 1919 right before he was institutionalized: “I am God. I am spirit. I am a man of love.” As painful as it is to read Nijinsky’s journal, to see these rambling, chaotic thoughts staged with such rigor is to fall into a world of exasperating beauty.\u003c/p>\n\u003cfigure id=\"attachment_12329720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12329720\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-800x452.jpg\" alt=\"Vaslav Nijinsky (Mikhail Baryshnikov) shocks himself in 'Letter to a Man' directed and conceived by Robert Wilson and Baryshnikov.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vaslav Nijinsky (Mikhail Baryshnikov) shocks himself in ‘Letter to a Man’ directed and conceived by Robert Wilson and Baryshnikov. \u003ccite>(Photo: Lucy Jansch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performance begins with Baryshnikov sitting in a chair — a ridiculous opener for a dancer playing a dancer. His makeup and demeanor resemble nothing less than a Kabuki mask of pain and surprise. In English and Russian, he says, “I understand war because I fought with my mother-in-law.” The audience laughs at what seems an easy joke, but the laughter ceases when the sentence and the image start to mutate into fragments.\u003c/p>\n\u003cp>The lights black out and return so fast, Baryshnikov changes his expression so slightly, and the sentence keeps on breaking into bits and pieces — “I understand war,” “mother-in-law,” “fought” — to the point that you feel like you’re having a seizure. Barely anything happens and yet the scene is a sensory overload. Like most of \u003cem>Letter to a Man\u003c/em>, we only get a glimpse of Nijinsky’s genius, but his descent into madness is catalogued with an infinite and loving care.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At one point Wilson transforms the stage into a long rectangle of light, making you feel like the black sky is weighing down on your head and the endless road before you is stretching out forever. We hear the diary entry: “I went out for a walk once and it seemed to me there was blood in the snow, and so I ran following the trail. I had the impression that somebody had killed a man but he was alive.”\u003c/p>\n\u003cp>What follows is some of the most beautiful walking you can imagine — hesitant, then leaping forward with great force, then somehow happening all over again. The choreography has the feel of a strip of film come to life. Then you notice that as Nijinsky investigates the bloody trail, right behind him, almost tiptoeing in pursuit, is his shadow, strikingly offset against a thick white fog. There seems to be no possible end or reconciliation, only the belief that a murdered man should be alive, and that a man and his shadow can never be one.\u003c/p>\n\u003cp>It’s as if the piece obsessively reminds us that the only Nijinsky we get is the one that has been violently severed from himself. At one point he takes off his jacket — a relatively simple gesture — but does it with such grace that you end up wishing that you could do the same. That doing so might be the beginning of your entrance to the divine, as it is for Nijinsky a memory of how beautiful and perfect he once was. As the scene ends the jacket takes center stage and the dancer disappears.\u003c/p>\n\u003cfigure id=\"attachment_12329719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12329719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-800x451.jpg\" alt=\"Vaslav Nijinski (Mikhail Baryshnikov) dreams of perfection in 'Letter to a Man' directed and conceived by Robert Wilson and Baryshnikov.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vaslav Nijinsky (Mikhail Baryshnikov) dreams of perfection in ‘Letter to a Man’ directed and conceived by Robert Wilson and Baryshnikov. \u003ccite>(Photo: Lucy Jansch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And it is that split — the memory of a body, mind, and art in accordance with God — that makes \u003cem>Letter to a Man, \u003c/em>though brilliant, a difficult and rough go. Because in the end we can’t make it, and invariably come up short. Even with Baryshnikov and Wilson leading the way, two astounding and accomplished artists, they can only get us to Nijinsky the disaster. The other Nijinsky, well, he’s just a cruel rumor of heaven.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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>‘Letter to a Man’ runs through Sunday, Nov. 13 at Cal Performances’ Zellerbach Hall in Berkeley. For tickets and information, \u003ca href=\"https://calperformances.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n",
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"excerpt": "Robert Wilson and Mikhail Baryshnikov's arresting production at Cal Performances explores the famed Soviet dancer Vaslav Nijinsky's descent into madness.",
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"title": "Baryshnikov and Wilson Excavate Nijinsky's Diary in 'Letter to a Man' | KQED",
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"headline": "Baryshnikov and Wilson Excavate Nijinsky's Diary in 'Letter to a Man'",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Only the cruelest of Gods would have bothered to create Vaslav Nijinsky (1889-1950), the Russian dancer who burst to fame with the groundbreaking Russian dance company Ballet Russes under the direction of the impresario Serge Diaghilev. To fashion a mind and body that approached the perfection of music and then to let it shatter and decay into madness, and all of it just before the age of film, is the work of a punk and a sadist.\u003c/p>\n\u003cp>The celebrated Russian-American dancer Mikhail Baryshnikov has had plenty of offers to play Nijinsky and has wisely, so far, said, no. Taking on an artist more myth than man is a probable path to failure. And yet as the 68-year old Baryshnikov has gently aged from the amazing dancer he was to the sly actor and conceptual artist he is today, the question of Nijinsky returned. In collaboration with the iconoclastic stage director Robert Wilson, a master of light and stillness, he may have realized that there was a different Nijinsky waiting just for him.\u003c/p>\n\u003cp>So in Cal Performances’ presentation of their touring production \u003ca href=\"https://calperformances.org/performances/2016-17/special-events/robert-wilson-mikhail-baryshnikov-letter-to-a-man.php\" target=\"_blank\" rel=\"noopener\">\u003cem>Letter to a Man\u003c/em>\u003c/a>, Baryshnikov and Wilson begin with Nijinsky the diarist, who in the act of going mad tries to explain what it means to have the grace of God in your art, or as the man himself proclaimed in the diary he wrote in 1919 right before he was institutionalized: “I am God. I am spirit. I am a man of love.” As painful as it is to read Nijinsky’s journal, to see these rambling, chaotic thoughts staged with such rigor is to fall into a world of exasperating beauty.\u003c/p>\n\u003cfigure id=\"attachment_12329720\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12329720\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-800x452.jpg\" alt=\"Vaslav Nijinsky (Mikhail Baryshnikov) shocks himself in 'Letter to a Man' directed and conceived by Robert Wilson and Baryshnikov.\" width=\"800\" height=\"452\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-800x452.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-768x434.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1020x576.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1920x1085.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-1180x667.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-960x542.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-240x136.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-375x212.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-3-credit-courtesy-e1478864257902-520x294.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vaslav Nijinsky (Mikhail Baryshnikov) shocks himself in ‘Letter to a Man’ directed and conceived by Robert Wilson and Baryshnikov. \u003ccite>(Photo: Lucy Jansch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The performance begins with Baryshnikov sitting in a chair — a ridiculous opener for a dancer playing a dancer. His makeup and demeanor resemble nothing less than a Kabuki mask of pain and surprise. In English and Russian, he says, “I understand war because I fought with my mother-in-law.” The audience laughs at what seems an easy joke, but the laughter ceases when the sentence and the image start to mutate into fragments.\u003c/p>\n\u003cp>The lights black out and return so fast, Baryshnikov changes his expression so slightly, and the sentence keeps on breaking into bits and pieces — “I understand war,” “mother-in-law,” “fought” — to the point that you feel like you’re having a seizure. Barely anything happens and yet the scene is a sensory overload. Like most of \u003cem>Letter to a Man\u003c/em>, we only get a glimpse of Nijinsky’s genius, but his descent into madness is catalogued with an infinite and loving care.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At one point Wilson transforms the stage into a long rectangle of light, making you feel like the black sky is weighing down on your head and the endless road before you is stretching out forever. We hear the diary entry: “I went out for a walk once and it seemed to me there was blood in the snow, and so I ran following the trail. I had the impression that somebody had killed a man but he was alive.”\u003c/p>\n\u003cp>What follows is some of the most beautiful walking you can imagine — hesitant, then leaping forward with great force, then somehow happening all over again. The choreography has the feel of a strip of film come to life. Then you notice that as Nijinsky investigates the bloody trail, right behind him, almost tiptoeing in pursuit, is his shadow, strikingly offset against a thick white fog. There seems to be no possible end or reconciliation, only the belief that a murdered man should be alive, and that a man and his shadow can never be one.\u003c/p>\n\u003cp>It’s as if the piece obsessively reminds us that the only Nijinsky we get is the one that has been violently severed from himself. At one point he takes off his jacket — a relatively simple gesture — but does it with such grace that you end up wishing that you could do the same. That doing so might be the beginning of your entrance to the divine, as it is for Nijinsky a memory of how beautiful and perfect he once was. As the scene ends the jacket takes center stage and the dancer disappears.\u003c/p>\n\u003cfigure id=\"attachment_12329719\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12329719\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-800x451.jpg\" alt=\"Vaslav Nijinski (Mikhail Baryshnikov) dreams of perfection in 'Letter to a Man' directed and conceived by Robert Wilson and Baryshnikov.\" width=\"800\" height=\"451\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-800x451.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-768x433.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1020x575.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1920x1082.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-1180x665.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-960x541.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Baryshnikov-e1478863899668-520x293.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Vaslav Nijinsky (Mikhail Baryshnikov) dreams of perfection in ‘Letter to a Man’ directed and conceived by Robert Wilson and Baryshnikov. \u003ccite>(Photo: Lucy Jansch)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>And it is that split — the memory of a body, mind, and art in accordance with God — that makes \u003cem>Letter to a Man, \u003c/em>though brilliant, a difficult and rough go. Because in the end we can’t make it, and invariably come up short. Even with Baryshnikov and Wilson leading the way, two astounding and accomplished artists, they can only get us to Nijinsky the disaster. The other Nijinsky, well, he’s just a cruel rumor of heaven.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"Q.Logo.Break\" 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>‘Letter to a Man’ runs through Sunday, Nov. 13 at Cal Performances’ Zellerbach Hall in Berkeley. For tickets and information, \u003ca href=\"https://calperformances.org\">click here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp> \u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Leonard Cohen, Hugely Influential Songwriter and Poet, Dies at 82",
