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"content": "\u003cfigure id=\"attachment_13967963\" class=\"wp-caption aligncenter\" style=\"max-width: 1322px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967963\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe.png\" alt=\"A book cover featuring aviator sunglasses colored like the British Union Jack flag.\" width=\"1322\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe.png 1322w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-800x1210.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1020x1543.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-160x242.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-768x1162.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/believe-1015x1536.png 1015w\" sizes=\"(max-width: 1322px) 100vw, 1322px\">\u003cfigcaption class=\"wp-caption-text\">‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts,’ by Jeremy Egner. \u003ccite>(Dutton via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>It’s hard to believe that a TV show based on a series of commercials with the same punchline — an American football coach confused by the rules of soccer — could have lasted beyond an episode or two. It’s even harder to believe that it became an Emmy-winning hit with a cast invited to the White House to talk about mental health.\u003c/p>\n\u003cp>[aside postid='arts_13967856']There’s a lot to learn from the unlikely success of \u003cem>Ted Lasso\u003c/em>, the hit Apple TV+ show featuring Jason Sudekis as its mustachioed, wholesome namesake. Jeremy Egner’s \u003cem>Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts\u003c/em> is the best place to learn it.\u003c/p>\n\u003cp>As television editor for \u003cem>The New York Times\u003c/em>, Egner had a front-row seat to the show and the cultural phenomenon it became. That background offers readers an enlightening and entertaining guide, though it’s definitely geared toward fans of the show.\u003c/p>\n\u003cp>Written half as an oral history and half as a guide to key episodes, \u003cem>Believe\u003c/em> offers plenty of interesting tidbits about the making of the show and provides inspiration for fans to give \u003cem>Ted Lasso\u003c/em> another viewing.\u003c/p>\n\u003cp>Egner leaves no detail uncovered, including the taste of Ted’s famous biscuits (dry, at least in the first season) and arguments over what the \u003cem>Believe\u003c/em> sign hanging in the locker room should look like.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book avoids becoming too laudatory of the show and notes the criticism it faced, especially during the third — and final? — season.\u003c/p>\n\u003cp>[aside postid='arts_13967831']Egner adeptly explains how all the right factors, including an audience overwhelmed by negative news and divisive times, worked together to ensure the show’s success. It’s an audience that was hungry for a show that, as he puts it, is about personal transformation.\u003c/p>\n\u003cp>The book may not necessarily transform anyone into a new fan of \u003cem>Ted Lasso\u003c/em>, but it may at least give those who like the show a reason to give it another watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts’ by Jeremy Egner is out on Nov. 12, 2024, via Dutton. \u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Egner adeptly explains how all the right factors, including an audience overwhelmed by negative news and divisive times, worked together to ensure the show’s success. It’s an audience that was hungry for a show that, as he puts it, is about personal transformation.\u003c/p>\n\u003cp>The book may not necessarily transform anyone into a new fan of \u003cem>Ted Lasso\u003c/em>, but it may at least give those who like the show a reason to give it another watch.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Believe: The Untold Story Behind Ted Lasso, the Show that Kicked Its Way Into Our Hearts’ by Jeremy Egner is out on Nov. 12, 2024, via Dutton. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rome teeters on the brink in Ridley Scott’s \u003cem>Gladiator II\u003c/em>. Its fall is said to be imminent. The dream it once symbolized is dead. The once high-minded ideals of the Roman Empire have deteriorated across a venal land now ruled by a pale-faced emperor.\u003c/p>\n\u003cp>[aside postid='arts_13967891']On the throne is Geta (Joseph Quinn), who sits alongside his sniveling brother, Caracalla (Fred Hechinger). The heart of this Rome, of course, is the Coliseum, where throngs cheer for the gladiators who fight and die. There, the ageless Scott remains remarkably at home. The arena, with its eruptions of spectacle and violence, is a stand in for the director’s own vision of the big screen: Go big or go home.\u003c/p>\n\u003cp>This dichotomy — a fallen society and its insatiable need for entertainment — is the clever and not altogether flattering backdrop of the \u003cem>Gladiator\u003c/em> films. Part two, set 20 years after the events of the first movie, brings a new combatant to the Coliseum — a mysterious outsider named Lucius Verus, played by Paul Mescal. And to answer the inevitable question, yes. Yes, I was quite entertained.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=Ts0N8swyWFI\u003c/p>\n\u003cp>\u003cem>Gladiator II\u003c/em> isn’t quite the prestige film the first one, a best-picture winner, was in 2001. It’s more a swaggering, sword-and-sandal epic that prizes the need to entertain above all else. No one in \u003cem>Gladiator II\u003c/em> understands that more than Denzel Washington. His performance as the Machiavellian power broker Macrinus is a delicious blur of robes and grins — so compellingly over-the-top that he nearly reaches 1990s Al Pacino standards.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Inside this Rome are scattered interests in toppling it, including Marcus Acacius, a decorated general who has just returned from a successful campaign taking Numidia in northwest Africa. (That siege makes the movie’s blistering opening, with an armada racing at almost NASCAR speed toward the walled city, with towers on the bows of the boats to scale the parapets.)\u003c/p>\n\u003cp>[aside postid='arts_13967848']Acacius is a loyal Roman but, when he learns that the emperors have only more bloodlust for further territory and more war, he and his wife, Lucilla (Connie Nielsen) begin plotting to overthrow the brothers.\u003c/p>\n\u003cp>In a movie where everyone nurtures some secret, few stay hidden long. Foremost among them is Lucius Verus, a warrior in Numidia who’s taken prisoner and forced to fight as a gladiator. He’s the son of Lucilla and Maximus (Crowe in \u003cem>Gladiator\u003c/em>). Following the events of that film, Lucilla sent him, an heir to the empire, to Numidia to grow up outside of the empire’s power struggles.\u003c/p>\n\u003cp>Mescal, the terrific Irish actor of \u003cem>Aftersun\u003c/em> and \u003cem>All of Us Strangers\u003c/em>, smoothly steps into a blockbuster arena for the first time. “This one is interesting,” says Macrinus, eyeing him for the first time. Mescal’s Lucius is vengeful — the Roman army kills his warrior wife in the Numidia battle. “Rage pours out of you like milk,” Macrinus says, admiringly. The glint of mischief in Mescal’s eyes gives Lucius a little more character than your average revenge-seeking gladiator.\u003c/p>\n\u003cp>We watch as Lucius cunningly survives arena after arena. Meanwhile, Macrinus manipulates him to steer the public’s routing interest away from the emperor. It’s a rich if slightly cartoonish tapestry of palace intrigue, with Macrinus deftly pulling all the strings.\u003c/p>\n\u003cfigure id=\"attachment_13967957\" class=\"wp-caption aligncenter\" style=\"max-width: 1529px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png\" alt=\"A Black man, regally dressed in old Roman attire sits within an elaborate gold balcony.\" width=\"1529\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png 1529w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-800x1046.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1020x1334.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-160x209.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-768x1005.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1174x1536.png 1174w\" sizes=\"(max-width: 1529px) 100vw, 1529px\">\u003cfigcaption class=\"wp-caption-text\">Denzel Washington steals scenes in ‘Gladiator II.’ \u003ccite>(Aidan Monaghan/Paramount Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, really, none of the power machinations are as compelling as the increasingly carnivalesque scenes of the Coliseum. In the gladiators’ first trip there, they’re greeted by man-eating monkeys. Next, it’s a rider atop a giant, charging rhinoceros. Then, the piece de resistance: a flooded Coliseum festering with sharks. There are even little mock islands with palm trees spread about.\u003c/p>\n\u003cp>Now, \u003cem>Gladiator II\u003c/em> may not stand up to much inquiry from historians. (Some issues were also taken with Scott’s last historical epic, \u003cem>Napoleon\u003c/em>, which likewise was scripted by David Scarpa). But this is not a movie built for accuracy. It’s made for taking a few bits of history and inflating them into a feast and the charms of watching Washington’s Macrinus brandish a head recently relieved of its body.\u003c/p>\n\u003cp>[aside postid='arts_13967805']Yes, heads do roll in Scott’s \u003cem>Gladiator\u003c/em> sequel. Macrinus succeeds in whipping Rome into a frenzy. In fact, he does it so easily and guilefully that, once things begin unraveling for him, the air leaves \u003cem>Gladiator II\u003c/em>. You don’t quite believe his recklessness after he so patiently and artfully turned the screws.\u003c/p>\n\u003cp>Nevertheless, two possible successors emerge — Lucius, who has a birthright to the throne, and Macrinus, who comes to within its grasp purely by his own wit. Is it any wonder that I was rooting for Macrinus, all the way? How could you not, with Washington chewing scenery like this and making zestful (and rather apt) pronouncements like: “That, my friend, is politics!