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"content": "\u003cp>Leonard Cohen, the hugely influential Canadian songwriter, singer and author, has died.\u003c/p>\n\u003cp>“It is with profound sorrow we report that legendary poet, songwriter and artist, Leonard Cohen has passed away,” reads \u003ca href=\"https://www.facebook.com/leonardcohen/posts/10154767870839644?match=bGVvbmFyZCBjb2hlbg%3D%3D\" target=\"_blank\" rel=\"noopener\">a statement\u003c/a> on Cohen’s Facebook page. “We have lost one of music’s most revered and prolific visionaries. A memorial will take place in Los Angeles at a later date. The family requests privacy during their time of grief.” \u003c/p>\n\u003cp>No cause of death was given.\u003c/p>\n\u003cp>Cohen’s decades-long career spawned songs such as “So Long, Marianne,” “Suzanne,” “Bird on the Wire,” and “Hallelujah,” the latter a massive hit for Jeff Buckley. Cohen’s most recent album \u003cem>You Want It Darker\u003c/em> was released last month.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=svitEEpI07E\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Cohen emerged as a poetic voice among the burgeoning songwriter scene in the 1960s, after publishing \u003cem>Flowers for Hitler\u003c/em>, a book of poetry, and the novels \u003cem>The Favourite Game\u003c/em> and \u003cem>Beautiful Losers\u003c/em>.\u003c/p>\n\u003cp>That same poetry found its way into his songs, sung in a plaintive vocal style, often with flamenco-styled guitar and backed by a chorus. Upon visiting New York in the mid-1960s, Cohen fell in with a crowd that included the Velvet Underground and Judy Collins, who supported his songwriting and recording. Albums such as \u003cem>Songs From Leonard Cohen\u003c/em> and \u003cem>Songs From a Room\u003c/em> followed.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=YrLk4vdY28Q\u003c/p>\n\u003cp>Through the 1970s and 1980s, Cohen’s albums continued to contribute to the great singer-songwriter songbook. In 1984, Cohen recorded a lyrical ode called “Hallelujah”; his label at the time was unsupportive, however, and it wasn’t until Jeff Buckley’s 1994 version that the song became ubiquitous: at funerals, weddings, in movies and more.\u003c/p>\n\u003cp>The Canadian-born Cohen turned to Zen in the mid-’90s and disappeared from the road, touring only when it was discovered that his longtime manager had embezzled $5 million from his retirement account. Needing the ticket revenue, Cohen set out on a series of well-received tours; the shows were a remarkable success. This year, reviews for Cohen’s most recent album \u003cem>You Want It Darker\u003c/em> were largely positive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an \u003ca href=\"http://www.newyorker.com/magazine/2016/10/17/leonard-cohen-makes-it-darker\" target=\"_blank\" rel=\"noopener\">in-depth profile for the \u003cem>New Yorker\u003c/em>\u003c/a> that ran last month, Cohen told the magazine: “I am ready to die. I hope it’s not too uncomfortable. That’s about it for me.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Cohen emerged as a poetic voice among the burgeoning songwriter scene in the 1960s, after publishing \u003cem>Flowers for Hitler\u003c/em>, a book of poetry, and the novels \u003cem>The Favourite Game\u003c/em> and \u003cem>Beautiful Losers\u003c/em>.\u003c/p>\n\u003cp>That same poetry found its way into his songs, sung in a plaintive vocal style, often with flamenco-styled guitar and backed by a chorus. Upon visiting New York in the mid-1960s, Cohen fell in with a crowd that included the Velvet Underground and Judy Collins, who supported his songwriting and recording. Albums such as \u003cem>Songs From Leonard Cohen\u003c/em> and \u003cem>Songs From a Room\u003c/em> followed.\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/YrLk4vdY28Q'\n title='//www.youtube.com/embed/YrLk4vdY28Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Through the 1970s and 1980s, Cohen’s albums continued to contribute to the great singer-songwriter songbook. In 1984, Cohen recorded a lyrical ode called “Hallelujah”; his label at the time was unsupportive, however, and it wasn’t until Jeff Buckley’s 1994 version that the song became ubiquitous: at funerals, weddings, in movies and more.\u003c/p>\n\u003cp>The Canadian-born Cohen turned to Zen in the mid-’90s and disappeared from the road, touring only when it was discovered that his longtime manager had embezzled $5 million from his retirement account. Needing the ticket revenue, Cohen set out on a series of well-received tours; the shows were a remarkable success. This year, reviews for Cohen’s most recent album \u003cem>You Want It Darker\u003c/em> were largely positive.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>In an \u003ca href=\"http://www.newyorker.com/magazine/2016/10/17/leonard-cohen-makes-it-darker\" target=\"_blank\" rel=\"noopener\">in-depth profile for the \u003cem>New Yorker\u003c/em>\u003c/a> that ran last month, Cohen told the magazine: “I am ready to die. I hope it’s not too uncomfortable. That’s about it for me.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003caside class=\"aligncenter noborder\">\n\u003ch4>KQED’s Cy Musiker and David Wiegand share their picks for great events around the Bay Area this week.\u003c/h4>\n\u003cp>http://www.kqed.org/.stream/anon/radio//2016/11/TheDoList111116.mp3\u003c/p>\n\u003c/aside>\n\u003cp>The Do List is wishing you a quick recovery from the extreme emotions of the presidential election, and offering some distractions and inspiration for this transition season. Among the best choices we weren’t able to mention on-air? \u003ca href=\"http://www.kineticartsproductions.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Inversion: Circus Disobedience\u003c/em> at the Kinetic Arts Center in West Oakland\u003c/a>, to remind us of the protests of Berkeley’s past and future. And now for the show.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8ZlPBYVOXXg\u003c/p>\n\u003cp>\u003cstrong>Nov. 12, 18, and 30\u003c/strong>: \u003cem>John Paul George and Django\u003c/em> is the latest from the \u003ca href=\"http://www.hotclubsf.com/#hot-club\" target=\"_blank\" rel=\"noopener\">Hot Club of San Francisco\u003c/a>, a band founded by guitarist Paul Mehling that’s helped spread Django Reinhardt’s joyous gypsy jazz for about 30 years. Their new album is a surprisingly good match: the Beatles and gypsy jazz, with highlights including “Yellow Submarine,” and the so-sad (in a good way) “For No One,” sung by guitarist and vocalist Isabelle Fontaine. This music will flush all the political toxins out. Details for the Hot Club of San Francisco’s shows at the Cafe Pink House tomorrow are \u003ca href=\"http://cafepinkhouse.com/#eventlist\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, at Armando’s next week\u003ca href=\"http://www.armandosmartinez.com/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>, and at Doc’s Lab Nov. 30th \u003ca href=\"http://www.docslabsf.com/event/1252983-hot-club-san-francisco-cd-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=amoteml4Cj8\u003c/p>\n\u003cp>\u003cstrong>Nov. 11 and 12\u003c/strong>: Dana Gould is a standup comedian who does old-fashioned routines — jokes about wives and shopping and his dog — but always with a weird twist, as in: “Wrote a science fiction novel about a man who wins an argument with his wife, but it was rejected as being too far-fetched.” He was a writer on \u003cem>The Simpsons\u003c/em> for seven years, he has a new IFC show called \u003cem>Stan Against Evil, \u003c/em>and like every stand-up comic, he has a podcast, but don’t hold that against him. Details for his Punchline appearance are \u003ca href=\"http://www.punchlinecomedyclub.com/EventDetail?tmeventid=1C005130EC3BAD72&offerid=35931\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/take-the-do-list-survey-you-might-win-kqed-swag/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12195646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk.jpg\" alt=\"The Do List Logo-with-text-shrunk\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>We’re pausing here to ask you to take the Do List Survey. We’re so eager to hear from you, our listeners and readers, about what you like and how you use our show. Please take two minutes or so and click through the questions. Thanks. And now back to our regular programming…\u003c/p>\n\u003cp> \u003c/p>\n\u003cp>https://www.youtube.com/watch?v=8Ki0j-RVS6g\u003c/p>\n\u003cp>\u003cstrong>Nov. 11 and 13\u003c/strong>: \u003ca href=\"http://www.suzannevega.com/\" target=\"_blank\" rel=\"noopener\">Suzanne Vega\u003c/a> is known for two songs, “Luka” and “Tom’s Diner,” and she deserves so much better. On her new album, \u003cem>Lover\u003c/em>, \u003cem>Beloved\u003c/em>: \u003cem>Songs from an Evening with Carson McCullers, \u003c/em>she channels the persona of Carson McCullers, the unconventional Southern gothic writer of novels like \u003cem>Member of the Wedding\u003c/em> and \u003cem>The Heart is a Lonely Hunter (\u003c/em>which was certainly the most depressing and amazing book I read in high school). Vega has been drawn to McCullers since she was 17 and saw a photograph of the author, and that persistent obsession has paid off with this new song cycle. This is a great double bill (or triple bill, if you count McCullers), since Teddy Thompson is opening for Vega. He’s the son of folk-rock legends Linda and Richard Thompson, and a pretty fine folkie himself. Details for their shows Friday at Villa Montalvo in Saratoga \u003ca href=\"http://montalvoarts.org/calendar/#cal_events\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>, and Sunday at the Great American Music Hall are\u003ca href=\"http://www.slimspresents.com/event/suzanne-vega-gamh/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12326842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12326842\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/001-800x495.jpg\" alt=\"Pinball Museum Director Michael Schiesse about to play a few rounds on Wizard, a pinball game that will be auctioned off this weekend at the Pinball Museum's Shoot the Moon Expo in Alameda\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pinball Museum Director Michael Schiesse about to play a few rounds on Wizard, a pinball game that will be auctioned off this weekend at the Pinball Museum’s Shoot the Moon Expo in Alameda. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 11-13\u003c/strong>: Michael Schiesse is a total pinball wizard. That’s appropriate since he’s executive director for the \u003ca href=\"http://pacificpinball.org/\" target=\"_blank\" rel=\"noopener\">Pacific Pinball Museum\u003c/a>, which is opening the doors to its warehouse on the old Alameda Naval Air Base with about 400 working pinball machines, all available for unlimited play. Schiesse, a former exhibition designer for the Exploratorium, is both a lover of the pop culture history of the machine, its \u003cem>bing, bing, bing\u003c/em> sounds and flashing lights, but also the way pinball can teach science and technology to school kids. “It’s almost like stealth learning,” he told me while demonstrating a game, “you don’t know it’s happening. And then all of a sudden, you come away from what was a really fun time, and you’ve learned the physics of the mass of the ball moving around, the shots, the trajectories.” So go learn something. Details for the Shoot the Moon Pinball Expo are \u003ca href=\"http://pacificpinball.org/events/shoot-moon-pinball-expo\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=msBNMtjLFpw\u003c/p>\n\u003cp>\u003cstrong>Nov 11-13\u003c/strong>: The \u003ca href=\"http://sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Hip Hop Dance Festival\u003c/a>, now in its 18th year, was the first formal event celebrating this brilliant street art. This year, the fest brings the very best crews from as far away as Paris (\u003ca href=\"https://www.facebook.com/Paradoxsal/\" target=\"_blank\" rel=\"noopener\">Paradox Sal\u003c/a>) and Vietnam \u003ca href=\"https://www.facebook.com/FanCuaSineCrew/\" target=\"_blank\" rel=\"noopener\">(S.I.N.E. Crew\u003c/a>), and as close as Los Angeles (\u003ca href=\"http://www.groovaloos.com/groovaloos/HOME.html\" target=\"_blank\" rel=\"noopener\">Groovaloos\u003c/a>), San Francisco (\u003ca href=\"http://www.embodimentproject.org/\" target=\"_blank\" rel=\"noopener\">Embodiment Project)\u003c/a> and Oakland (\u003ca href=\"http://www.theturfinc.com/\" target=\"_blank\" rel=\"noopener\">TURFinc\u003c/a>). The Embodiment’s Project’s Seed Language is a powerful piece about racism in America that we’ve covered \u003ca href=\"https://ww2.kqed.org/arts/2016/03/31/students-reimagine-black-lives-matter-and-black-panther-icons/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Details for this weekend’s shows at the Palace of Fine Arts in San Francisco are \u003ca href=\"http://sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=XiGAylyOL0o\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 11 and Jan. 17\u003c/strong>: \u003ca href=\"http://www.pansydivision.com/www.pansydivision.com/Home.html\" target=\"_blank\" rel=\"noopener\">Pansy Division\u003c/a> came out of San Francisco’s \u003ca href=\"https://en.wikipedia.org/wiki/Queercore\" target=\"_blank\" rel=\"noopener\">queercore\u003c/a> scene in the 1990s, and on their latest album, \u003cem>Quite Contrary\u003c/em>, they’ve proved they’re just as good at gossipy love songs and radical gay anthems as ever. It’s got a nursery rhyme title, but adult content; check out “Blame the Bible” above. The album cover is a sweet picture of two guys in pajamas who look really happy together, another sign the band is aging well. Details for their Bottom of the Hill show Friday night are \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.hLADnKDV.dpbs\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And details for their Lookout Records reunion concert on Jan. 7, at 924 Gilman Street in Berkeley, are \u003ca href=\"http://www.pansydivision.com/www.pansydivision.com/Gigs.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/aside>\n\u003cp>The Do List is wishing you a quick recovery from the extreme emotions of the presidential election, and offering some distractions and inspiration for this transition season. Among the best choices we weren’t able to mention on-air? \u003ca href=\"http://www.kineticartsproductions.com/\" target=\"_blank\" rel=\"noopener\">\u003cem>Inversion: Circus Disobedience\u003c/em> at the Kinetic Arts Center in West Oakland\u003c/a>, to remind us of the protests of Berkeley’s past and future. And now for the show.\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/8ZlPBYVOXXg'\n title='//www.youtube.com/embed/8ZlPBYVOXXg'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 12, 18, and 30\u003c/strong>: \u003cem>John Paul George and Django\u003c/em> is the latest from the \u003ca href=\"http://www.hotclubsf.com/#hot-club\" target=\"_blank\" rel=\"noopener\">Hot Club of San Francisco\u003c/a>, a band founded by guitarist Paul Mehling that’s helped spread Django Reinhardt’s joyous gypsy jazz for about 30 years. Their new album is a surprisingly good match: the Beatles and gypsy jazz, with highlights including “Yellow Submarine,” and the so-sad (in a good way) “For No One,” sung by guitarist and vocalist Isabelle Fontaine. This music will flush all the political toxins out. Details for the Hot Club of San Francisco’s shows at the Cafe Pink House tomorrow are \u003ca href=\"http://cafepinkhouse.com/#eventlist\" target=\"_blank\" rel=\"noopener\">here\u003c/a>, at Armando’s next week\u003ca href=\"http://www.armandosmartinez.com/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>, and at Doc’s Lab Nov. 30th \u003ca href=\"http://www.docslabsf.com/event/1252983-hot-club-san-francisco-cd-san-francisco/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/amoteml4Cj8'\n title='//www.youtube.com/embed/amoteml4Cj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 11 and 12\u003c/strong>: Dana Gould is a standup comedian who does old-fashioned routines — jokes about wives and shopping and his dog — but always with a weird twist, as in: “Wrote a science fiction novel about a man who wins an argument with his wife, but it was rejected as being too far-fetched.” He was a writer on \u003cem>The Simpsons\u003c/em> for seven years, he has a new IFC show called \u003cem>Stan Against Evil, \u003c/em>and like every stand-up comic, he has a podcast, but don’t hold that against him. Details for his Punchline appearance are \u003ca href=\"http://www.punchlinecomedyclub.com/EventDetail?tmeventid=1C005130EC3BAD72&offerid=35931\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ca href=\"https://ww2.kqed.org/arts/2016/10/11/take-the-do-list-survey-you-might-win-kqed-swag/\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-12195646\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk.jpg\" alt=\"The Do List Logo-with-text-shrunk\" width=\"400\" height=\"400\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/The-Do-List-Logo-with-text-shrunk-150x150.jpg 150w\" sizes=\"(max-width: 400px) 100vw, 400px\">\u003c/a>\u003c/p>\n\u003cp>We’re pausing here to ask you to take the Do List Survey. We’re so eager to hear from you, our listeners and readers, about what you like and how you use our show. Please take two minutes or so and click through the questions. Thanks. And now back to our regular programming…\u003c/p>\n\u003cp> \u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/8Ki0j-RVS6g'\n title='//www.youtube.com/embed/8Ki0j-RVS6g'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov. 11 and 13\u003c/strong>: \u003ca href=\"http://www.suzannevega.com/\" target=\"_blank\" rel=\"noopener\">Suzanne Vega\u003c/a> is known for two songs, “Luka” and “Tom’s Diner,” and she deserves so much better. On her new album, \u003cem>Lover\u003c/em>, \u003cem>Beloved\u003c/em>: \u003cem>Songs from an Evening with Carson McCullers, \u003c/em>she channels the persona of Carson McCullers, the unconventional Southern gothic writer of novels like \u003cem>Member of the Wedding\u003c/em> and \u003cem>The Heart is a Lonely Hunter (\u003c/em>which was certainly the most depressing and amazing book I read in high school). Vega has been drawn to McCullers since she was 17 and saw a photograph of the author, and that persistent obsession has paid off with this new song cycle. This is a great double bill (or triple bill, if you count McCullers), since Teddy Thompson is opening for Vega. He’s the son of folk-rock legends Linda and Richard Thompson, and a pretty fine folkie himself. Details for their shows Friday at Villa Montalvo in Saratoga \u003ca href=\"http://montalvoarts.org/calendar/#cal_events\" target=\"_blank\" rel=\"noopener\">are here\u003c/a>, and Sunday at the Great American Music Hall are\u003ca href=\"http://www.slimspresents.com/event/suzanne-vega-gamh/\" target=\"_blank\" rel=\"noopener\"> here\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_12326842\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-12326842\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/001-800x495.jpg\" alt=\"Pinball Museum Director Michael Schiesse about to play a few rounds on Wizard, a pinball game that will be auctioned off this weekend at the Pinball Museum's Shoot the Moon Expo in Alameda\" width=\"800\" height=\"495\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-800x495.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-160x99.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-768x475.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-1020x631.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-1920x1188.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-1180x730.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-960x594.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-240x148.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-375x232.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/001-520x322.jpg 520w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Pinball Museum Director Michael Schiesse about to play a few rounds on Wizard, a pinball game that will be auctioned off this weekend at the Pinball Museum’s Shoot the Moon Expo in Alameda. \u003ccite>(Photo: Cy Musiker/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cstrong>Nov. 11-13\u003c/strong>: Michael Schiesse is a total pinball wizard. That’s appropriate since he’s executive director for the \u003ca href=\"http://pacificpinball.org/\" target=\"_blank\" rel=\"noopener\">Pacific Pinball Museum\u003c/a>, which is opening the doors to its warehouse on the old Alameda Naval Air Base with about 400 working pinball machines, all available for unlimited play. Schiesse, a former exhibition designer for the Exploratorium, is both a lover of the pop culture history of the machine, its \u003cem>bing, bing, bing\u003c/em> sounds and flashing lights, but also the way pinball can teach science and technology to school kids. “It’s almost like stealth learning,” he told me while demonstrating a game, “you don’t know it’s happening. And then all of a sudden, you come away from what was a really fun time, and you’ve learned the physics of the mass of the ball moving around, the shots, the trajectories.” So go learn something. Details for the Shoot the Moon Pinball Expo are \u003ca href=\"http://pacificpinball.org/events/shoot-moon-pinball-expo\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/msBNMtjLFpw'\n title='//www.youtube.com/embed/msBNMtjLFpw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>Nov 11-13\u003c/strong>: The \u003ca href=\"http://sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">San Francisco Hip Hop Dance Festival\u003c/a>, now in its 18th year, was the first formal event celebrating this brilliant street art. This year, the fest brings the very best crews from as far away as Paris (\u003ca href=\"https://www.facebook.com/Paradoxsal/\" target=\"_blank\" rel=\"noopener\">Paradox Sal\u003c/a>) and Vietnam \u003ca href=\"https://www.facebook.com/FanCuaSineCrew/\" target=\"_blank\" rel=\"noopener\">(S.I.N.E. Crew\u003c/a>), and as close as Los Angeles (\u003ca href=\"http://www.groovaloos.com/groovaloos/HOME.html\" target=\"_blank\" rel=\"noopener\">Groovaloos\u003c/a>), San Francisco (\u003ca href=\"http://www.embodimentproject.org/\" target=\"_blank\" rel=\"noopener\">Embodiment Project)\u003c/a> and Oakland (\u003ca href=\"http://www.theturfinc.com/\" target=\"_blank\" rel=\"noopener\">TURFinc\u003c/a>). The Embodiment’s Project’s Seed Language is a powerful piece about racism in America that we’ve covered \u003ca href=\"https://ww2.kqed.org/arts/2016/03/31/students-reimagine-black-lives-matter-and-black-panther-icons/\" target=\"_blank\" rel=\"noopener\">here.\u003c/a> Details for this weekend’s shows at the Palace of Fine Arts in San Francisco are \u003ca href=\"http://sfhiphopdancefest.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/XiGAylyOL0o'\n title='//www.youtube.com/embed/XiGAylyOL0o'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>\u003cstrong>Nov. 11 and Jan. 17\u003c/strong>: \u003ca href=\"http://www.pansydivision.com/www.pansydivision.com/Home.html\" target=\"_blank\" rel=\"noopener\">Pansy Division\u003c/a> came out of San Francisco’s \u003ca href=\"https://en.wikipedia.org/wiki/Queercore\" target=\"_blank\" rel=\"noopener\">queercore\u003c/a> scene in the 1990s, and on their latest album, \u003cem>Quite Contrary\u003c/em>, they’ve proved they’re just as good at gossipy love songs and radical gay anthems as ever. It’s got a nursery rhyme title, but adult content; check out “Blame the Bible” above. The album cover is a sweet picture of two guys in pajamas who look really happy together, another sign the band is aging well. Details for their Bottom of the Hill show Friday night are \u003ca href=\"http://www.bottomofthehill.com/calendar.html#sthash.hLADnKDV.dpbs\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. And details for their Lookout Records reunion concert on Jan. 7, at 924 Gilman Street in Berkeley, are \u003ca href=\"http://www.pansydivision.com/www.pansydivision.com/Gigs.html\" target=\"_blank\" rel=\"noopener\">here.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In the wake of Tuesday's election and its stunning upset by Donald Trump, there's been a whirlwind of discussion about the media's role in the election -- but in particular, the ways in which Facebook encouraged Trump's unprecedented rise while shielding its momentum from Hillary Clinton supporters.\u003c/p>\n\u003cp>Of course, no single thing elected Donald Trump. But considering that Facebook is now the \u003ca href=\"http://www.niemanlab.org/2016/05/pew-report-44-percent-of-u-s-adults-get-news-on-facebook/\" target=\"_blank\">go-to news source for 44 percent of American adults\u003c/a>, its role in the election is worth pursuing. Here are a few links to interesting analyses of how Facebook played a part in Trump's victory; I expect we'll see more in the weeks to come.\u003c/p>\n\u003cp>http://nymag.com/selectall/2016/11/donald-trump-won-because-of-facebook.html\u003c/p>\n\u003cp>Former Gawker editor Max Read writes an attention-grabbing headline and very nearly backs it up here, first positing that Facebook has performed a \"wholesale acquisition of the traditional functions of news media\" (a notion that any Google Analytics at news organizations can attest to), and then arguing that despite its great power, Facebook has failed at assuming great responsibility:\u003c/p>\n\u003cblockquote>\u003cp>The most obvious way in which Facebook enabled a Trump victory has been its inability (or refusal) to address the problem of hoax or fake news. Fake news is not a problem unique to Facebook, but Facebook’s enormous audience, and the mechanisms of distribution on which the site relies — i.e., the emotionally charged activity of sharing, and the show-me-more-like-this feedback loop of the news feed algorithm — makes it the only site to support a genuinely lucrative market in which shady publishers arbitrage traffic by enticing people off of Facebook and onto ad-festooned websites, using stories that are alternately made up, incorrect, exaggerated beyond all relationship to truth, or all three.\u003c/p>\u003c/blockquote>\n\u003cp>As an example of fake news, Read references \u003ca href=\"https://www.buzzfeed.com/craigsilverman/how-macedonia-became-a-global-hub-for-pro-trump-misinfo?utm_term=.islz5vWwg#.gt8bPyD7v\" target=\"_blank\">this article on Macedonian teenagers creating blatantly false content to dupe American Facebook users\u003c/a>, in particular Trump supporters, to receive Google AdSense revenue each time an outbound link is clicked.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But in its quest to swallow every part of the internet, Facebook incentivizes media outlets to publish their content -- video, images, text -- directly to Facebook. How's that going?\u003c/p>\n\u003cp>http://www.nytimes.com/2016/08/28/magazine/inside-facebooks-totally-insane-unintentionally-gigantic-hyperpartisan-political-media-machine.html\u003c/p>\n\u003cp>Not so well. We all see blatantly biased or false stories shared on Facebook, and here, the \u003cem>New York Times\u003c/em>’ John Herrman looks at the companies behind many of them. \"They have names like Occupy Democrats; The Angry Patriot; US Chronicle; Addicting Info; RightAlerts; Being Liberal; Opposing Views; Fed-Up Americans; American News; and hundreds more. Some of these pages have millions of followers; many have hundreds of thousands,\" he writes.\u003c/p>\n\u003cblockquote>\u003cp>And unlike traditional media organizations, which have spent years trying to figure out how to lure readers out of the Facebook ecosystem and onto their sites, these new publishers are happy to live inside the world that Facebook has created. Their pages are accommodated but not actively courted by the company and are not a major part of its public messaging about media. But they are, perhaps, the purest expression of Facebook’s design and of the incentives coded into its algorithm — a system that has already reshaped the web and has now inherited, for better or for worse, a great deal of America’s political discourse.\u003c/p>\u003c/blockquote>\n\u003cp>Importantly, Facebook isn't combatting this glut of fake news. You probably remember how, in response to the conservative outcry over Facebook's trending topics, Facebook \u003ca href=\"http://qz.com/768122/facebook-fires-human-editors-moves-to-algorithm-for-trending-topics/\" target=\"_blank\">eliminated human editors altogether\u003c/a>.\u003c/p>\n\u003cp>http://www.latimes.com/business/la-fi-election-media-20161109-story.html\u003c/p>\n\u003cp>In the \u003cem>Los Angeles Times\u003c/em>, David Pierson makes the case that considering Facebook's huge influence, it needs to start taking responsibility for what it publishes. Of course, according to Facebook, \u003cem>its users \u003c/em>are doing the publishing -- shielding Facebook from libel and defamation.\u003c/p>\n\u003cblockquote>\u003cp>“If their goal is to simply retain user engagement by reaffirming everything users already believe without challenging them, then there are real consequences. They need to own up to that,” said Gabriel Kahn, co-director of the Media, Economics and Entrepreneurship program at USC's Annenberg School for Communication and Journalism.\u003c/p>\n\u003cp>Kahn said the proliferation of fake news reminded him of what the late Sen. Daniel Patrick Moynihan often liked to say: “Everyone is entitled to his own opinion, but not to his own facts.”\u003c/p>\u003c/blockquote>\n\u003cp>But another problem isn't necessarily the fake stories on Facebook. It's what Facebook chooses to show you.\u003c/p>\n\u003cp>https://www.ted.com/talks/eli_pariser_beware_online_filter_bubbles?language=en\u003c/p>\n\u003cp>The internet was once idealized as the free exchange of different, sometimes uncomfortable ideas; Facebook has made it a constant soothing reflection of one's own beliefs and interests. This idea is not new -- here's a TED Talk from Eli Pariser about the online \"filter bubble\" from \u003cem>five whole years ago\u003c/em>. It's very odd to watch this week.\u003c/p>\n\u003cp>Essentially, Facebook's algorithm takes the posts from our already-curated circle or friends, and then filters them to show us what it thinks we want to see. (The \u003cem>Wall Street Journal\u003c/em> created \u003ca href=\"http://graphics.wsj.com/blue-feed-red-feed/\" target=\"_blank\">an eye-opening tool\u003c/a> that presents only \"red\" and \"blue\" Facebook feeds; \u003ca href=\"http://graphics.wsj.com/blue-feed-red-feed/\" target=\"_blank\">try it out\u003c/a>.) One of the narratives that arose quickly after Tuesday night was the so-called elite urban left's inability to engage with the disenfranchised rural right. On an individual level, this means Clinton supporters felt safe in their Facebook bubble, unaware of the size and passion of Trump supporters.