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Gladiator II’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Acacius is a loyal Roman but, when he learns that the emperors have only more bloodlust for further territory and more war, he and his wife, Lucilla (Connie Nielsen) begin plotting to overthrow the brothers.\u003c/p>\n\u003cp>In a movie where everyone nurtures some secret, few stay hidden long. Foremost among them is Lucius Verus, a warrior in Numidia who’s taken prisoner and forced to fight as a gladiator. He’s the son of Lucilla and Maximus (Crowe in \u003cem>Gladiator\u003c/em>). Following the events of that film, Lucilla sent him, an heir to the empire, to Numidia to grow up outside of the empire’s power struggles.\u003c/p>\n\u003cp>Mescal, the terrific Irish actor of \u003cem>Aftersun\u003c/em> and \u003cem>All of Us Strangers\u003c/em>, smoothly steps into a blockbuster arena for the first time. “This one is interesting,” says Macrinus, eyeing him for the first time. Mescal’s Lucius is vengeful — the Roman army kills his warrior wife in the Numidia battle. “Rage pours out of you like milk,” Macrinus says, admiringly. The glint of mischief in Mescal’s eyes gives Lucius a little more character than your average revenge-seeking gladiator.\u003c/p>\n\u003cp>We watch as Lucius cunningly survives arena after arena. Meanwhile, Macrinus manipulates him to steer the public’s routing interest away from the emperor. It’s a rich if slightly cartoonish tapestry of palace intrigue, with Macrinus deftly pulling all the strings.\u003c/p>\n\u003cfigure id=\"attachment_13967957\" class=\"wp-caption aligncenter\" style=\"max-width: 1529px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967957\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png\" alt=\"A Black man, regally dressed in old Roman attire sits within an elaborate gold balcony.\" width=\"1529\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz.png 1529w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-800x1046.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1020x1334.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-160x209.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-768x1005.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/denz-1174x1536.png 1174w\" sizes=\"(max-width: 1529px) 100vw, 1529px\">\u003cfigcaption class=\"wp-caption-text\">Denzel Washington steals scenes in ‘Gladiator II.’ \u003ccite>(Aidan Monaghan/Paramount Pictures via AP)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>But, really, none of the power machinations are as compelling as the increasingly carnivalesque scenes of the Coliseum. In the gladiators’ first trip there, they’re greeted by man-eating monkeys. Next, it’s a rider atop a giant, charging rhinoceros. Then, the piece de resistance: a flooded Coliseum festering with sharks. There are even little mock islands with palm trees spread about.\u003c/p>\n\u003cp>Now, \u003cem>Gladiator II\u003c/em> may not stand up to much inquiry from historians. (Some issues were also taken with Scott’s last historical epic, \u003cem>Napoleon\u003c/em>, which likewise was scripted by David Scarpa). But this is not a movie built for accuracy. It’s made for taking a few bits of history and inflating them into a feast and the charms of watching Washington’s Macrinus brandish a head recently relieved of its body.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yes, heads do roll in Scott’s \u003cem>Gladiator\u003c/em> sequel. Macrinus succeeds in whipping Rome into a frenzy. In fact, he does it so easily and guilefully that, once things begin unraveling for him, the air leaves \u003cem>Gladiator II\u003c/em>. You don’t quite believe his recklessness after he so patiently and artfully turned the screws.\u003c/p>\n\u003cp>Nevertheless, two possible successors emerge — Lucius, who has a birthright to the throne, and Macrinus, who comes to within its grasp purely by his own wit. Is it any wonder that I was rooting for Macrinus, all the way? How could you not, with Washington chewing scenery like this and making zestful (and rather apt) pronouncements like: “That, my friend, is politics!”\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Gladiator II’ is released nationwide on Nov. 22, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>A few years ago my dad mentioned an up-and-coming artist by the name of LaRussell. “No, seriously,” he said. “This dude is \u003cem>different! \u003c/em>You gotta check him out.” So I gave him a listen and I’ve been a fan ever since.\u003c/p>\n\u003cp>[aside postid='arts_13966525']Vallejo’s LaRussell has infiltrated the hip-hop industry in a way so many artists only dream of doing. Determined to stay “majorly independent,” the rapper built his own musical infrastructure right in his Bay Area home. LaRussell’s popular “Backyard Residency” concerts are quite literally held in his backyard, and the artist and his homies bring his backyard vibes to the Tiny Desk for what feels like a party with your most fun friends.\u003c/p>\n\u003cp>LaRussell makes sure to please both day one fans and new listeners with a jam-packed setlist that melds some of his best tracks together. He smiles and dances his way through a high-energy performance that solidifies his spot as one of the most memorable Tiny Desk Concerts I’ve attended thus far.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=w40XbPyotj8\u003c/p>\n\u003cp>\u003cstrong>SET LIST\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>“Glory”/“Do That Lil Dance You Be Doing”\u003c/li>\n\u003cli>“GIVE ME A BEAT!”\u003c/li>\n\u003cli>“Caught Up in My Head”\u003c/li>\n\u003cli>“Hood Cry”/“Perfect”\u003c/li>\n\u003cli>“10s, 20s, 50s, 100s”/“Test Ya Nuts”/“Once Upon a Time”/“WHAT WE DOIN!?”\u003c/li>\n\u003cli>“When I Come Home”/“GT Coupe”\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>MUSICIANS\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>LaRussell: vocals\u003c/li>\n\u003cli>Hokage Simon: piano, keys\u003c/li>\n\u003cli>ClayDough: keys\u003c/li>\n\u003cli>MadeByHarry: guitar\u003c/li>\n\u003cli>Michael Prince: violin\u003c/li>\n\u003cli>Tione: saxophone\u003c/li>\n\u003cli>Jimmy Toor: flute\u003c/li>\n\u003cli>Shante: vocals\u003c/li>\n\u003cli>Malachi: vocals\u003c/li>\n\u003cli>Tietta: vocals\u003c/li>\n\u003cli>Splash: vocals\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>TINY DESK TEAM\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Producer: Alanté Serene\u003c/li>\n\u003cli>Director/Editor: Joshua Bryant\u003c/li>\n\u003cli>Audio Technical Director: Josh Newell\u003c/li>\n\u003cli>Host/Series Producer: Bobby Carter\u003c/li>\n\u003cli>Videographers: Joshua Bryant, Kara Frame, Estefania Mitre, Michael Zamora\u003c/li>\n\u003cli>Audio Engineer: Tiffany Viera Castro\u003c/li>\n\u003cli>Production Assistant: Ashley Pointer\u003c/li>\n\u003cli>Tiny Desk Team: Hazel Chills, Maia Stern\u003c/li>\n\u003cli>Executive Producer: Suraya Mohamed\u003c/li>\n\u003cli>Series Creators: Bob Boilen, Stephen Thompson\u003c/li>\n\u003cli>VP, Visuals and Music: Keith Jenkins\u003c/li>\n\u003c/ul>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Vallejo’s LaRussell has infiltrated the hip-hop industry in a way so many artists only dream of doing. Determined to stay “majorly independent,” the rapper built his own musical infrastructure right in his Bay Area home. LaRussell’s popular “Backyard Residency” concerts are quite literally held in his backyard, and the artist and his homies bring his backyard vibes to the Tiny Desk for what feels like a party with your most fun friends.\u003c/p>\n\u003cp>LaRussell makes sure to please both day one fans and new listeners with a jam-packed setlist that melds some of his best tracks together. He smiles and dances his way through a high-energy performance that solidifies his spot as one of the most memorable Tiny Desk Concerts I’ve attended thus far.\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/w40XbPyotj8'\n title='//www.youtube.com/embed/w40XbPyotj8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003cstrong>SET LIST\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>“Glory”/“Do That Lil Dance You Be Doing”\u003c/li>\n\u003cli>“GIVE ME A BEAT!”\u003c/li>\n\u003cli>“Caught Up in My Head”\u003c/li>\n\u003cli>“Hood Cry”/“Perfect”\u003c/li>\n\u003cli>“10s, 20s, 50s, 100s”/“Test Ya Nuts”/“Once Upon a Time”/“WHAT WE DOIN!?”\u003c/li>\n\u003cli>“When I Come Home”/“GT Coupe”\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>MUSICIANS\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>LaRussell: vocals\u003c/li>\n\u003cli>Hokage Simon: piano, keys\u003c/li>\n\u003cli>ClayDough: keys\u003c/li>\n\u003cli>MadeByHarry: guitar\u003c/li>\n\u003cli>Michael Prince: violin\u003c/li>\n\u003cli>Tione: saxophone\u003c/li>\n\u003cli>Jimmy Toor: flute\u003c/li>\n\u003cli>Shante: vocals\u003c/li>\n\u003cli>Malachi: vocals\u003c/li>\n\u003cli>Tietta: vocals\u003c/li>\n\u003cli>Splash: vocals\u003c/li>\n\u003c/ul>\n\u003cp>\u003cstrong>TINY DESK TEAM\u003c/strong>\u003c/p>\n\u003cul>\n\u003cli>Producer: Alanté Serene\u003c/li>\n\u003cli>Director/Editor: Joshua Bryant\u003c/li>\n\u003cli>Audio Technical Director: Josh Newell\u003c/li>\n\u003cli>Host/Series Producer: Bobby Carter\u003c/li>\n\u003cli>Videographers: Joshua Bryant, Kara Frame, Estefania Mitre, Michael Zamora\u003c/li>\n\u003cli>Audio Engineer: Tiffany Viera Castro\u003c/li>\n\u003cli>Production Assistant: Ashley Pointer\u003c/li>\n\u003cli>Tiny Desk Team: Hazel Chills, Maia Stern\u003c/li>\n\u003cli>Executive Producer: Suraya Mohamed\u003c/li>\n\u003cli>Series Creators: Bob Boilen, Stephen Thompson\u003c/li>\n\u003cli>VP, Visuals and Music: Keith Jenkins\u003c/li>\n\u003c/ul>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Last week, Warner Bros. opened \u003cem>Juror #2 \u003c/em>in limited release, with minimal fanfare, and no plans to report the film’s domestic box office. It’s not the typical treatment for a Clint Eastwood movie, especially one that some think might be the \u003cem>last \u003c/em>Clint Eastwood movie. I hope they’re wrong.