\u003c/p>\n\u003cp>So when your Democratic friends take pundits to task for not accurately predicting Trump's chances of winning -- \u003cem>if only we'd known, we might have fought harder\u003c/em>, they think -- they also have to re-think Facebook's role in nurturing their feeling of security. According to their timeline, there was no threat. Trump was going to lose. Everybody on their timeline said so!\u003c/p>\n\u003cp>That might have been good news for them. Meanwhile, on the other side of the divide supported by a feel-good algorithm, Trump supporters consumed their own news -- in \u003ca href=\"https://www.theguardian.com/technology/2016/nov/10/facebook-fake-news-election-conspiracy-theories\" target=\"_blank\">varying degrees of truthiness\u003c/a> -- on Facebook.\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/Q.Logo_.Break_.jpg\" alt=\"q-logo_-break\" width=\"768\" height=\"75\" class=\"aligncenter size-full wp-image-47261\">\u003c/p>\n\u003cp>\u003cstrong>UPDATE:\u003c/strong> Mark Zuckerberg has responded. NPR's Aarti Shahani reports:\u003c/p>\n\u003cp>http://www.npr.org/sections/alltechconsidered/2016/11/11/501743684/zuckerberg-denies-fake-news-on-facebook-had-impact-on-the-election\u003c/p>\n\u003cp>And the \u003cem>New York Times\u003c/em> reports on the concern within Facebook's upper ranks about the company's influence on the election, and the all-hands meeting held for staff following Trump's victory:\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>http://www.nytimes.com/2016/11/14/technology/facebook-is-said-to-question-its-influence-in-election.html\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In the wake of Tuesday's election and its stunning upset by Donald Trump, there's been a whirlwind of discussion about the media's role in the election -- but in particular, the ways in which Facebook encouraged Trump's unprecedented rise while shielding its momentum from Hillary Clinton supporters.\u003c/p>\n\u003cp>Of course, no single thing elected Donald Trump. But considering that Facebook is now the \u003ca href=\"http://www.niemanlab.org/2016/05/pew-report-44-percent-of-u-s-adults-get-news-on-facebook/\" target=\"_blank\">go-to news source for 44 percent of American adults\u003c/a>, its role in the election is worth pursuing. Here are a few links to interesting analyses of how Facebook played a part in Trump's victory; I expect we'll see more in the weeks to come.\u003c/p>\n\u003cp>http://nymag.com/selectall/2016/11/donald-trump-won-because-of-facebook.html\u003c/p>\n\u003cp>Former Gawker editor Max Read writes an attention-grabbing headline and very nearly backs it up here, first positing that Facebook has performed a \"wholesale acquisition of the traditional functions of news media\" (a notion that any Google Analytics at news organizations can attest to), and then arguing that despite its great power, Facebook has failed at assuming great responsibility:\u003c/p>\n\u003cblockquote>\u003cp>The most obvious way in which Facebook enabled a Trump victory has been its inability (or refusal) to address the problem of hoax or fake news. Fake news is not a problem unique to Facebook, but Facebook’s enormous audience, and the mechanisms of distribution on which the site relies — i.e., the emotionally charged activity of sharing, and the show-me-more-like-this feedback loop of the news feed algorithm — makes it the only site to support a genuinely lucrative market in which shady publishers arbitrage traffic by enticing people off of Facebook and onto ad-festooned websites, using stories that are alternately made up, incorrect, exaggerated beyond all relationship to truth, or all three.\u003c/p>\u003c/blockquote>\n\u003cp>As an example of fake news, Read references \u003ca href=\"https://www.buzzfeed.com/craigsilverman/how-macedonia-became-a-global-hub-for-pro-trump-misinfo?utm_term=.islz5vWwg#.gt8bPyD7v\" target=\"_blank\">this article on Macedonian teenagers creating blatantly false content to dupe American Facebook users\u003c/a>, in particular Trump supporters, to receive Google AdSense revenue each time an outbound link is clicked.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But in its quest to swallow every part of the internet, Facebook incentivizes media outlets to publish their content -- video, images, text -- directly to Facebook. How's that going?\u003c/p>\n\u003cp>http://www.nytimes.com/2016/08/28/magazine/inside-facebooks-totally-insane-unintentionally-gigantic-hyperpartisan-political-media-machine.html\u003c/p>\n\u003cp>Not so well. We all see blatantly biased or false stories shared on Facebook, and here, the \u003cem>New York Times\u003c/em>’ John Herrman looks at the companies behind many of them. \"They have names like Occupy Democrats; The Angry Patriot; US Chronicle; Addicting Info; RightAlerts; Being Liberal; Opposing Views; Fed-Up Americans; American News; and hundreds more. Some of these pages have millions of followers; many have hundreds of thousands,\" he writes.\u003c/p>\n\u003cblockquote>\u003cp>And unlike traditional media organizations, which have spent years trying to figure out how to lure readers out of the Facebook ecosystem and onto their sites, these new publishers are happy to live inside the world that Facebook has created. Their pages are accommodated but not actively courted by the company and are not a major part of its public messaging about media. But they are, perhaps, the purest expression of Facebook’s design and of the incentives coded into its algorithm — a system that has already reshaped the web and has now inherited, for better or for worse, a great deal of America’s political discourse.\u003c/p>\u003c/blockquote>\n\u003cp>Importantly, Facebook isn't combatting this glut of fake news. You probably remember how, in response to the conservative outcry over Facebook's trending topics, Facebook \u003ca href=\"http://qz.com/768122/facebook-fires-human-editors-moves-to-algorithm-for-trending-topics/\" target=\"_blank\">eliminated human editors altogether\u003c/a>.\u003c/p>\n\u003cp>http://www.latimes.com/business/la-fi-election-media-20161109-story.html\u003c/p>\n\u003cp>In the \u003cem>Los Angeles Times\u003c/em>, David Pierson makes the case that considering Facebook's huge influence, it needs to start taking responsibility for what it publishes. Of course, according to Facebook, \u003cem>its users \u003c/em>are doing the publishing -- shielding Facebook from libel and defamation.\u003c/p>\n\u003cblockquote>\u003cp>“If their goal is to simply retain user engagement by reaffirming everything users already believe without challenging them, then there are real consequences. They need to own up to that,” said Gabriel Kahn, co-director of the Media, Economics and Entrepreneurship program at USC's Annenberg School for Communication and Journalism.\u003c/p>\n\u003cp>Kahn said the proliferation of fake news reminded him of what the late Sen. Daniel Patrick Moynihan often liked to say: “Everyone is entitled to his own opinion, but not to his own facts.”\u003c/p>\u003c/blockquote>\n\u003cp>But another problem isn't necessarily the fake stories on Facebook. It's what Facebook chooses to show you.\u003c/p>\n\u003cp>https://www.ted.com/talks/eli_pariser_beware_online_filter_bubbles?language=en\u003c/p>\n\u003cp>The internet was once idealized as the free exchange of different, sometimes uncomfortable ideas; Facebook has made it a constant soothing reflection of one's own beliefs and interests. This idea is not new -- here's a TED Talk from Eli Pariser about the online \"filter bubble\" from \u003cem>five whole years ago\u003c/em>. It's very odd to watch this week.\u003c/p>\n\u003cp>Essentially, Facebook's algorithm takes the posts from our already-curated circle or friends, and then filters them to show us what it thinks we want to see. (The \u003cem>Wall Street Journal\u003c/em> created \u003ca href=\"http://graphics.wsj.com/blue-feed-red-feed/\" target=\"_blank\">an eye-opening tool\u003c/a> that presents only \"red\" and \"blue\" Facebook feeds; \u003ca href=\"http://graphics.wsj.com/blue-feed-red-feed/\" target=\"_blank\">try it out\u003c/a>.) One of the narratives that arose quickly after Tuesday night was the so-called elite urban left's inability to engage with the disenfranchised rural right. On an individual level, this means Clinton supporters felt safe in their Facebook bubble, unaware of the size and passion of Trump supporters.\u003c/p>\n\u003cp>So when your Democratic friends take pundits to task for not accurately predicting Trump's chances of winning -- \u003cem>if only we'd known, we might have fought harder\u003c/em>, they think -- they also have to re-think Facebook's role in nurturing their feeling of security. According to their timeline, there was no threat. Trump was going to lose. Everybody on their timeline said so!\u003c/p>\n\u003cp>That might have been good news for them. Meanwhile, on the other side of the divide supported by a feel-good algorithm, Trump supporters consumed their own news -- in \u003ca href=\"https://www.theguardian.com/technology/2016/nov/10/facebook-fake-news-election-conspiracy-theories\" target=\"_blank\">varying degrees of truthiness\u003c/a> -- on Facebook.\u003c/p>\n\u003cp>\u003cimg src=\"http://ww2.kqed.org/pop/wp-content/uploads/sites/12/2016/11/Q.Logo_.Break_.jpg\" alt=\"q-logo_-break\" width=\"768\" height=\"75\" class=\"aligncenter size-full wp-image-47261\">\u003c/p>\n\u003cp>\u003cstrong>UPDATE:\u003c/strong> Mark Zuckerberg has responded. NPR's Aarti Shahani reports:\u003c/p>\n\u003cp>http://www.npr.org/sections/alltechconsidered/2016/11/11/501743684/zuckerberg-denies-fake-news-on-facebook-had-impact-on-the-election\u003c/p>\n\u003cp>And the \u003cem>New York Times\u003c/em> reports on the concern within Facebook's upper ranks about the company's influence on the election, and the all-hands meeting held for staff following Trump's victory:\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>A veteran standup comedian accused of abusing his power as mayor of a small Ohio city has been acquitted of all counts.\u003c/p>\n\u003cp>A Highland County jury on Wednesday found Hillsboro Mayor Drew Hastings not guilty of a charge of election falsification concerning his residency and of a charge stemming from alleged misuse of city trash bins.\u003c/p>\n\u003cp>Judge Patricia Ann Cosgrove earlier threw out the two other felony counts that Hastings faced.\u003c/p>\n\u003cp>A special prosecutor from Ohio’s auditor’s office had told jurors the previous day that Hastings “thought the laws didn’t apply to him,” The Times-Gazette (http://bit.ly/2flyt94 ) reported. Special prosecutor Robert F. Smith has argued that water records and furnishings show Hastings’ real residence is his farm outside the city, not his downtown apartment.\u003c/p>\n\u003cp>Hastings’ attorney, James Boulger, blasted the accusation that Hastings falsified his residency by pointing out that Ohio’s attorney general investigated the matter in 2013. Boulger suggested Hastings’ political enemies were behind an investigation that began soon after the Republican’s re-election to a second term last November.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Hastings, who has appeared on late-night television shows, had been handily re-elected to a second four-year term.\u003c/p>\n\u003cp>His case was closely watched and debated in Hillsboro, a city of 6,600 people about 60 miles east of Cincinnati.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Cosgrove, a retired Summit County common pleas judge, heard the case after a Highland County judge recused himself.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A veteran standup comedian accused of abusing his power as mayor of a small Ohio city has been acquitted of all counts.\u003c/p>\n\u003cp>A Highland County jury on Wednesday found Hillsboro Mayor Drew Hastings not guilty of a charge of election falsification concerning his residency and of a charge stemming from alleged misuse of city trash bins.\u003c/p>\n\u003cp>Judge Patricia Ann Cosgrove earlier threw out the two other felony counts that Hastings faced.\u003c/p>\n\u003cp>A special prosecutor from Ohio’s auditor’s office had told jurors the previous day that Hastings “thought the laws didn’t apply to him,” The Times-Gazette (http://bit.ly/2flyt94 ) reported. Special prosecutor Robert F. Smith has argued that water records and furnishings show Hastings’ real residence is his farm outside the city, not his downtown apartment.\u003c/p>\n\u003cp>Hastings’ attorney, James Boulger, blasted the accusation that Hastings falsified his residency by pointing out that Ohio’s attorney general investigated the matter in 2013. Boulger suggested Hastings’ political enemies were behind an investigation that began soon after the Republican’s re-election to a second term last November.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>San Francisco voters are split on the two arts-focused measures on the 2016 ballot.\u003c/p>\n\u003cp>Voters passed \u003ca href=\"http://www.sfelections.org/results/20161108/\" target=\"_blank\" rel=\"noopener\">Proposition X with nearly 60 percent of the vote\u003c/a>. The proposition requires developers, when demolishing a building for housing in the South of Market and Mission neighborhoods, to preserve space used as artist studios and by light industry.\u003c/p>\n\u003cp>“It’s a good moment for people who want this kind of neighborhood feeling and this culture here,” says Proposition X supporter Kevin McCracken, the co-founder of \u003ca href=\"https://socialimprints.com/\" target=\"_blank\" rel=\"noopener\">Social Imprints\u003c/a>, a South of Market business that makes everything from branded water bottles to tote bags.\u003c/p>\n\u003cp>Meanwhile, at the time of writing on the afternoon of Wednesday Nov. 9, \u003ca href=\"http://www.sfelections.org/results/20161108/\" target=\"_blank\" rel=\"noopener\">Proposition S was falling four points short of the two-thirds margin needed for passage\u003c/a>. The measure, if it passes, would guarantee a share of the city’s hotel tax to arts groups and organizations working with homeless families. Co-sponsor \u003ca href=\"https://www.ybca.org/staff/jonathan-moscone\" target=\"_blank\" rel=\"noopener\">Jon Moscone, chief of civic engagement at the Yerba Buena Center for the Arts, \u003c/a>says the alliance of arts and homeless groups will endure regardless of the final outcome of the vote.