\u003c/p>\n\u003cp>Either way, the fact that Eastwood’s longtime studio would bury his latest speaks to the various crises that have befallen the industry in general and Warner Bros. in particular. At 94, Eastwood seems ever more like an anomaly in American filmmaking: a Hollywood legend with nothing left to prove, still cranking out his unfussy, mid-budget dramas for a grown-up audience that the major studios have all but abandoned.\u003c/p>\n\u003cp>[aside postid='arts_13967805']\u003cem>Juror #2\u003c/em> is actually one of his better-directed efforts of late, certainly compared with recent disappointments like \u003cem>Cry Macho\u003c/em> and \u003ca href=\"https://video.kqed.org/video/clint-eastwood-for-the-mule-ejnwjt/\">\u003cem>The Mule\u003c/em>\u003c/a>. There’s a little old-school \u003ca href=\"https://www.kqed.org/arts/13966911/john-grisham-dan-slepian-books-wrongfully-convicted-us-prison-injustice-sing-sing\">John Grisham\u003c/a> in this movie’s legal-thriller DNA, even though it features an original screenplay, by Jonathan Abrams.\u003c/p>\n\u003cp>Nicholas Hoult stars as Justin Kemp, a Georgia-based magazine writer who’s expecting a baby with his wife, played by Zoey Deutch. It’s a high-risk pregnancy, and so the timing isn’t ideal when Justin gets selected as a juror in a major murder trial.\u003c/p>\n\u003cp>The defendant, James Sythe, stands accused of killing his girlfriend, Kendall Carter, after the two had a heated argument in a bar one night. As the facts of the case emerge, Justin, who is recovering from alcoholism, realizes that he was at that same bar on the very night in question — and that he hit something he had assumed was a deer while driving home.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Suddenly alarmed that he could be more involved in Kendall’s death than he thought, Justin seeks advice from his AA sponsor, Larry, who also happens to be a lawyer. Larry, played by Kiefer Sutherland, advises Justin to keep quiet, lest he face serious prison time. But Justin, worried that his silence could send an innocent man to prison, tries to plead Sythe’s case during deliberations, which quickly turn contentious.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=viA35xH5KO8\u003c/p>\n\u003cp>There’s a creakiness to the writing here; the bickering sounds forced, and some of the jurors veer toward cultural stereotypes. But others are more sharply drawn: \u003ca href=\"https://www.kqed.org/arts/10144000/bang-the-drum-ever-faster-in-the-different-sports-arena-of-whiplash\">J.K. Simmons\u003c/a> brings his hard-nosed intelligence to the role of one of Justin’s few allies, while Cedric Yarbrough finds the simmering tension in every line as a juror convinced of the defendant’s guilt.\u003c/p>\n\u003cp>It all plays like a barbed riff on \u003cem>12 Angry Men\u003c/em>, where one man seeks to sway his fellow jurors, not to bring about justice so much as assuage his own conscience. But Justin isn’t the only character held up for moral scrutiny. The courtroom’s most compelling figure is the prosecutor, Faith, played with terrific nuance by \u003ca href=\"https://www.kqed.org/arts/13834624/with-cunning-casting-hereditary-dials-up-the-horror\">Toni Collette\u003c/a>. Faith does her job with skill, integrity and a great deal of ambition; she’s running for district attorney, and she knows that securing a conviction could help her chances.\u003c/p>\n\u003cp>[aside postid='arts_13967869']Collette and Hoult played a mother and son in the 2002 comedy \u003cem>About a Boy\u003c/em>. And while the actors don’t share too much screen time in \u003cem>Juror #2\u003c/em>, beyond one doozy of a late scene, it’s still a pleasure to see them reunited more than 20 years later. Hoult is especially strong as a man wrestling quietly with past demons and present dilemmas, and whose response is to rationalize like crazy. After all, maybe Sythe, a man known for his rough past, really did kill his girlfriend. And even if he didn’t, how can Justin turn himself in, just as he and his wife are about to start a family?\u003c/p>\n\u003cp>Eastwood may take his characters to task, but he also sees the bigger picture. He’s long had a skeptical view of institutions and their failings, whether it’s a corrupt police force in \u003ca href=\"https://www.kqed.org/arts/23586/changeling\">\u003cem>Changeling\u003c/em>\u003c/a> or the manipulations of the media in movies like \u003cem>Sully\u003c/em> and \u003cem>Richard Jewell\u003c/em>\u003cem>.\u003c/em> In \u003cem>Juror #2\u003c/em>, he takes measured aim at the American justice system, from the dogged attorneys muddling their way through the evidence to the exhausted jurors who just want to deliver a quick verdict to the procedural fault lines and blind spots that can make the truth seem so elusive.\u003c/p>\n\u003cp>It’s a thorny, thoughtful film, and I wish its own studio had more confidence in it. If Eastwood does make another one, I wouldn’t mind seeing him take on another broken American system rife with cynicism, self-interest and compromise — and that, of course, is Hollywood itself.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Juror #2’ is out, nationwide, now.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last week, Warner Bros. opened \u003cem>Juror #2 \u003c/em>in limited release, with minimal fanfare, and no plans to report the film’s domestic box office. It’s not the typical treatment for a Clint Eastwood movie, especially one that some think might be the \u003cem>last \u003c/em>Clint Eastwood movie. I hope they’re wrong.\u003c/p>\n\u003cp>Either way, the fact that Eastwood’s longtime studio would bury his latest speaks to the various crises that have befallen the industry in general and Warner Bros. in particular. At 94, Eastwood seems ever more like an anomaly in American filmmaking: a Hollywood legend with nothing left to prove, still cranking out his unfussy, mid-budget dramas for a grown-up audience that the major studios have all but abandoned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Juror #2\u003c/em> is actually one of his better-directed efforts of late, certainly compared with recent disappointments like \u003cem>Cry Macho\u003c/em> and \u003ca href=\"https://video.kqed.org/video/clint-eastwood-for-the-mule-ejnwjt/\">\u003cem>The Mule\u003c/em>\u003c/a>. There’s a little old-school \u003ca href=\"https://www.kqed.org/arts/13966911/john-grisham-dan-slepian-books-wrongfully-convicted-us-prison-injustice-sing-sing\">John Grisham\u003c/a> in this movie’s legal-thriller DNA, even though it features an original screenplay, by Jonathan Abrams.\u003c/p>\n\u003cp>Nicholas Hoult stars as Justin Kemp, a Georgia-based magazine writer who’s expecting a baby with his wife, played by Zoey Deutch. It’s a high-risk pregnancy, and so the timing isn’t ideal when Justin gets selected as a juror in a major murder trial.\u003c/p>\n\u003cp>The defendant, James Sythe, stands accused of killing his girlfriend, Kendall Carter, after the two had a heated argument in a bar one night. As the facts of the case emerge, Justin, who is recovering from alcoholism, realizes that he was at that same bar on the very night in question — and that he hit something he had assumed was a deer while driving home.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Suddenly alarmed that he could be more involved in Kendall’s death than he thought, Justin seeks advice from his AA sponsor, Larry, who also happens to be a lawyer. Larry, played by Kiefer Sutherland, advises Justin to keep quiet, lest he face serious prison time. But Justin, worried that his silence could send an innocent man to prison, tries to plead Sythe’s case during deliberations, which quickly turn contentious.\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/viA35xH5KO8'\n title='//www.youtube.com/embed/viA35xH5KO8'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>There’s a creakiness to the writing here; the bickering sounds forced, and some of the jurors veer toward cultural stereotypes. But others are more sharply drawn: \u003ca href=\"https://www.kqed.org/arts/10144000/bang-the-drum-ever-faster-in-the-different-sports-arena-of-whiplash\">J.K. Simmons\u003c/a> brings his hard-nosed intelligence to the role of one of Justin’s few allies, while Cedric Yarbrough finds the simmering tension in every line as a juror convinced of the defendant’s guilt.\u003c/p>\n\u003cp>It all plays like a barbed riff on \u003cem>12 Angry Men\u003c/em>, where one man seeks to sway his fellow jurors, not to bring about justice so much as assuage his own conscience. But Justin isn’t the only character held up for moral scrutiny. The courtroom’s most compelling figure is the prosecutor, Faith, played with terrific nuance by \u003ca href=\"https://www.kqed.org/arts/13834624/with-cunning-casting-hereditary-dials-up-the-horror\">Toni Collette\u003c/a>. Faith does her job with skill, integrity and a great deal of ambition; she’s running for district attorney, and she knows that securing a conviction could help her chances.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Collette and Hoult played a mother and son in the 2002 comedy \u003cem>About a Boy\u003c/em>. And while the actors don’t share too much screen time in \u003cem>Juror #2\u003c/em>, beyond one doozy of a late scene, it’s still a pleasure to see them reunited more than 20 years later. Hoult is especially strong as a man wrestling quietly with past demons and present dilemmas, and whose response is to rationalize like crazy. After all, maybe Sythe, a man known for his rough past, really did kill his girlfriend. And even if he didn’t, how can Justin turn himself in, just as he and his wife are about to start a family?\u003c/p>\n\u003cp>Eastwood may take his characters to task, but he also sees the bigger picture. He’s long had a skeptical view of institutions and their failings, whether it’s a corrupt police force in \u003ca href=\"https://www.kqed.org/arts/23586/changeling\">\u003cem>Changeling\u003c/em>\u003c/a> or the manipulations of the media in movies like \u003cem>Sully\u003c/em> and \u003cem>Richard Jewell\u003c/em>\u003cem>.\u003c/em> In \u003cem>Juror #2\u003c/em>, he takes measured aim at the American justice system, from the dogged attorneys muddling their way through the evidence to the exhausted jurors who just want to deliver a quick verdict to the procedural fault lines and blind spots that can make the truth seem so elusive.\u003c/p>\n\u003cp>It’s a thorny, thoughtful film, and I wish its own studio had more confidence in it. If Eastwood does make another one, I wouldn’t mind seeing him take on another broken American system rife with cynicism, self-interest and compromise — and that, of course, is Hollywood itself.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Juror #2’ is out, nationwide, now.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>An heirloom piano takes on immense significance for one family in 1936 Pittsburgh in August Wilson’s \u003cem>The Piano Lesson\u003c/em>. Generational ties also permeate the film adaptation, in which Malcolm Washington follows in his father Denzel Washington’s footsteps in helping to bring the entirety of The Pittsburgh Cycle — a series of 10 plays — to the screen.\u003c/p>\n\u003cp>[aside postid='arts_13967522']Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it’s second nature, it would be hard, one imagines, to go wrong. Jackson’s own history with the play goes back to its original run in 1987 when he was Boy Willie.\u003c/p>\n\u003cp>It’s not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with \u003cem>Mudbound\u003c/em> screenwriter Virgil Williams, goes beyond Wilson’s text and shows us the past and the origins of the intricately engraved piano that’s central to all the fuss.\u003c/p>\n\u003cp>The film even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family’s home. Another fleshes out Doaker’s monologue in which he explains to the uninitiated, Fisher’s Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes narration shine as well.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=cZwjt0pjt8w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Wilson purists will certainly have opinions on these artistic choices; But they let the film breathe a bit, offering some respite from the living room with the looming piano. And most of the film stays right there, in 1936. Boy Willie and Lymon descend early one morning, uninvited, on the Pittsburgh home of Berniece and her uncle Doaker.\u003c/p>\n\u003cp>It’s a family reunion with an agenda: They’ve driven a truck full of watermelons up north from Mississippi, and Willie, Berniece’s younger brother, wants to sell the watermelons and then the piano. The dusty old instrument represents to him a chance to let the past go and start a future. With the money, he wants to buy the land that his enslaved ancestors worked. Berniece has other ideas about the piano, namely keeping it. It’s a connection to the past, not an anchor. Besides, it might be haunted.\u003c/p>\n\u003cp>[aside postid='arts_13967549']Yes, \u003cem>The Piano Lesson\u003c/em>, in theaters Friday and streaming on Netflix on Nov. 22, isn’t just a meditation on family history. It’s also a literal ghost story, with creaks, spooks and shadows lurking when the piano is disturbed. Deadwyler is electric as Berniece, who bears the brunt of the haunting, walking on eggshells in her life, trying to care for her young daughter and fend off passes from men who assume she can only be fulfilled with one at her side. Now she must deal with her somewhat manic brother who might, Doaker wisely reminds, actually, annoyingly, have a point. Perhaps the film academy will make up for their snub of her performance in \u003cem>Till\u003c/em> with this turn.\u003c/p>\n\u003cp>Regardless of your familiarity with Wilson’s Pittsburgh Cycle, \u003cem>The Piano Lesson\u003c/em> is a worthwhile, captivating and moving watch full of charismatic performers. Talent isn’t always genetic, but the Washington family is putting in the work to prove otherwise. And with \u003cem>Fences\u003c/em>, \u003cem>Ma Rainey’s Black Bottom\u003c/em> and now \u003cem>The Piano Lesson\u003c/em>, they’re making a mark with a bold and ambitious project that is probably long overdue. Only seven more to go.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Piano Lesson’ is out nationwide on Nov. 8, 2024 and begins streaming on Netflix on Nov. 22.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Malcolm Washington did not start from scratch in his accomplished feature filmmaking debut. He enlisted much of the cast from the recent Broadway revival with Samuel L. Jackson (Doaker Charles), his brother, John David Washington (Boy Willie), Ray Fisher (Lymon) and Michael Potts (Whining Boy). Berniece, played by Danielle Brooks in the play, is now beautifully portrayed by Danielle Deadwyler. With such rich material and a cast for whom it’s second nature, it would be hard, one imagines, to go wrong. Jackson’s own history with the play goes back to its original run in 1987 when he was Boy Willie.\u003c/p>\n\u003cp>It’s not the simplest thing to make a play feel cinematic, but Malcolm Washington was up to the task. His film opens up the world of the Charles family beyond the living room. In fact, this adaptation, which Washington co-wrote with \u003cem>Mudbound\u003c/em> screenwriter Virgil Williams, goes beyond Wilson’s text and shows us the past and the origins of the intricately engraved piano that’s central to all the fuss.\u003c/p>\n\u003cp>The film even opens on a big, action-filled set piece in 1911, during which the piano is stolen from a white family’s home. Another fleshes out Doaker’s monologue in which he explains to the uninitiated, Fisher’s Lymon, and the audience, the tortured history of the thing. While it might have been nice to keep the camera on Jackson, such a great, grounding presence throughout, the good news is that he really makes narration shine as well.\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/cZwjt0pjt8w'\n title='//www.youtube.com/embed/cZwjt0pjt8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Yes, \u003cem>The Piano Lesson\u003c/em>, in theaters Friday and streaming on Netflix on Nov. 22, isn’t just a meditation on family history. It’s also a literal ghost story, with creaks, spooks and shadows lurking when the piano is disturbed. Deadwyler is electric as Berniece, who bears the brunt of the haunting, walking on eggshells in her life, trying to care for her young daughter and fend off passes from men who assume she can only be fulfilled with one at her side. Now she must deal with her somewhat manic brother who might, Doaker wisely reminds, actually, annoyingly, have a point. Perhaps the film academy will make up for their snub of her performance in \u003cem>Till\u003c/em> with this turn.\u003c/p>\n\u003cp>Regardless of your familiarity with Wilson’s Pittsburgh Cycle, \u003cem>The Piano Lesson\u003c/em> is a worthwhile, captivating and moving watch full of charismatic performers. Talent isn’t always genetic, but the Washington family is putting in the work to prove otherwise. And with \u003cem>Fences\u003c/em>, \u003cem>Ma Rainey’s Black Bottom\u003c/em> and now \u003cem>The Piano Lesson\u003c/em>, they’re making a mark with a bold and ambitious project that is probably long overdue. Only seven more to go.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Piano Lesson’ is out nationwide on Nov. 8, 2024 and begins streaming on Netflix on Nov. 22.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "‘The Name of This Band is R.E.M.’ Is a Vivid Journey Through the Band’s History",
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"content": "\u003cfigure id=\"attachment_13967787\" class=\"wp-caption aligncenter\" style=\"max-width: 1395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM.png\" alt=\"An orange book cover featuring a black and white image of a band.\" width=\"1395\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM.png 1395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-800x1147.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-1020x1462.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-768x1101.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-1071x1536.png 1071w\" sizes=\"auto, (max-width: 1395px) 100vw, 1395px\">\u003cfigcaption class=\"wp-caption-text\">‘The Name of This Band Is R.E.M.: A Biography’ by Peter Ames Carlin. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The best way to read \u003cem>The Name of This Band is R.E.M.\u003c/em> is with a pair of headphones and a collection of the band’s albums on streaming services or CDs. Opt for the cassettes or vinyl if you want to go old school.\u003c/p>\n\u003cp>Peter Ames Carlin’s book isn’t just a cultural biography of the band going back to its formation in the-then sleepy college town of Athens, Georgia. It’s also a poetic meditation on what made so many of the band’s songs stand out, and continue to shine.\u003c/p>\n\u003cp>[aside postid='arts_13967509']“It was a new kind of post-punk, alternative music that straddled obscurity and directness, dissent and delicacy, unapologetic and unashamed pure pop,” he writes about the reaction to the band’s music in the early 1980s.\u003c/p>\n\u003cp>Carlin’s book offers plenty of behind the scenes details and trivia about R.E.M.’s rise. Fans will enjoy reading about how record executives were wary of making “Losing My Religion,” the band’s iconic hit, the first single from its album \u003cem>Out of Time\u003c/em>.\u003c/p>\n\u003cp>It’s also a fascinating history of a different era in music before social media created viral stars, when bands like R.E.M. rose up through college radio. The early sections of the book offer a vivid description of the music scene in Athens and the band’s beginning.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The book also explores the band’s political activism, including their work on environmental causes and promotion of the Rock the Vote campaign.