\u003c/p>\n\u003cp>“We are a coalition whether we win this ballot or not,” Moscone says. “We have a strength of numbers, and we have a strength of voice, and we have more than 60 percent of San Francisco voters agreeing with us. And that’s a real number for supervisors and the mayor’s office to pay attention to. I think they’ll answer our phone calls and they’ll answer our door knocks, in a way that they may not have before.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moscone adds that with 100,000 votes still to be counted, Proposition S supporters aren’t conceding yet. The San Francisco Department of Elections is expected to update its count later Tuesday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>KQED will post an update to this article as the story unfolds.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>San Francisco voters are split on the two arts-focused measures on the 2016 ballot.\u003c/p>\n\u003cp>Voters passed \u003ca href=\"http://www.sfelections.org/results/20161108/\" target=\"_blank\" rel=\"noopener\">Proposition X with nearly 60 percent of the vote\u003c/a>. The proposition requires developers, when demolishing a building for housing in the South of Market and Mission neighborhoods, to preserve space used as artist studios and by light industry.\u003c/p>\n\u003cp>“It’s a good moment for people who want this kind of neighborhood feeling and this culture here,” says Proposition X supporter Kevin McCracken, the co-founder of \u003ca href=\"https://socialimprints.com/\" target=\"_blank\" rel=\"noopener\">Social Imprints\u003c/a>, a South of Market business that makes everything from branded water bottles to tote bags.\u003c/p>\n\u003cp>Meanwhile, at the time of writing on the afternoon of Wednesday Nov. 9, \u003ca href=\"http://www.sfelections.org/results/20161108/\" target=\"_blank\" rel=\"noopener\">Proposition S was falling four points short of the two-thirds margin needed for passage\u003c/a>. The measure, if it passes, would guarantee a share of the city’s hotel tax to arts groups and organizations working with homeless families. Co-sponsor \u003ca href=\"https://www.ybca.org/staff/jonathan-moscone\" target=\"_blank\" rel=\"noopener\">Jon Moscone, chief of civic engagement at the Yerba Buena Center for the Arts, \u003c/a>says the alliance of arts and homeless groups will endure regardless of the final outcome of the vote.\u003c/p>\n\u003cp>“We are a coalition whether we win this ballot or not,” Moscone says. “We have a strength of numbers, and we have a strength of voice, and we have more than 60 percent of San Francisco voters agreeing with us. And that’s a real number for supervisors and the mayor’s office to pay attention to. I think they’ll answer our phone calls and they’ll answer our door knocks, in a way that they may not have before.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Moscone adds that with 100,000 votes still to be counted, Proposition S supporters aren’t conceding yet. The San Francisco Department of Elections is expected to update its count later Tuesday.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>KQED will post an update to this article as the story unfolds.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"disqusTitle": "An Election Day Tale: 'Dewey Defeats Truman'",
"title": "An Election Day Tale: 'Dewey Defeats Truman'",
"headTitle": "The California Report | KQED News",
"content": "\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>lection Day, 1948, Chicago.\u003c/p>\n\u003cp>My dad was at home on Nashville Avenue, a business student at Northwestern, a year and a half or so after his short hitch with the Army was over. By his account, he was lying on the living-room couch in the dark, listening to election returns on the radio. It seemed the vote might be going for Truman over his Republican challenger, Thomas Dewey of New York. But an announcer mentioned the Chicago Tribune was already calling the race and that an early edition declaring Dewey the winner was on the street. Dad said he went out to a newsstand and bought a copy just as a Tribune delivery driver was trying to retrieve the early edition. That's the copy pictured above.\u003c/p>\n\u003cp>One of the things I noticed when I was a kid looking at that front page was how little evidence the Tribune had to declare a winner. Much of the South looked like a lock for States' Rights (and segregationist) candidate \u003ca href=\"http://www.pbs.org/now/politics/dixiecrats.html\" target=\"_blank\" rel=\"noopener noreferrer\">Strom Thurmond\u003c/a>. The Trib's front-page copy mentioned polls were still open in most of the country, and where voting was over, the count was so preliminary -- well, you just have to admire the power of wishful thinking.\u003c/p>\n\u003cp>Of course the Tribune had to be first with the news: Its owner, \u003ca href=\"http://www.nytimes.com/books/97/07/13/reviews/mccormick-obit.html\" target=\"_blank\" rel=\"noopener noreferrer\">Colonel Robert R. McCormick\u003c/a>, was an arch-anti-Democrat and sworn foe of FDR and everything he stood for. A 1936 story on the Democratic National Convention was headlined, \"The Soviets Gather at Philadelphia.\" A subhead in this 1948 edition's lead election story reads, \"New Deal Repudiated.\"\u003c/p>\n\u003cfigure id=\"attachment_11164966\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/tribdetail.jpg\">\u003cimg class=\"size-full wp-image-11164966\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/tribdetail.jpg\" alt=\"A detail of the Chicago Tribune's 1948 'Dewey Defeats Truman' front page showing inverted copy. The paper's union typesetters were on strike the night of the 1948 election.\" width=\"300\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/11/tribdetail.jpg 300w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/tribdetail-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/tribdetail-240x360.jpg 240w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A detail of the Chicago Tribune's 1948 'Dewey Defeats Truman' front page showing inverted copy. The paper's union typesetters were on strike the night of the 1948 election. \u003ccite>(Dan Brekke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What also got my attention, and still does, are signs the front page had been prepared in great haste. Several lines of type in the lead story's second paragraph were inserted upside down. Also, the first three pages seem to be cast in a \"typewriter\" Courier typeface that appears slapdash and irregular, with some lines askew and poorly spaced; the type is different from the interior pages, which are set in what I assume was the paper's regular typeface.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>(After some research, the explanation appears to be that the paper's typesetters were on strike and that the lines in question were indeed typed, then cut and pasted somehow, then photographed for reproduction on the press. See \"\u003ca href=\"https://web.archive.org/web/20120730072243/http://deweydefeatstruman.com/dewey-defeats-truman-the-rarely-told-story-1948.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Dewey Defeats Truman: The Rarely Told Story of Chicago Tribune's Most Famous Issue\u003c/a>\" and \"\u003ca href=\"https://web.archive.org/web/20121002211856/http://www.historybuff.com/library/refdewey.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Eleven Editions of the November 3, 1948, Chicago Tribune\u003c/a>\" -- the latter a fascinating breakdown of what the paper published and when that day.)\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>erhaps what I admire most about this imaginative exercise in journalism is the reporting on display in the election mainbar. In perhaps the only story he's remembered for, the Trib's Washington bureau chief, Arthur Sears Henning, declared the outcome of the vote:\u003c/p>\n\u003cblockquote>\u003cp>\"Dewey and Warren won a sweeping victory in the Presidential election yesterday.\u003c/p>\n\u003cp>\"The early returns showed the Republican ticket leading Truman and Barkley pretty consistently in northern and western states. The indications were that the complete returns would disclose that Dewey won the Presidency by an overwhelming majority of electoral votes.\"\u003c/p>\u003c/blockquote>\n\u003cp>Since the numbers didn't bear out the tale, who or what was the source of that intelligence? Herbert Brownell, Dewey's campaign manager.\u003c/p>\n\u003cp>Brownell, wrote Henning, \"claimed that on the basis of the complete returns 'we will wind up sweeping two-thirds of the states for the Republican ticket.' \" There was more:\u003c/p>\n\u003cblockquote>\u003cp>\"As states definitely in the Republican column in the light of the fragmentary returns Brownell named Illinois, Ohio, Indiana, Connecticut, Delaware, Maine, Maryland, New Hampshire, Vermont, and South Dakota. Four years ago the Republicans carried only five of these states.\u003c/p>\n\u003cp>\"'At this moment,' said Brownell, 'the polls have closed in 12 of the 48 states outside the solid south. These states have a total of 120 votes in the electoral college.\u003c/p>\n\u003cp>\"'On the basis of reports which I have been receiving from organization leaders thruout the country, I am confident that the Dewey-Warren ticket has already carried 10 of these 12 states with a total of 101 of the 120 electoral votes.\u003c/p>\n\u003cp>\"'In the other two states--Kentucky and West Virginia--returns are not yet conclusive but the trend to the Dewey-Warren ticket is heartening.' \"\u003c/p>\u003c/blockquote>\n\u003cp>Brownell wasn't completely off-base, though Illinois, Ohio, West Virginia and Kentucky all went for Truman. Still, the paper went out on that limb on the basis of 12 states and hearsay about \"reports from organizers.\"\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>enning's eventual successor as head of the Tribune Washington bureau, Walter Trohan, was in Chicago that night covering congressional elections for the paper. He recorded \u003ca href=\"http://www.trumanlibrary.org/oralhist/trohan.htm\" target=\"_blank\" rel=\"noopener noreferrer\">an account\u003c/a> of parts of his bureau tenure for the Harry S. Truman Library in 1970. He said an election evening phone call with Ohio Sen. Robert Taft, who had lost the Republican nomination to Dewey, led him to believe the Trib's story and banner headline were wrong. About the 72-year-old Henning's insistence that Dewey was winning, Trohan said, \"Why he became so stubborn I don't know; I guess age.\"\u003c/p>\n\u003cp>Trohan was called on to write a new version of the story for later editions, with Truman the victor. But before that happened, he was asked to appear on a local TV show to discuss the returns:\u003c/p>\n\u003cblockquote>\u003cp>\"...And that night it was terrible, about 10 o'clock, before -- we were still carrying the headline -- I was called to go on TV to discuss the congressional election. And I went up and there was Henning, and there was the wife of the publisher, and some very important people, a dozen people or so. The announcer was a fellow with a charming voice, but no sense, in a very nice pearl-shaped tone, said, 'Well, Walter,' and I had never met him before in my life, 'how is Mr. Dewey going to get along with majority Congress?'\u003c/p>\n\u003cp>\"I said, 'He isn't going to have a majority Congress, the Democrats have won the Congress.'\u003c/p>\n\u003cp>\"He said, 'You mean that Dewey will have to work with a hostile Congress?'\u003c/p>\n\u003cp>\"And I said, 'No, I don't mean anything of the kind. Mr. Dewey ain't going to be there either.' \"\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut Henning and the Trib were already committed to a different version not only of the story, but of history. Henning's rather brief piece ended with this bit of context under the previously mentioned subhead, \"New Deal Repudiated\":\u003c/p>\n\u003cblockquote>\u003cp>\"The Republican victory brought to a close the 16 year reign of the New Deal which began in the country's most devastating depression, introduced a collectivist economy, produced a four-term President, embraced a disastrous war and left the nation a 250 billion dollar debt and heritage of foreign policy containing the seeds of another war.\"\u003c/p>\u003c/blockquote>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The war Henning referred to, of course, was the one the United States and its allies fought to vanquish fascism.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">E\u003c/span>lection Day, 1948, Chicago.\u003c/p>\n\u003cp>My dad was at home on Nashville Avenue, a business student at Northwestern, a year and a half or so after his short hitch with the Army was over. By his account, he was lying on the living-room couch in the dark, listening to election returns on the radio. It seemed the vote might be going for Truman over his Republican challenger, Thomas Dewey of New York. But an announcer mentioned the Chicago Tribune was already calling the race and that an early edition declaring Dewey the winner was on the street. Dad said he went out to a newsstand and bought a copy just as a Tribune delivery driver was trying to retrieve the early edition. That's the copy pictured above.\u003c/p>\n\u003cp>One of the things I noticed when I was a kid looking at that front page was how little evidence the Tribune had to declare a winner. Much of the South looked like a lock for States' Rights (and segregationist) candidate \u003ca href=\"http://www.pbs.org/now/politics/dixiecrats.html\" target=\"_blank\" rel=\"noopener noreferrer\">Strom Thurmond\u003c/a>. The Trib's front-page copy mentioned polls were still open in most of the country, and where voting was over, the count was so preliminary -- well, you just have to admire the power of wishful thinking.\u003c/p>\n\u003cp>Of course the Tribune had to be first with the news: Its owner, \u003ca href=\"http://www.nytimes.com/books/97/07/13/reviews/mccormick-obit.html\" target=\"_blank\" rel=\"noopener noreferrer\">Colonel Robert R. McCormick\u003c/a>, was an arch-anti-Democrat and sworn foe of FDR and everything he stood for. A 1936 story on the Democratic National Convention was headlined, \"The Soviets Gather at Philadelphia.\" A subhead in this 1948 edition's lead election story reads, \"New Deal Repudiated.\"\u003c/p>\n\u003cfigure id=\"attachment_11164966\" class=\"wp-caption alignright\" style=\"max-width: 300px\">\u003ca href=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/tribdetail.jpg\">\u003cimg class=\"size-full wp-image-11164966\" src=\"http://ww2.kqed.org/news/wp-content/uploads/sites/10/2016/11/tribdetail.jpg\" alt=\"A detail of the Chicago Tribune's 1948 'Dewey Defeats Truman' front page showing inverted copy. The paper's union typesetters were on strike the night of the 1948 election.