\u003c/p>\n\u003cp>The band members didn’t agree to interviews for Carlin’s book, and that’s one of the few weaknesses of what is an otherwise well-researched history. Anyone hoping to discover major new revelations about the band and its members will likely be disappointed, but Carlin ably demonstrates the impact R.E.M.’s music has had and why its history is worth revisiting.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Name of This Band is R.E.M.’ is out now, via Doubleday.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cfigure id=\"attachment_13967787\" class=\"wp-caption aligncenter\" style=\"max-width: 1395px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967787\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM.png\" alt=\"An orange book cover featuring a black and white image of a band.\" width=\"1395\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM.png 1395w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-800x1147.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-1020x1462.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-160x229.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-768x1101.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/REM-1071x1536.png 1071w\" sizes=\"auto, (max-width: 1395px) 100vw, 1395px\">\u003cfigcaption class=\"wp-caption-text\">‘The Name of This Band Is R.E.M.: A Biography’ by Peter Ames Carlin. \u003ccite>(Doubleday)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The best way to read \u003cem>The Name of This Band is R.E.M.\u003c/em> is with a pair of headphones and a collection of the band’s albums on streaming services or CDs. Opt for the cassettes or vinyl if you want to go old school.\u003c/p>\n\u003cp>Peter Ames Carlin’s book isn’t just a cultural biography of the band going back to its formation in the-then sleepy college town of Athens, Georgia. It’s also a poetic meditation on what made so many of the band’s songs stand out, and continue to shine.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“It was a new kind of post-punk, alternative music that straddled obscurity and directness, dissent and delicacy, unapologetic and unashamed pure pop,” he writes about the reaction to the band’s music in the early 1980s.\u003c/p>\n\u003cp>Carlin’s book offers plenty of behind the scenes details and trivia about R.E.M.’s rise. Fans will enjoy reading about how record executives were wary of making “Losing My Religion,” the band’s iconic hit, the first single from its album \u003cem>Out of Time\u003c/em>.\u003c/p>\n\u003cp>It’s also a fascinating history of a different era in music before social media created viral stars, when bands like R.E.M. rose up through college radio. The early sections of the book offer a vivid description of the music scene in Athens and the band’s beginning.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The book also explores the band’s political activism, including their work on environmental causes and promotion of the Rock the Vote campaign.\u003c/p>\n\u003cp>The band members didn’t agree to interviews for Carlin’s book, and that’s one of the few weaknesses of what is an otherwise well-researched history. Anyone hoping to discover major new revelations about the band and its members will likely be disappointed, but Carlin ably demonstrates the impact R.E.M.’s music has had and why its history is worth revisiting.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Name of This Band is R.E.M.’ is out now, via Doubleday.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The Edinburgh Zoo launched a cuteness contest between Haggis, its newborn pygmy hippo, and \u003ca href=\"https://www.kqed.org/arts/13965878/moo-deng-viral-pygmy-hippo-thailand-bouncy-pork\">Moo Deng\u003c/a>, the adorable mini hippopotamus that became a viral sensation at a Thailand zoo this summer.\u003c/p>\n\u003cp>“Moo Deng? Who deng?” the Scottish zoo playfully posted Monday on the social media platform X as it introduced its infant hippo to the world.\u003c/p>\n\u003cp>https://twitter.com/EdinburghZoo/status/1853391833109311776\u003c/p>\n\u003cp>The smack talk pitted two critters with more in common than just being females calves of the same endangered species. They’re also named for meat products that don’t typically carry cute connotations.\u003c/p>\n\u003cp>Haggis, the national dish of Scotland that is butt of many jokes, is made in a sheep’s stomach filled with spiced and diced innards. Moo deng is a type of meatball that means “bouncy pork” in Thai.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Moo Deng, a pudgy, pink-cheeked pygmy hippo, quickly became a social media star about two months after being born at Khao Kheow Open Zoo in July. Videos of her went viral and she was the source of endless memes.\u003c/p>\n\u003cp>[aside postid='arts_13965878']The Thai zoo planned to copyright and trademark the hippo’s name and capitalize on her fame by making shirts, pants and other merchandise to support its operations.\u003c/p>\n\u003cp>The Royal Zoological Society of Scotland is also looking to cash in on its prize pygmy with a drawing promising the winner a “\u003ca href=\"https://www.crowdfunder.co.uk/p/baby-pygmy-hippo-experience\">unique pygmy hippo experience\u003c/a>” to meet Haggis and her parents, Gloria and Otto. Tickets are 5 British pounds ($6.50) and the zoo had raised more than half its 15,000 pound ($19,500) target in a day.\u003c/p>\n\u003cp>“Prepare to fall in love with wee Haggis,” the zoo said. “With her playful nature, Haggis will show you why the world has fallen in love with pygmy hippos!”\u003c/p>\n\u003cp>https://twitter.com/tiddypocket/status/1853474885210665091\u003c/p>\n\u003cp>There are only an estimated 2,500 pygmy hippopotamuses in the wild in West Africa, where the animals are threatened by poaching and loss of habitat.\u003c/p>\n\u003cp>[aside postid='arts_13967439']Edinburgh Zoo visitors won’t immediately be able to see Haggis, who was born Oct. 30, because the hippo house will be closed during the first month of her development.\u003c/p>\n\u003cp>After using Moo Deng’s fame to draw attention to Haggis, the zoo apologized for creating a rivalry.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>“We were wrong to pit Haggis and Moo Deng against each other,” the zoo said in a later post. “There is space in this world for two beautiful pygmy hippo divas and we should celebrate them all.”\u003c/p>\n\n",
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"content": "\u003cp>Inspiration can spark in the most mundane circumstances. In 1964, a young composer named Terry Riley was on his way to work — playing ragtime piano at San Francisco’s Gold Street Saloon — when he had a light bulb moment that would alter the American musical landscape. A tiny, hiccuping, 2-note seed unexpectedly came to him.\u003c/p>\n\u003cp>“I was riding to work on the bus when I heard this first line come into my consciousness like somebody was playing it to me,” Riley recalls. “And I got quite excited, so as soon as I got off work that night, I went home and wrote down the first line.”\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=qzmi7Wm10Y0\u003c/p>\n\u003cp>That seed blossomed into \u003cem>In C\u003c/em>, a piece which essentially launched the musical movement later known as minimalism.\u003c/p>\n\u003cp>In the early ’60s, Riley was among a cohort of free-thinking West Coast musicians experimenting with music, especially tape loops, and psychedelic drugs. The rest of \u003cem>In C\u003c/em> came to him quickly, but even after he had gathered all the musical ingredients, the piece wasn’t quite ready for prime time.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“When we first started rehearsing it, nobody, including me, knew how to play it,” Riley says. “I had a kind of idea of how it should sound, but to rehearse it and actually turn it into music took a bit of doing.”\u003c/p>\n\u003cp>It took some doing because one of the things that makes \u003cem>In C\u003c/em> innovative is that it carries so few guidelines. And that’s the idea — the composer gives up control to the performers. The score is just a single page containing 53 short musical “riffs” that any number of musicians can play in order, but at their discretion. Every performance, by design, will sound completely different.\u003c/p>\n\u003cp>[aside postid='arts_13967652']One challenge the players faced in those early rehearsals was the lack of a solid pulse, a kind of click track to keep the players together. Enter Steve Reich. He was among the musicians who helped Riley introduce the piece, along with other soon-to-be-legendary composers Morton Subotnick and Pauline Oliveros.\u003c/p>\n\u003cp>William Robin, a University of Maryland music professor, has written about the history of the music in his book \u003cem>On Minimalism — Documenting a Musical Movement\u003c/em>, co-authored with Kerry O’Brien. He believes Reich’s contribution to \u003cem>In C\u003c/em> can’t be overstated. “Reich makes a simple but profound suggestion: What if a pianist simply plays two Cs high on the keyboard in octaves to start the piece and go continuously throughout?” Robin notes. “Basically it functions as a human metronome.” That pulse, he adds, is fundamental to the sound of \u003cem>In C\u003c/em>, giving it an infectious groove.\u003c/p>\n\u003cfigure id=\"attachment_13967715\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967715\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley.png\" alt=\"A young man in a shirt and vest plays a piano inside a bar.\" width=\"2000\" height=\"1488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1020x759.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1536x1143.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1920x1428.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley in 1961 at San Francisco’s Gold Street Saloon, where he played ragtime piano. Three years later, on a bus ride to the Saloon, he first formed the idea for ‘In C.’ \u003ccite>(Terry Riley Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, on Nov. 4, 1964, Riley and his group of like-minded musicians debuted \u003cem>In C\u003c/em> at San Francisco’s Tape Music Center, a haven of electronic and new music. Four days later, the headline for a review of the concert in the \u003cem>San Francisco Chronicle\u003c/em> read: “Music Like none Other on Earth.” The reviewer, Alfred Frankenstein, ended by declaring \u003cem>In C\u003c/em> “the evening’s masterpiece.”\u003c/p>\n\u003cp>Cellist Maya Beiser agrees. She first heard \u003cem>In C\u003c/em> as a 17-year-old high schooler who stumbled across the LP in a record shop. “I immediately felt that it was such a genius thing, akin to E=mc\u003csup>2\u003c/sup>,” she says. “The idea of an open score was just so beautiful and revolutionary. I was blown away by that simple idea and by the notion of freedom that it presented.”\u003c/p>\n\u003cp>[aside postid='arts_13967625']Beiser released her own unique version of \u003cem>In C\u003c/em> earlier this year. Her experiment began as an off-the-cuff gift for Riley, then after his blessing, it blossomed into a recording.\u003c/p>\n\u003cp>Appropriate to Riley’s improvisatory way of thinking, Beiser and her recording engineer began with a mostly blank slate, just Riley’s spartan score. “We started to kind of loop all those melodic modules and I literally found my way into it as I was going because I deliberately didn’t want to decide anything,” she recalls. Armed with just her cello, a looping machine and a pair of percussionists, Beiser emphasizes the deep, sometimes headbanging, grooves inherent in the music.\u003c/p>\n\u003cp>“She broke it down into sections and integrated each section very distinctly,” Riley says. “Something I hadn’t thought of doing myself. There’s always somebody finding new ways to use these materials.” In Beiser’s rendition, there’s a grungy section with whiffs of Led Zeppelin’s “Kashmir,” a vocal passage interlacing her voice and cello in a nod to the medieval hocket style of singing, and plenty of lovely droning with the low C string of Beiser’s processed cello ricocheting off the drummers.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=kMXABhDw5zw\u003c/p>\n\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Unlike Beiser’s mostly solo approach, \u003cem>In C\u003c/em> is usually played by at least a dozen or more musicians, which emphasizes its communal powers. “One of the things that \u003cem>In C\u003c/em> has done over the years, has helped to connect people of different backgrounds,” Riley says.\u003c/p>\n\u003cp>That connection mushroomed in 1968, when Riley recorded \u003cem>In C\u003c/em> for Columbia Records. Suddenly, this strange new music was catapulted directly into the mainstream, while taking aim at the new, youthful counterculture. \u003cem>In C\u003c/em> was on the map, with an album that actually \u003cem>contained\u003c/em> a map to the piece itself.\u003c/p>\n\u003cp>“This was an incredibly popular recording,” Robin says. “It stayed in Columbia’s catalog, unlike plenty of other avant-garde records. And one of the cool things is that it actually prints the full score for the piece on the sleeve of the record. So they were empowering people, potentially, to actually organize their own performances of this piece.”\u003c/p>\n\u003cp>This was at a time, Robin points out, “when a lot of American composition is extremely inaccessible in terms of the musical language — composers writing highly atonal, cerebral scientific music.” \u003cem>In C\u003c/em>, in its singular way, thumbed its nose at the academy.\u003c/p>\n\u003cp>[aside postid='arts_13967509']“Terry just came into it from a completely different place,” Beiser notes. “Because he studied in India, he was influenced by Indian classical music, by African music, by all these other non-Western traditions, and of course, free jazz improvisation.”\u003c/p>\n\u003cp>Improvisation is at the heart of much of Riley’s music. And one way in which \u003cem>In C\u003c/em> takes a page from Indian classical music is that within strict parameters there’s room for the player to make their own decisions.\u003c/p>\n\u003cp>“What makes \u003cem>In C\u003c/em> such a landmark work is that it is kind of right at the center of pushing the boundaries of what music could be,” Robin says, “while also having this incredibly rich and attractive soundscape that’s groovy in a way that pop music was groovy in the mid-’60s.”\u003c/p>\n\u003cp>\u003cem>In C\u003c/em> has been groovy enough to attract a surprisingly wide array of musicians. A brief survey of recordings includes: an\u003ca href=\"https://www.youtube.com/watch?v=YGCp4PPaRSg&t=181s\"> orchestra of Chinese instruments\u003c/a> from Shanghai,\u003ca href=\"https://www.youtube.com/watch?v=iDd9WY9ddDs\"> musicians\u003c/a> from West Africa, a Swiss\u003ca href=\"https://www.youtube.com/watch?v=fQpHLbDI-b4&list=PLOpS8ze-MAmFecrwk9N0szxKWr4A5O0rS&index=8\"> industrial band\u003c/a>,\u003ca href=\"https://www.youtube.com/watch?v=gO5xa01tfV8\"> Indian musicians\u003c/a> from Brooklyn, Japanese\u003ca href=\"https://www.youtube.com/watch?v=fH0ml4yp-Rs\"> acid rock\u003c/a>, a group of\u003ca href=\"https://www.youtube.com/watch?v=Z7FmozBZBG8\"> 10 harpists\u003c/a> in Holland and an orchestra of\u003ca href=\"https://www.youtube.com/watch?v=LmttdbOW3Ys\"> electric guitars\u003c/a>.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=LmttdbOW3Ys\u003c/p>\n\u003cp>Riley’s piece also works perfectly in amateur settings. With his students, Robin organizes annual performances of \u003cem>In C\u003c/em>. “It is just one of those joyful experiences as a musician,” he says. “The nature of the music — it is at once fully notated, but it has the sound, the ethos, of this kind of communal jam session, where musicians are repeating these little riffs over and over and over again.” At Robin’s most recent performance in May, bassoon, tuba and piano traded riffs with banjo, vibraphones and Robin’s own alto sax, amid a wash of another dozen players.\u003c/p>\n\u003cp>Even at the beginning, Riley understood how \u003cem>In C\u003c/em> was influential. “Other composers were taking an interest in what I was doing,” he remembers. “So I knew that it was going to have some significance.”\u003c/p>\n\u003cp>[aside postid='arts_13967351']It turned out to be game-changing. Both Philip Glass and Steve Reich quickly embraced Riley’s evolving repetition. It’s hard to imagine minimalist classics like Glass’\u003ca href=\"https://www.youtube.com/watch?v=pRerJeYmUgY\"> \u003cem>Einstein on the Beach\u003c/em>\u003c/a> from 1976, or Reich’s\u003ca href=\"https://www.youtube.com/watch?v=3ou9J844io0\"> \u003cem>Music for 18 Musicians\u003c/em>\u003c/a>, completed that same year, without \u003cem>In C\u003c/em>. And today, the music is all around us, from Taylor Swift’s song “\u003ca href=\"https://www.youtube.com/watch?v=HpxX4ZE4KWE\">Peace\u003c/a>,” with its copycat Riley pulse, to music for television, film and\u003ca href=\"https://www.youtube.com/watch?v=JAFIWlEUXoQ\"> commercials\u003c/a>.\u003c/p>\n\u003cp>While we’re not living in the same counterculture-fueled moment as Riley was when he wrote his most famous piece, there is a strong appetite today for ambient and electronic music you can bliss out to, and for performances of \u003cem>In C\u003c/em> itself. “People want to go hear an hour of transcendent music,” Robin suggests. “And it’s a tribute to this lightning rod moment for Riley, where he put it all down to the endurance of minimalism as an artistic movement that’s been so profoundly influential on popular culture.”\u003c/p>\n\u003cp>At 89, Riley still composes every day, with a view of Mount Fuji from his home in Japan. And he doesn’t mind looking back to that bus ride so long ago, and the spark of inspiration that helped ignite a musical movement with a piece of music that, after 60 years, continues to fascinate new audiences and evolve in the hands of anyone who plays it.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>“\u003cem>In C\u003c/em> is like one of your children,” he says with a wry chuckle. “They went out, became famous, did some good things, met some other people. And turned out to be something different than you imagined at the beginning.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Inspiration can spark in the most mundane circumstances. In 1964, a young composer named Terry Riley was on his way to work — playing ragtime piano at San Francisco’s Gold Street Saloon — when he had a light bulb moment that would alter the American musical landscape. A tiny, hiccuping, 2-note seed unexpectedly came to him.\u003c/p>\n\u003cp>“I was riding to work on the bus when I heard this first line come into my consciousness like somebody was playing it to me,” Riley recalls. “And I got quite excited, so as soon as I got off work that night, I went home and wrote down the first line.”\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/qzmi7Wm10Y0'\n title='//www.youtube.com/embed/qzmi7Wm10Y0'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>That seed blossomed into \u003cem>In C\u003c/em>, a piece which essentially launched the musical movement later known as minimalism.\u003c/p>\n\u003cp>In the early ’60s, Riley was among a cohort of free-thinking West Coast musicians experimenting with music, especially tape loops, and psychedelic drugs. The rest of \u003cem>In C\u003c/em> came to him quickly, but even after he had gathered all the musical ingredients, the piece wasn’t quite ready for prime time.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“When we first started rehearsing it, nobody, including me, knew how to play it,” Riley says. “I had a kind of idea of how it should sound, but to rehearse it and actually turn it into music took a bit of doing.”\u003c/p>\n\u003cp>It took some doing because one of the things that makes \u003cem>In C\u003c/em> innovative is that it carries so few guidelines. And that’s the idea — the composer gives up control to the performers. The score is just a single page containing 53 short musical “riffs” that any number of musicians can play in order, but at their discretion. Every performance, by design, will sound completely different.