\" width=\"300\" height=\"450\" srcset=\"https://ww2.kqed.org/app/uploads/sites/10/2016/11/tribdetail.jpg 300w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/tribdetail-160x240.jpg 160w, https://ww2.kqed.org/app/uploads/sites/10/2016/11/tribdetail-240x360.jpg 240w\" sizes=\"(max-width: 300px) 100vw, 300px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">A detail of the Chicago Tribune's 1948 'Dewey Defeats Truman' front page showing inverted copy. The paper's union typesetters were on strike the night of the 1948 election. \u003ccite>(Dan Brekke/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>What also got my attention, and still does, are signs the front page had been prepared in great haste. Several lines of type in the lead story's second paragraph were inserted upside down. Also, the first three pages seem to be cast in a \"typewriter\" Courier typeface that appears slapdash and irregular, with some lines askew and poorly spaced; the type is different from the interior pages, which are set in what I assume was the paper's regular typeface.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>(After some research, the explanation appears to be that the paper's typesetters were on strike and that the lines in question were indeed typed, then cut and pasted somehow, then photographed for reproduction on the press. See \"\u003ca href=\"https://web.archive.org/web/20120730072243/http://deweydefeatstruman.com/dewey-defeats-truman-the-rarely-told-story-1948.htm\" target=\"_blank\" rel=\"noopener noreferrer\">Dewey Defeats Truman: The Rarely Told Story of Chicago Tribune's Most Famous Issue\u003c/a>\" and \"\u003ca href=\"https://web.archive.org/web/20121002211856/http://www.historybuff.com/library/refdewey.html\" target=\"_blank\" rel=\"noopener noreferrer\">The Eleven Editions of the November 3, 1948, Chicago Tribune\u003c/a>\" -- the latter a fascinating breakdown of what the paper published and when that day.)\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">P\u003c/span>erhaps what I admire most about this imaginative exercise in journalism is the reporting on display in the election mainbar. In perhaps the only story he's remembered for, the Trib's Washington bureau chief, Arthur Sears Henning, declared the outcome of the vote:\u003c/p>\n\u003cblockquote>\u003cp>\"Dewey and Warren won a sweeping victory in the Presidential election yesterday.\u003c/p>\n\u003cp>\"The early returns showed the Republican ticket leading Truman and Barkley pretty consistently in northern and western states. The indications were that the complete returns would disclose that Dewey won the Presidency by an overwhelming majority of electoral votes.\"\u003c/p>\u003c/blockquote>\n\u003cp>Since the numbers didn't bear out the tale, who or what was the source of that intelligence? Herbert Brownell, Dewey's campaign manager.\u003c/p>\n\u003cp>Brownell, wrote Henning, \"claimed that on the basis of the complete returns 'we will wind up sweeping two-thirds of the states for the Republican ticket.' \" There was more:\u003c/p>\n\u003cblockquote>\u003cp>\"As states definitely in the Republican column in the light of the fragmentary returns Brownell named Illinois, Ohio, Indiana, Connecticut, Delaware, Maine, Maryland, New Hampshire, Vermont, and South Dakota. Four years ago the Republicans carried only five of these states.\u003c/p>\n\u003cp>\"'At this moment,' said Brownell, 'the polls have closed in 12 of the 48 states outside the solid south. These states have a total of 120 votes in the electoral college.\u003c/p>\n\u003cp>\"'On the basis of reports which I have been receiving from organization leaders thruout the country, I am confident that the Dewey-Warren ticket has already carried 10 of these 12 states with a total of 101 of the 120 electoral votes.\u003c/p>\n\u003cp>\"'In the other two states--Kentucky and West Virginia--returns are not yet conclusive but the trend to the Dewey-Warren ticket is heartening.' \"\u003c/p>\u003c/blockquote>\n\u003cp>Brownell wasn't completely off-base, though Illinois, Ohio, West Virginia and Kentucky all went for Truman. Still, the paper went out on that limb on the basis of 12 states and hearsay about \"reports from organizers.\"\u003c/p>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">H\u003c/span>enning's eventual successor as head of the Tribune Washington bureau, Walter Trohan, was in Chicago that night covering congressional elections for the paper. He recorded \u003ca href=\"http://www.trumanlibrary.org/oralhist/trohan.htm\" target=\"_blank\" rel=\"noopener noreferrer\">an account\u003c/a> of parts of his bureau tenure for the Harry S. Truman Library in 1970. He said an election evening phone call with Ohio Sen. Robert Taft, who had lost the Republican nomination to Dewey, led him to believe the Trib's story and banner headline were wrong. About the 72-year-old Henning's insistence that Dewey was winning, Trohan said, \"Why he became so stubborn I don't know; I guess age.\"\u003c/p>\n\u003cp>Trohan was called on to write a new version of the story for later editions, with Truman the victor. But before that happened, he was asked to appear on a local TV show to discuss the returns:\u003c/p>\n\u003cblockquote>\u003cp>\"...And that night it was terrible, about 10 o'clock, before -- we were still carrying the headline -- I was called to go on TV to discuss the congressional election. And I went up and there was Henning, and there was the wife of the publisher, and some very important people, a dozen people or so. The announcer was a fellow with a charming voice, but no sense, in a very nice pearl-shaped tone, said, 'Well, Walter,' and I had never met him before in my life, 'how is Mr. Dewey going to get along with majority Congress?'\u003c/p>\n\u003cp>\"I said, 'He isn't going to have a majority Congress, the Democrats have won the Congress.'\u003c/p>\n\u003cp>\"He said, 'You mean that Dewey will have to work with a hostile Congress?'\u003c/p>\n\u003cp>\"And I said, 'No, I don't mean anything of the kind. Mr. Dewey ain't going to be there either.' \"\u003c/p>\u003c/blockquote>\n\u003cp>\u003cspan style=\"font-size: 4.6875em;float: left;line-height: 0.733em;padding: 0.05em 0.1em 0 0;font-family: times, serif, georgia\">B\u003c/span>ut Henning and the Trib were already committed to a different version not only of the story, but of history. Henning's rather brief piece ended with this bit of context under the previously mentioned subhead, \"New Deal Repudiated\":\u003c/p>\n\u003cblockquote>\u003cp>\"The Republican victory brought to a close the 16 year reign of the New Deal which began in the country's most devastating depression, introduced a collectivist economy, produced a four-term President, embraced a disastrous war and left the nation a 250 billion dollar debt and heritage of foreign policy containing the seeds of another war.\"\u003c/p>\u003c/blockquote>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The war Henning referred to, of course, was the one the United States and its allies fought to vanquish fascism.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Director Werner Herzog has made a name for himself documenting some sad and disturbing stories, such as men being eaten alive by bears, people waiting to be killed by an erupting volcano and child soldiers fighting in Nicaragua. But in person, Herzog is not all doom and gloom.\u003c/p>\n\u003cp>For example, while being interviewed at KQED Monday, Herzog gave a touching response to a question about Berkeley-based documentary filmmaker Les Blank, who died back in 2013. \u003c/p>\n\u003cp>“Frankly speaking, I do not feel that he has passed away. His films are so lively, and I speak of Blank in present terms,” Herzog said. “He’s so vivid, so alive, I have only understood it acoustically that he has passed away — it has not really entered my heart.” \u003c/p>\n\u003cp>Blank made two well-known documentaries about Herzog, both about the director achieving great feats as part of his work: \u003ci>Werner Herzog Eats His Shoe,\u003c/i> about the German director making good on a bet and eating his shoe over five hours at Chez Panisse; and \u003ci>Burden of Dreams,\u003c/i> about the making of Herzog’s epic feature \u003ci>Fitzcarraldo\u003c/i> where a wealthy rubber magnate pushes a steamship over a steep hill in the jungles of Peru.\u003c/p>\n\u003cp>The entire interview, captured by KQED Arts in a \u003ca href=\"https://www.facebook.com/kqedarts/videos/1230492090356905/?hc_ref=NEWSFEED\" target=\"_blank\" rel=\"noopener\">Facebook Live video\u003c/a>, includes even more Bay Area-based stories, like the time that Herzog visited his longtime friend, actor Klaus Kinski, in his cabin in the woods of Lagunitas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it was a question about the upcoming election where Herzog really showed his cheery side:\u003c/p>\n\u003cp>“Do not despair… The electorate has a collective intelligence that will not cause despair. And once this cloud of dust has settled, America will return to all it’s glory.”\u003c/p>\n\u003cp>\u003ci>Watch the interview yourself:\u003c/i>\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://www.facebook.com/kqedarts/videos/1230492090356905/?hc_ref=NEWSFEED\u003cbr>\n\u003c/aside>\n\u003cp>\u003ci>Listen to Herzog’s interview on \u003cstrong>Forum\u003c/strong> below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/291964941″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Director Werner Herzog has made a name for himself documenting some sad and disturbing stories, such as men being eaten alive by bears, people waiting to be killed by an erupting volcano and child soldiers fighting in Nicaragua. But in person, Herzog is not all doom and gloom.\u003c/p>\n\u003cp>For example, while being interviewed at KQED Monday, Herzog gave a touching response to a question about Berkeley-based documentary filmmaker Les Blank, who died back in 2013. \u003c/p>\n\u003cp>“Frankly speaking, I do not feel that he has passed away. His films are so lively, and I speak of Blank in present terms,” Herzog said. “He’s so vivid, so alive, I have only understood it acoustically that he has passed away — it has not really entered my heart.” \u003c/p>\n\u003cp>Blank made two well-known documentaries about Herzog, both about the director achieving great feats as part of his work: \u003ci>Werner Herzog Eats His Shoe,\u003c/i> about the German director making good on a bet and eating his shoe over five hours at Chez Panisse; and \u003ci>Burden of Dreams,\u003c/i> about the making of Herzog’s epic feature \u003ci>Fitzcarraldo\u003c/i> where a wealthy rubber magnate pushes a steamship over a steep hill in the jungles of Peru.\u003c/p>\n\u003cp>The entire interview, captured by KQED Arts in a \u003ca href=\"https://www.facebook.com/kqedarts/videos/1230492090356905/?hc_ref=NEWSFEED\" target=\"_blank\" rel=\"noopener\">Facebook Live video\u003c/a>, includes even more Bay Area-based stories, like the time that Herzog visited his longtime friend, actor Klaus Kinski, in his cabin in the woods of Lagunitas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it was a question about the upcoming election where Herzog really showed his cheery side:\u003c/p>\n\u003cp>“Do not despair… The electorate has a collective intelligence that will not cause despair. And once this cloud of dust has settled, America will return to all it’s glory.”\u003c/p>\n\u003cp>\u003ci>Watch the interview yourself:\u003c/i>\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://www.facebook.com/kqedarts/videos/1230492090356905/?hc_ref=NEWSFEED\u003cbr>\n\u003c/aside>\n\u003cp>\u003ci>Listen to Herzog’s interview on \u003cstrong>Forum\u003c/strong> below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/291964941″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/291964941″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Italian authorities are investigating the theft of a 17th-century painting from an earthquake-damaged church, one of the first suspected victims of looting from last month’s quakes that have sent officials racing to recover priceless artworks before thieves and the elements get to them.\u003c/p>\n\u003cp>The national police unit charged with protecting cultural treasures said Monday that the 1631 painting “Pardon in Assisi” by French painter Jean Lhomme was stolen from a village church in Nottoria. The work was well-known among historians.\u003c/p>\n\u003cp>The parish priest, the Rev. Marco Rufini, told news agency ANSA that the thieves apparently ignored the risk of the church collapsing on them when they cut the painting from its frame, “adding injury to injury.”\u003c/p>\n\u003cp>The earthquakes on Oct. 26 and Oct. 30 collapsed buildings across a broad swath of a region already reeling from a deadly August quake. One of the iconic images of the devastation is the basilica of St. Benedict of Norcia, built over the birthplace of the patron saint of Europe, where only the facade remains standing.\u003c/p>\n\u003cp>While the main priorities have been tending to the estimated 30,000 people left homeless, authorities have also begun recovering artworks from the more than 182 quake-damaged or destroyed churches in the area, said the archbishop of Norcia and Spoleto, Monsignor Renato Boccardo.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“These towns have been abandoned, with their churches destroyed, so the risk of theft is very high,” he said.\u003c/p>\n\u003cp>In addition, a powerful storm Sunday night threatened even more damage to artworks exposed to the elements. The mayor of quake-hit Visso, for example, flagged that important frescoes of the Madonna were at risk from the rain and required a helicopter to come in and extract them.\u003c/p>\n\u003cp>The army has moved in anti-looting units to the region, but Boccardo noted that cities like Norcia and nearby Cascia have around 40 tiny hamlets apiece, sparsely spread across mountains. “Whoever wants to go into a home or church can go easily,” he said.\u003c/p>\n\u003cp>While stressing that his primary concern was providing for his flock, he said the damage to the churches had added to their trauma.\u003c/p>\n\u003cp>“The history of this area is expressed in its churches, the witnesses of art, history and faith,” he told reporters in Rome. For the people of the region, he said, the quake represented a “double loss” of both their homes and their churches.