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>One challenge the players faced in those early rehearsals was the lack of a solid pulse, a kind of click track to keep the players together. Enter Steve Reich. He was among the musicians who helped Riley introduce the piece, along with other soon-to-be-legendary composers Morton Subotnick and Pauline Oliveros.\u003c/p>\n\u003cp>William Robin, a University of Maryland music professor, has written about the history of the music in his book \u003cem>On Minimalism — Documenting a Musical Movement\u003c/em>, co-authored with Kerry O’Brien. He believes Reich’s contribution to \u003cem>In C\u003c/em> can’t be overstated. “Reich makes a simple but profound suggestion: What if a pianist simply plays two Cs high on the keyboard in octaves to start the piece and go continuously throughout?” Robin notes. “Basically it functions as a human metronome.” That pulse, he adds, is fundamental to the sound of \u003cem>In C\u003c/em>, giving it an infectious groove.\u003c/p>\n\u003cfigure id=\"attachment_13967715\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967715\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley.png\" alt=\"A young man in a shirt and vest plays a piano inside a bar.\" width=\"2000\" height=\"1488\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-800x595.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1020x759.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-160x119.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-768x571.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1536x1143.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/riley-1920x1428.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Terry Riley in 1961 at San Francisco’s Gold Street Saloon, where he played ragtime piano. Three years later, on a bus ride to the Saloon, he first formed the idea for ‘In C.’ \u003ccite>(Terry Riley Archives)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Finally, on Nov. 4, 1964, Riley and his group of like-minded musicians debuted \u003cem>In C\u003c/em> at San Francisco’s Tape Music Center, a haven of electronic and new music. Four days later, the headline for a review of the concert in the \u003cem>San Francisco Chronicle\u003c/em> read: “Music Like none Other on Earth.” The reviewer, Alfred Frankenstein, ended by declaring \u003cem>In C\u003c/em> “the evening’s masterpiece.”\u003c/p>\n\u003cp>Cellist Maya Beiser agrees. She first heard \u003cem>In C\u003c/em> as a 17-year-old high schooler who stumbled across the LP in a record shop. “I immediately felt that it was such a genius thing, akin to E=mc\u003csup>2\u003c/sup>,” she says. “The idea of an open score was just so beautiful and revolutionary. I was blown away by that simple idea and by the notion of freedom that it presented.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Beiser released her own unique version of \u003cem>In C\u003c/em> earlier this year. Her experiment began as an off-the-cuff gift for Riley, then after his blessing, it blossomed into a recording.\u003c/p>\n\u003cp>Appropriate to Riley’s improvisatory way of thinking, Beiser and her recording engineer began with a mostly blank slate, just Riley’s spartan score. “We started to kind of loop all those melodic modules and I literally found my way into it as I was going because I deliberately didn’t want to decide anything,” she recalls. Armed with just her cello, a looping machine and a pair of percussionists, Beiser emphasizes the deep, sometimes headbanging, grooves inherent in the music.\u003c/p>\n\u003cp>“She broke it down into sections and integrated each section very distinctly,” Riley says. “Something I hadn’t thought of doing myself. There’s always somebody finding new ways to use these materials.” In Beiser’s rendition, there’s a grungy section with whiffs of Led Zeppelin’s “Kashmir,” a vocal passage interlacing her voice and cello in a nod to the medieval hocket style of singing, and plenty of lovely droning with the low C string of Beiser’s processed cello ricocheting off the drummers.\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/kMXABhDw5zw'\n title='//www.youtube.com/embed/kMXABhDw5zw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cfigure class=\"wp-block-embed is-type-video\">\u003c/figure>\n\u003cp>Unlike Beiser’s mostly solo approach, \u003cem>In C\u003c/em> is usually played by at least a dozen or more musicians, which emphasizes its communal powers. “One of the things that \u003cem>In C\u003c/em> has done over the years, has helped to connect people of different backgrounds,” Riley says.\u003c/p>\n\u003cp>That connection mushroomed in 1968, when Riley recorded \u003cem>In C\u003c/em> for Columbia Records. Suddenly, this strange new music was catapulted directly into the mainstream, while taking aim at the new, youthful counterculture. \u003cem>In C\u003c/em> was on the map, with an album that actually \u003cem>contained\u003c/em> a map to the piece itself.\u003c/p>\n\u003cp>“This was an incredibly popular recording,” Robin says. “It stayed in Columbia’s catalog, unlike plenty of other avant-garde records. And one of the cool things is that it actually prints the full score for the piece on the sleeve of the record. So they were empowering people, potentially, to actually organize their own performances of this piece.”\u003c/p>\n\u003cp>This was at a time, Robin points out, “when a lot of American composition is extremely inaccessible in terms of the musical language — composers writing highly atonal, cerebral scientific music.” \u003cem>In C\u003c/em>, in its singular way, thumbed its nose at the academy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Terry just came into it from a completely different place,” Beiser notes. “Because he studied in India, he was influenced by Indian classical music, by African music, by all these other non-Western traditions, and of course, free jazz improvisation.”\u003c/p>\n\u003cp>Improvisation is at the heart of much of Riley’s music. And one way in which \u003cem>In C\u003c/em> takes a page from Indian classical music is that within strict parameters there’s room for the player to make their own decisions.\u003c/p>\n\u003cp>“What makes \u003cem>In C\u003c/em> such a landmark work is that it is kind of right at the center of pushing the boundaries of what music could be,” Robin says, “while also having this incredibly rich and attractive soundscape that’s groovy in a way that pop music was groovy in the mid-’60s.”\u003c/p>\n\u003cp>\u003cem>In C\u003c/em> has been groovy enough to attract a surprisingly wide array of musicians. A brief survey of recordings includes: an\u003ca href=\"https://www.youtube.com/watch?v=YGCp4PPaRSg&t=181s\"> orchestra of Chinese instruments\u003c/a> from Shanghai,\u003ca href=\"https://www.youtube.com/watch?v=iDd9WY9ddDs\"> musicians\u003c/a> from West Africa, a Swiss\u003ca href=\"https://www.youtube.com/watch?v=fQpHLbDI-b4&list=PLOpS8ze-MAmFecrwk9N0szxKWr4A5O0rS&index=8\"> industrial band\u003c/a>,\u003ca href=\"https://www.youtube.com/watch?v=gO5xa01tfV8\"> Indian musicians\u003c/a> from Brooklyn, Japanese\u003ca href=\"https://www.youtube.com/watch?v=fH0ml4yp-Rs\"> acid rock\u003c/a>, a group of\u003ca href=\"https://www.youtube.com/watch?v=Z7FmozBZBG8\"> 10 harpists\u003c/a> in Holland and an orchestra of\u003ca href=\"https://www.youtube.com/watch?v=LmttdbOW3Ys\"> electric guitars\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/LmttdbOW3Ys'\n title='//www.youtube.com/embed/LmttdbOW3Ys'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Riley’s piece also works perfectly in amateur settings. With his students, Robin organizes annual performances of \u003cem>In C\u003c/em>. “It is just one of those joyful experiences as a musician,” he says. “The nature of the music — it is at once fully notated, but it has the sound, the ethos, of this kind of communal jam session, where musicians are repeating these little riffs over and over and over again.” At Robin’s most recent performance in May, bassoon, tuba and piano traded riffs with banjo, vibraphones and Robin’s own alto sax, amid a wash of another dozen players.\u003c/p>\n\u003cp>Even at the beginning, Riley understood how \u003cem>In C\u003c/em> was influential. “Other composers were taking an interest in what I was doing,” he remembers. “So I knew that it was going to have some significance.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It turned out to be game-changing. Both Philip Glass and Steve Reich quickly embraced Riley’s evolving repetition. It’s hard to imagine minimalist classics like Glass’\u003ca href=\"https://www.youtube.com/watch?v=pRerJeYmUgY\"> \u003cem>Einstein on the Beach\u003c/em>\u003c/a> from 1976, or Reich’s\u003ca href=\"https://www.youtube.com/watch?v=3ou9J844io0\"> \u003cem>Music for 18 Musicians\u003c/em>\u003c/a>, completed that same year, without \u003cem>In C\u003c/em>. And today, the music is all around us, from Taylor Swift’s song “\u003ca href=\"https://www.youtube.com/watch?v=HpxX4ZE4KWE\">Peace\u003c/a>,” with its copycat Riley pulse, to music for television, film and\u003ca href=\"https://www.youtube.com/watch?v=JAFIWlEUXoQ\"> commercials\u003c/a>.\u003c/p>\n\u003cp>While we’re not living in the same counterculture-fueled moment as Riley was when he wrote his most famous piece, there is a strong appetite today for ambient and electronic music you can bliss out to, and for performances of \u003cem>In C\u003c/em> itself. “People want to go hear an hour of transcendent music,” Robin suggests. “And it’s a tribute to this lightning rod moment for Riley, where he put it all down to the endurance of minimalism as an artistic movement that’s been so profoundly influential on popular culture.”\u003c/p>\n\u003cp>At 89, Riley still composes every day, with a view of Mount Fuji from his home in Japan. And he doesn’t mind looking back to that bus ride so long ago, and the spark of inspiration that helped ignite a musical movement with a piece of music that, after 60 years, continues to fascinate new audiences and evolve in the hands of anyone who plays it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“\u003cem>In C\u003c/em> is like one of your children,” he says with a wry chuckle. “They went out, became famous, did some good things, met some other people. And turned out to be something different than you imagined at the beginning.