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“All the life of these little hamlets and towns is linked to the churches — the history and development of the towns all took place around them.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Italian authorities are investigating the theft of a 17th-century painting from an earthquake-damaged church, one of the first suspected victims of looting from last month’s quakes that have sent officials racing to recover priceless artworks before thieves and the elements get to them.\u003c/p>\n\u003cp>The national police unit charged with protecting cultural treasures said Monday that the 1631 painting “Pardon in Assisi” by French painter Jean Lhomme was stolen from a village church in Nottoria. The work was well-known among historians.\u003c/p>\n\u003cp>The parish priest, the Rev. Marco Rufini, told news agency ANSA that the thieves apparently ignored the risk of the church collapsing on them when they cut the painting from its frame, “adding injury to injury.”\u003c/p>\n\u003cp>The earthquakes on Oct. 26 and Oct. 30 collapsed buildings across a broad swath of a region already reeling from a deadly August quake. One of the iconic images of the devastation is the basilica of St. Benedict of Norcia, built over the birthplace of the patron saint of Europe, where only the facade remains standing.\u003c/p>\n\u003cp>While the main priorities have been tending to the estimated 30,000 people left homeless, authorities have also begun recovering artworks from the more than 182 quake-damaged or destroyed churches in the area, said the archbishop of Norcia and Spoleto, Monsignor Renato Boccardo.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“These towns have been abandoned, with their churches destroyed, so the risk of theft is very high,” he said.\u003c/p>\n\u003cp>In addition, a powerful storm Sunday night threatened even more damage to artworks exposed to the elements. The mayor of quake-hit Visso, for example, flagged that important frescoes of the Madonna were at risk from the rain and required a helicopter to come in and extract them.\u003c/p>\n\u003cp>The army has moved in anti-looting units to the region, but Boccardo noted that cities like Norcia and nearby Cascia have around 40 tiny hamlets apiece, sparsely spread across mountains. “Whoever wants to go into a home or church can go easily,” he said.\u003c/p>\n\u003cp>While stressing that his primary concern was providing for his flock, he said the damage to the churches had added to their trauma.\u003c/p>\n\u003cp>“The history of this area is expressed in its churches, the witnesses of art, history and faith,” he told reporters in Rome. For the people of the region, he said, the quake represented a “double loss” of both their homes and their churches.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“All the life of these little hamlets and towns is linked to the churches — the history and development of the towns all took place around them.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Beyoncé And The Dixie Chicks Offer Up Lessons On Country Music's Past (And Future)",
"headTitle": "Beyoncé And The Dixie Chicks Offer Up Lessons On Country Music’s Past (And Future) | KQED",
"content": "\u003cp>In honor of the 50th anniversary of the CMA Awards, show producers worked a truly impressive number of performers into the Nov. 2 telecast, utilizing everything from moving medleys to photo montages and mentions of legends seated in the audience.\u003c/p>\n\u003cp>But no other appearance received half the attention of \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a>‘s “Daddy Lessons” collaboration with the \u003ca href=\"http://www.npr.org/artists/15399450/dixie-chicks\">Dixie Chicks\u003c/a>. As with just about anything Bey-related, the announcement that she would take the stage at Nashville’s Bridgestone Arena during what’s billed as “Country’s Biggest Night” generated a flurry of social media responses voicing a wide array of opinions. At opposing extremes were those exultant about the superstar \u003ca href=\"http://www.thedailybeast.com/articles/2016/11/02/beyonce-slays-the-country-music-awards-a-political-statement-unto-itself.html?via=twitter_page\" target=\"_blank\" rel=\"noopener\">extending her dominance\u003c/a> into an additional corner of the musical landscape and those who declared themselves country fans — but likely represented only a small but vocal minority of the genre’s listenership — and insisted that \u003ca href=\"http://www.tennessean.com/story/entertainment/music/2016/11/02/beyonce-sparks-cma-awards-backlash/93205328/?hootPostID=133a2e1ff28d14a178caca4dc90ac724\" target=\"_blank\" rel=\"noopener\">she didn’t belong there\u003c/a>.\u003c/p>\n\u003cp>The day after the show, a number of blogs joined Beyhive diehards in accusing the Country Music Association of bowing to the more vitriolic, racially charged commenters by erasing all online promotion of the Bey/Chicks segment, a conversation which ultimately amplified the perception that such viewpoints represented the country audience en masse. (The \u003ca href=\"http://www.nytimes.com/2016/11/04/arts/music/beyonce-cma-awards-backlash.html?_r=1\" target=\"_blank\" rel=\"noopener\">plausible explanation\u003c/a> offered by the CMA was that Beyoncé’s representatives were simply selective about what photos and video clips they would approve.) Some of the complaints plucked from Twitter feeds and comment threads on the CMA’s Facebook page had a territorial tone that echoed the “Is it or isn’t it country?” debate \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/7378225/beyonce-daddy-issues-country-music?utm_source=twitter\" target=\"_blank\" rel=\"noopener\">that sprang up\u003c/a> \u003ca href=\"http://www.cmt.com/news/1765408/whats-so-country-about-beyonce/\" target=\"_blank\" rel=\"noopener\">in some corners\u003c/a> after “Daddy Lessons” was released on \u003cem>Lemonade\u003c/em> in April.\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/291254039″ params=”color=ff5500″ width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\u003cp>Even so, the feeling in the room when Beyoncé took the stage was that we were watching a precision entertainer consciously recalibrate her delivery for the setting. It was one of the few segments in the show through which the entire arena remained on its feet. The song kicked off with harmonica, rather than the album version’s New Orleans-style horn intro, a down-home touch that hearkened back to country music’s early, and incidentally African-American, harmonica hero \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/deford-bailey\" target=\"_blank\" rel=\"noopener\">Deford Bailey\u003c/a>. Beyoncé struck up a “Texas” chant, then passed it off to Natalie Maines, Emily Robison and Martie Maguire, in acknowledgement of their shared geographical origins in a state rich in countrified storytelling. Between the tweaking of Beyoncé’s usual live instrumentation — less low-end thump, more strumming and light-footed percussion — and the Chicks’ bluegrass underpinnings, they leaned into a string band sound, even briefly veering into a stuttering, second line-ish adaptation of the Chicks’ fiddle romp “\u003ca href=\"https://www.youtube.com/watch?v=2c5b8ZtjwwY\" target=\"_blank\" rel=\"noopener\">Long Time Gone\u003c/a>,” a No. 2 country hit in 2002. And it was no small gesture for an artist whose performances of physicality have become iconic in R&B and pop realms — from her leotards to her magnetic dance choreography — to don a sheer, floor-length gown whose puffy sleeves Loretta Lynn might appreciate and, in a visual display of solidarity, stand next to the Chicks, who were anchored to instruments and mic stands. Beyoncé certainly didn’t squander her official country slot.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>From a historical angle, her country excursion represents something more like reclamation than invasion, since the genre’s roots entwine with African-American folk, blues, string band and pop contributions. In more recent times, a precedent’s been set for artists from other genres signaling their affinity for country music by \u003ca href=\"http://www.billboard.com/articles/columns/pop/7534100/lady-gaga-joanne-nashville-dive-bar-tour-review\" target=\"_blank\" rel=\"noopener\">making pilgrimages\u003c/a> to Nashville \u003ca href=\"http://nashvillepublicradio.org/post/bob-dylan-was-catalyst-nashville-cats-were-ones-who-changed-music-row#stream/0\" target=\"_blank\" rel=\"noopener\">writing rooms and studios\u003c/a>, \u003ca href=\"https://www.theguardian.com/music/2016/jun/01/beyonce-daddy-lessons-country-music\" target=\"_blank\" rel=\"noopener\">enlisting the talents\u003c/a> of recognized Music Row pros or teaming up with country’s resident stars. It’s nothing new either for the CMA Awards to present crossover pairings that, in a sense, position major country acts to vouch for the country-friendliness of pop heavyweights. (See: last year’s \u003ca href=\"http://www.rollingstone.com/music/news/see-chris-stapleton-and-justin-timberlakes-stunning-cma-awards-duet-20151104\" target=\"_blank\" rel=\"noopener\">much-discussed collab\u003c/a> between Chris Stapleton and Justin Timberlake, or 2013’s \u003ca href=\"http://www.billboard.com/articles/columns/the-615/5800832/zac-brown-band-teams-up-with-dave-grohl\" target=\"_blank\" rel=\"noopener\">between\u003c/a> the Zac Brown Band and Dave Grohl.) But Beyonce’s “Daddy Lessons” was written and recorded entirely independently of the country scene, and her performing partners, the Chicks — who’d been regularly covering her song — no longer have the ambassadorial heft of the format insiders they once were. They’ve kept a safe distance from the Nashville establishment ever since the radio rejection that followed lead singer Natalie Maines’ 2003 on-stage comments about President Bush. \u003ca href=\"http://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener\">Until a few months ago\u003c/a>, they hadn’t headlined Nashville in a decade.\u003c/p>\n\u003cp>When Beyonce, the Chicks and their combined band took the stage deep in the awards show, some may have experienced it as an interruption in the honoring of country stars past and present, especially given that it came immediately before a lifetime achievement nod to Beyonce’s fellow stadium-filler Kenny Chesney, comprised of a speech from Peyton Manning and an admiring tribute video; without a performing component, it couldn’t help but seem subdued in comparison to the high-energy musical interlude that had come just before. But Beyonce’s turn also brought a certain symmetry to the night.\u003c/p>\n\u003cp>Interaction with other forms of popular music — as opposed to isolation from them — is a source of pride, not to mention one among many drivers of stylistic evolution, in the mainstream country world. Crossover impact has been one of the great achievements of the award show’s penultimate honoree, Dolly Parton, who was feted with a medley of hits, like “Here You Come Again” and “9 to 5,” that landed her on the pop charts and a standard, “I Will Always Love You,” that’s had a second life in reinterpretations by pop superstars of color, Beyoncé \u003ca href=\"http://rare.us/story/beyonce-attempts-to-slay-a-dolly-parton-country-classic/\" target=\"_blank\" rel=\"noopener\">included\u003c/a>. It’s worth noting too that two of the five singers paying tribute to Parton, \u003ca href=\"https://www.youtube.com/watch?v=RjWCZB08UW0\" target=\"_blank\" rel=\"noopener\">Reba McEntire\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=6XTXHvae10o\" target=\"_blank\" rel=\"noopener\">Jennifer Nettles\u003c/a>, have also dipped into Beyoncé’s catalog on occasion.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>The “Daddy Lessons” performance was preceded earlier in the night by Maren Morris’s explicit incorporation of African-American gospel stylings into her breezy country-pop gem “My Church” and Keith Urban’s smolderingly stark rendition of his throwback soul single “Blue Ain’t Your Color.” And shortly after Beyonce sang with the Chicks, Dwight Yoakam and Chris Stapleton revisited a successful country-soul collaboration with a cover of “Seven Spanish Angels,” a Willie Nelson and Ray Charles duet that became a country hit in the mid-’80s. That wasn’t Charles’s first foray into country music, of course, but it was his highest charting one. (The complexities of Charles’s track record with the genre, and the \u003ca href=\"https://www.dukeupress.edu/segregating-sound\" target=\"_blank\" rel=\"noopener\">impact\u003c/a> of \u003ca href=\"http://uncpress.unc.edu/books/12833.html\" target=\"_blank\" rel=\"noopener\">race\u003c/a> on the \u003ca href=\"http://www.hup.harvard.edu/catalog.php?isbn=9780674416598\" target=\"_blank\" rel=\"noopener\">categorization\u003c/a> of American \u003ca href=\"https://www.dukeupress.edu/Hidden-in-the-Mix/\" target=\"_blank\" rel=\"noopener\">music\u003c/a> in general is too much to wade into here, but there’s plenty of important work on the subject.) To have Beyonce, a contemporary, southern-born, black R&B artist in the mix helped ensure the circle remained unbroken. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+And+The+Dixie+Chicks+Offer+Up+Lessons+On+Country+Music%27s+Past+%28And+Future%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In honor of the 50th anniversary of the CMA Awards, show producers worked a truly impressive number of performers into the Nov. 2 telecast, utilizing everything from moving medleys to photo montages and mentions of legends seated in the audience.\u003c/p>\n\u003cp>But no other appearance received half the attention of \u003ca href=\"http://www.npr.org/artists/19230778/beyonce\" target=\"_blank\" rel=\"noopener\">Beyoncé\u003c/a>‘s “Daddy Lessons” collaboration with the \u003ca href=\"http://www.npr.org/artists/15399450/dixie-chicks\">Dixie Chicks\u003c/a>. As with just about anything Bey-related, the announcement that she would take the stage at Nashville’s Bridgestone Arena during what’s billed as “Country’s Biggest Night” generated a flurry of social media responses voicing a wide array of opinions. At opposing extremes were those exultant about the superstar \u003ca href=\"http://www.thedailybeast.com/articles/2016/11/02/beyonce-slays-the-country-music-awards-a-political-statement-unto-itself.html?via=twitter_page\" target=\"_blank\" rel=\"noopener\">extending her dominance\u003c/a> into an additional corner of the musical landscape and those who declared themselves country fans — but likely represented only a small but vocal minority of the genre’s listenership — and insisted that \u003ca href=\"http://www.tennessean.com/story/entertainment/music/2016/11/02/beyonce-sparks-cma-awards-backlash/93205328/?hootPostID=133a2e1ff28d14a178caca4dc90ac724\" target=\"_blank\" rel=\"noopener\">she didn’t belong there\u003c/a>.\u003c/p>\n\u003cp>The day after the show, a number of blogs joined Beyhive diehards in accusing the Country Music Association of bowing to the more vitriolic, racially charged commenters by erasing all online promotion of the Bey/Chicks segment, a conversation which ultimately amplified the perception that such viewpoints represented the country audience en masse. (The \u003ca href=\"http://www.nytimes.com/2016/11/04/arts/music/beyonce-cma-awards-backlash.html?_r=1\" target=\"_blank\" rel=\"noopener\">plausible explanation\u003c/a> offered by the CMA was that Beyoncé’s representatives were simply selective about what photos and video clips they would approve.) Some of the complaints plucked from Twitter feeds and comment threads on the CMA’s Facebook page had a territorial tone that echoed the “Is it or isn’t it country?” debate \u003ca href=\"http://www.billboard.com/articles/columns/hip-hop/7378225/beyonce-daddy-issues-country-music?utm_source=twitter\" target=\"_blank\" rel=\"noopener\">that sprang up\u003c/a> \u003ca href=\"http://www.cmt.com/news/1765408/whats-so-country-about-beyonce/\" target=\"_blank\" rel=\"noopener\">in some corners\u003c/a> after “Daddy Lessons” was released on \u003cem>Lemonade\u003c/em> in April.\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/291254039″&visual=true&”color=ff5500″'\n title='”https://api.soundcloud.com/tracks/291254039″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Even so, the feeling in the room when Beyoncé took the stage was that we were watching a precision entertainer consciously recalibrate her delivery for the setting. It was one of the few segments in the show through which the entire arena remained on its feet. The song kicked off with harmonica, rather than the album version’s New Orleans-style horn intro, a down-home touch that hearkened back to country music’s early, and incidentally African-American, harmonica hero \u003ca href=\"http://countrymusichalloffame.org/Inductees/InducteeDetail/deford-bailey\" target=\"_blank\" rel=\"noopener\">Deford Bailey\u003c/a>. Beyoncé struck up a “Texas” chant, then passed it off to Natalie Maines, Emily Robison and Martie Maguire, in acknowledgement of their shared geographical origins in a state rich in countrified storytelling. Between the tweaking of Beyoncé’s usual live instrumentation — less low-end thump, more strumming and light-footed percussion — and the Chicks’ bluegrass underpinnings, they leaned into a string band sound, even briefly veering into a stuttering, second line-ish adaptation of the Chicks’ fiddle romp “\u003ca href=\"https://www.youtube.com/watch?v=2c5b8ZtjwwY\" target=\"_blank\" rel=\"noopener\">Long Time Gone\u003c/a>,” a No. 2 country hit in 2002. And it was no small gesture for an artist whose performances of physicality have become iconic in R&B and pop realms — from her leotards to her magnetic dance choreography — to don a sheer, floor-length gown whose puffy sleeves Loretta Lynn might appreciate and, in a visual display of solidarity, stand next to the Chicks, who were anchored to instruments and mic stands. Beyoncé certainly didn’t squander her official country slot.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>From a historical angle, her country excursion represents something more like reclamation than invasion, since the genre’s roots entwine with African-American folk, blues, string band and pop contributions. In more recent times, a precedent’s been set for artists from other genres signaling their affinity for country music by \u003ca href=\"http://www.billboard.com/articles/columns/pop/7534100/lady-gaga-joanne-nashville-dive-bar-tour-review\" target=\"_blank\" rel=\"noopener\">making pilgrimages\u003c/a> to Nashville \u003ca href=\"http://nashvillepublicradio.org/post/bob-dylan-was-catalyst-nashville-cats-were-ones-who-changed-music-row#stream/0\" target=\"_blank\" rel=\"noopener\">writing rooms and studios\u003c/a>, \u003ca href=\"https://www.theguardian.com/music/2016/jun/01/beyonce-daddy-lessons-country-music\" target=\"_blank\" rel=\"noopener\">enlisting the talents\u003c/a> of recognized Music Row pros or teaming up with country’s resident stars. It’s nothing new either for the CMA Awards to present crossover pairings that, in a sense, position major country acts to vouch for the country-friendliness of pop heavyweights. (See: last year’s \u003ca href=\"http://www.rollingstone.com/music/news/see-chris-stapleton-and-justin-timberlakes-stunning-cma-awards-duet-20151104\" target=\"_blank\" rel=\"noopener\">much-discussed collab\u003c/a> between Chris Stapleton and Justin Timberlake, or 2013’s \u003ca href=\"http://www.billboard.com/articles/columns/the-615/5800832/zac-brown-band-teams-up-with-dave-grohl\" target=\"_blank\" rel=\"noopener\">between\u003c/a> the Zac Brown Band and Dave Grohl.) But Beyonce’s “Daddy Lessons” was written and recorded entirely independently of the country scene, and her performing partners, the Chicks — who’d been regularly covering her song — no longer have the ambassadorial heft of the format insiders they once were. They’ve kept a safe distance from the Nashville establishment ever since the radio rejection that followed lead singer Natalie Maines’ 2003 on-stage comments about President Bush. \u003ca href=\"http://www.npr.org/sections/therecord/2016/08/18/490497693/dixie-chicks-host-a-joyously-defiant-girls-night-out-in-nashville\" target=\"_blank\" rel=\"noopener\">Until a few months ago\u003c/a>, they hadn’t headlined Nashville in a decade.\u003c/p>\n\u003cp>When Beyonce, the Chicks and their combined band took the stage deep in the awards show, some may have experienced it as an interruption in the honoring of country stars past and present, especially given that it came immediately before a lifetime achievement nod to Beyonce’s fellow stadium-filler Kenny Chesney, comprised of a speech from Peyton Manning and an admiring tribute video; without a performing component, it couldn’t help but seem subdued in comparison to the high-energy musical interlude that had come just before. But Beyonce’s turn also brought a certain symmetry to the night.\u003c/p>\n\u003cp>Interaction with other forms of popular music — as opposed to isolation from them — is a source of pride, not to mention one among many drivers of stylistic evolution, in the mainstream country world. Crossover impact has been one of the great achievements of the award show’s penultimate honoree, Dolly Parton, who was feted with a medley of hits, like “Here You Come Again” and “9 to 5,” that landed her on the pop charts and a standard, “I Will Always Love You,” that’s had a second life in reinterpretations by pop superstars of color, Beyoncé \u003ca href=\"http://rare.us/story/beyonce-attempts-to-slay-a-dolly-parton-country-classic/\" target=\"_blank\" rel=\"noopener\">included\u003c/a>. It’s worth noting too that two of the five singers paying tribute to Parton, \u003ca href=\"https://www.youtube.com/watch?v=RjWCZB08UW0\" target=\"_blank\" rel=\"noopener\">Reba McEntire\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=6XTXHvae10o\" target=\"_blank\" rel=\"noopener\">Jennifer Nettles\u003c/a>, have also dipped into Beyoncé’s catalog on occasion.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The “Daddy Lessons” performance was preceded earlier in the night by Maren Morris’s explicit incorporation of African-American gospel stylings into her breezy country-pop gem “My Church” and Keith Urban’s smolderingly stark rendition of his throwback soul single “Blue Ain’t Your Color.” And shortly after Beyonce sang with the Chicks, Dwight Yoakam and Chris Stapleton revisited a successful country-soul collaboration with a cover of “Seven Spanish Angels,” a Willie Nelson and Ray Charles duet that became a country hit in the mid-’80s. That wasn’t Charles’s first foray into country music, of course, but it was his highest charting one. (The complexities of Charles’s track record with the genre, and the \u003ca href=\"https://www.dukeupress.edu/segregating-sound\" target=\"_blank\" rel=\"noopener\">impact\u003c/a> of \u003ca href=\"http://uncpress.unc.edu/books/12833.html\" target=\"_blank\" rel=\"noopener\">race\u003c/a> on the \u003ca href=\"http://www.hup.harvard.edu/catalog.php?isbn=9780674416598\" target=\"_blank\" rel=\"noopener\">categorization\u003c/a> of American \u003ca href=\"https://www.dukeupress.edu/Hidden-in-the-Mix/\" target=\"_blank\" rel=\"noopener\">music\u003c/a> in general is too much to wade into here, but there’s plenty of important work on the subject.) To have Beyonce, a contemporary, southern-born, black R&B artist in the mix helped ensure the circle remained unbroken. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2016 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Beyonc%C3%A9+And+The+Dixie+Chicks+Offer+Up+Lessons+On+Country+Music%27s+Past+%28And+Future%29&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>New York real estate heir Robert Durst, who became a nationally known name with last year’s HBO documentary \u003cem>The Jinx\u003c/em>, made his long-awaited arrival in California to face charges of killing a friend 16 years ago, authorities said.\u003c/p>\n\u003cp>Durst was being held in a Los Angeles County jail Friday and is scheduled to be arraigned in the case on Monday afternoon, district attorney’s spokeswoman Jane Robison said.\u003c/p>\n\u003cp>Local prosecutors have been eager to bring Durst to California and try him in the killing of his friend Susan Berman in 2000, but prosecutors in New Orleans held him there on federal weapons charges until he pleaded guilty in April. He had already waived extradition to California.\u003c/p>\n\u003cp>Durst’s attorney, Dick DeGuerin, has said Durst is just as eager to come to Los Angeles County and prove his innocence.\u003c/p>\n\u003cp>“We’ve been begging to get to California since two days after he was arrested,” DeGuerin told The Associated Press in September.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Durst, already well-known in New York, became far more famous when HBO aired “The Jinx,” which cast serious suspicion on him for several alleged crimes, including the Berman killing. Durst was arrested the morning the last of the documentary’s six parts was aired in March 2015.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Durst was sentenced to seven years and one month in prison after pleading guilty to the New Orleans weapons charge. He had been serving time in an Indiana federal prison since September.\u003c/p>\n\n",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"meta": {
"site": "radio",
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"link": "/radio/program/code-switch-life-kit",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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},
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"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
"subscribe": {
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"meta": {
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"link": "/radio/program/fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/381444908/podcast.xml"
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"rss": "https://feeds.npr.org/510051/podcast.xml"
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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},
"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
"meta": {
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"source": "npr"
},
"link": "/radio/program/how-i-built-this",
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"npr": "https://rpb3r.app.goo.gl/3zxy",
"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"source": "kqed",
"order": 18
},
"link": "/podcasts/jerrybrown",
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"apple": "https://itunes.apple.com/us/podcast/id1492194549",
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
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},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"apple": "https://podcasts.apple.com/us/podcast/mindshift-podcast/id1078765985",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
"npr": "https://www.npr.org/podcasts/464615685/mind-shift-podcast",
"stitcher": "https://www.stitcher.com/podcast/kqed/stories-teachers-share",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
"imageAlt": "On Our Watch from NPR and KQED",
"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
"site": "news",
"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
"apple": "https://podcasts.apple.com/podcast/id1567098962",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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"stitcher": "https://www.stitcher.com/show/on-our-watch",
"rss": "https://feeds.npr.org/510360/podcast.xml"
}
},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
"meta": {
"site": "news",
"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
}
},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
"imageAlt": "KQED Perspectives",
"officialWebsiteLink": "/perspectives/",
"meta": {
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
"subscribe": {
"apple": "https://podcasts.apple.com/us/podcast/id73801135",
"npr": "https://www.npr.org/podcasts/432309616/perspectives",
"rss": "https://ww2.kqed.org/perspectives/category/perspectives/feed/",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93dzIua3FlZC5vcmcvcGVyc3BlY3RpdmVzL2NhdGVnb3J5L3BlcnNwZWN0aXZlcy9mZWVkLw"
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},
"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"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",
"officialWebsiteLink": "https://www.npr.org/sections/money/",
"meta": {
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"source": "npr"
},
"link": "/radio/program/planet-money",
"subscribe": {
"npr": "https://rpb3r.app.goo.gl/M4f5",
"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
"tuneIn": "https://tunein.com/podcasts/Business--Economics-Podcasts/Planet-Money-p164680/",
"rss": "https://feeds.npr.org/510289/podcast.xml"
}
},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
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