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cfigure id=\"attachment_13967647\" class=\"wp-caption aligncenter\" style=\"max-width: 1436px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967647\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken.png\" alt=\"A book cover featuring an illustration of a chicken.\" width=\"1436\" height=\"2000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken.png 1436w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-800x1114.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-1020x1421.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-160x223.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-768x1070.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/chicken-1103x1536.png 1103w\" sizes=\"auto, (max-width: 1436px) 100vw, 1436px\">\u003cfigcaption class=\"wp-caption-text\">‘What the Chicken Knows’ by Sy Montgomery. \u003ccite>(Atria Books)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Three clucks to Sy Montgomery, who 14 years after publishing \u003cem>Birdology\u003c/em>, is still finding ways to make money off the charming stories she told in that book about various avian species. \u003cem>What the Chicken Knows\u003c/em>, subtitled \u003cem>A New Appreciation of the World’s Most Familiar Bird\u003c/em> was a chapter in \u003cem>Birdology\u003c/em>, but is being re-released as a mini hardcover.\u003c/p>\n\u003cp>Readers who haven’t read it will be, briefly, captivated. In just 67 pages (16 of which are glossy color photographs) Montgomery introduces us to her “Ladies,” the ever-changing flock of hens she raised on her New Hampshire farm for decades starting in the 1980s. Blending her personal experiences as queen of the coop with everything you’ve ever wanted to know about chicken behavior, it’s a fun and informative way to spend an hour.\u003c/p>\n\u003cp>[aside postid='arts_13966822']Here’s a sampling of what you’ll learn: Chickens outnumber people 4:1, they have more in common, anatomically, with dinosaurs than humans, you can mail order up to 350 different varieties of chicks, and roosters really are much meaner than hens. Montgomery sprinkles in those facts and plenty more as she shares stories about how her chickens behaved over the years and what they taught her about “how rich and varied their lives are, as fraught and joyous and changeable as our own.”\u003c/p>\n\u003cp>Montgomery is wary of anthropomorphizing her feathered friends, so while she names them, she also tells plenty of stories that could be rebranded for a TV show called \u003cem>When Chickens Attack!\u003c/em> The funniest involves her minister, who makes the mistake of running his hand down one of the hens’ backs, a gesture that makes them assume a distinctive mating crouch. Across the yard, Alex “saw a moral travesty, an insult to his roosterhood: the minister was trying to have sex with his hen.” The minister survives the bloody “spurs first” attack to the back of his calves, but learns to tend his own flock.\u003c/p>\n\u003cp>\u003cem>What the Chicken Knows\u003c/em> joins \u003cem>A Hummingbird’s Gift\u003c/em> and \u003cem>The Hawk’s Way\u003c/em> as standalone mini-books pulled from the pages of \u003cem>Birdology\u003c/em>. Each has a new introduction by the author and would make nice stocking stuffers for bird lovers in anyone’s life.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘What the Chicken Knows’ by Sy Montgomery is out on Nov. 5, 2024, via Atria Books.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Here’s a sampling of what you’ll learn: Chickens outnumber people 4:1, they have more in common, anatomically, with dinosaurs than humans, you can mail order up to 350 different varieties of chicks, and roosters really are much meaner than hens. Montgomery sprinkles in those facts and plenty more as she shares stories about how her chickens behaved over the years and what they taught her about “how rich and varied their lives are, as fraught and joyous and changeable as our own.”\u003c/p>\n\u003cp>Montgomery is wary of anthropomorphizing her feathered friends, so while she names them, she also tells plenty of stories that could be rebranded for a TV show called \u003cem>When Chickens Attack!\u003c/em> The funniest involves her minister, who makes the mistake of running his hand down one of the hens’ backs, a gesture that makes them assume a distinctive mating crouch. Across the yard, Alex “saw a moral travesty, an insult to his roosterhood: the minister was trying to have sex with his hen.” The minister survives the bloody “spurs first” attack to the back of his calves, but learns to tend his own flock.\u003c/p>\n\u003cp>\u003cem>What the Chicken Knows\u003c/em> joins \u003cem>A Hummingbird’s Gift\u003c/em> and \u003cem>The Hawk’s Way\u003c/em> as standalone mini-books pulled from the pages of \u003cem>Birdology\u003c/em>. Each has a new introduction by the author and would make nice stocking stuffers for bird lovers in anyone’s life.\u003c/p>\n\u003chr>\n\u003cp>\u003cem>‘What the Chicken Knows’ by Sy Montgomery is out on Nov. 5, 2024, via Atria Books.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Quincy Jones, the multi-talented music titan whose vast legacy ranged from producing Michael Jackson’s historic \u003cem>Thriller\u003c/em> album to writing prize-winning film and television scores and collaborating with Frank Sinatra, Ray Charles and hundreds of other recording artists, has died at 91.\u003c/p>\n\u003cp>Jones’ publicist, Arnold Robinson, says he died Sunday night at his home in the Bel Air section of Los Angeles, surrounded by his family. Jones was to have received an honorary Academy Award later this month.\u003c/p>\n\u003cp>“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing,” the family said in a statement. “And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”\u003c/p>\n\u003cfigure id=\"attachment_13967640\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13967640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1920x1353.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones attends an event for the Netflix film ‘Dolemite Is My Name!’ on October 26, 2019 in West Hollywood, California. \u003ccite>(Arnold Turner/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones rose from running with gangs on the South Side of Chicago to the very heights of show business, becoming one of the first Black executives to thrive in Hollywood and leaving behind a vast musical catalog that includes some of the richest moments of American song and rhythm. Over the past half century, it was hard to find a music lover who did not own at least one record with Jones’ name on it or someone in the music, television or movie industries who did not have some connection to him.\u003c/p>\n\u003cp>Jones kept company with presidents and foreign leaders, movie stars and musicians, philanthropists and business leaders. He toured with Count Basie and Lionel Hampton, arranged records for Sinatra and Ella Fitzgerald, composed the soundtracks for \u003cem>Roots\u003c/em> and \u003cem>In the Heat of the Night\u003c/em>, organized President Clinton’s first inaugural celebration and oversaw the all-star recording of “We Are the World.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003ca href=\"https://www.npr.org/2013/05/27/186052477/quincy-jones-the-man-behind-the-music\">\u003cstrong>\u003cem>Listen to Quincy Jones’ ‘Fresh Air’ interview with Terry Gross\u003c/em>\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>In a career that began when records were still played on vinyl at 78 rpm, singling out any work seems unfair. But honors likely go to his productions with Jackson on \u003cem>Off the Wall\u003c/em>, \u003cem>Thriller\u003c/em> and \u003cem>Bad\u003c/em>, albums universal in their style and appeal. Jones’ versatility and imagination fit perfectly with the bursting talents of Jackson as he sensationally transformed from child star to the “King of Pop.” \u003c/p>\n\u003cp>On such classic tracks as “Billie Jean” and “Wanna Be Startin’ Somethin’,” Jones and Jackson drew upon disco, funk, rock, pop, R&B and jazz and African chants. For \u003cem>Thriller\u003c/em>, some of the most memorable touches originated with Jones, who recruited Eddie Van Halen for a guitar solo on the genre-defying “Beat It” and brought in Vincent Price for a ghoulish voiceover on the title track.\u003c/p>\n\u003cfigure id=\"attachment_13967639\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg\" alt=\"\" width=\"2000\" height=\"1228\" class=\"size-full wp-image-13967639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1020x626.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1536x943.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1920x1179.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones, Michael Jackson and David Geffen at a post-concert party at Universal Studios circa 1982 in Los Angeles. \u003ccite>(Brad Elterman/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Thriller\u003c/em> sold more than 20 million copies in 1983 alone, helped Jackson become the first major Black artist to have a video played on MTV and influenced countless performers.\u003c/p>\n\u003cp>“Michael had the look and the voice, and I had every sound you can think of,” Jones would explain.\u003c/p>\n\u003cp>The list of his honors and awards fills 18 pages in his 2001 autobiography \u003cem>Q\u003c/em>: 28 Grammys (out of 80 nominations), an honorary Academy Award and an Emmy for \u003cem>Roots\u003c/em>. He also received France’s Legion d’Honneur and the Rudolph Valentino Award from the Republic of Italy. In 2001, Jones was named a Kennedy Center Honoree for his contributions to American culture. He was the subject of a 1990 documentary, \u003cem>Listen Up: The Lives of Quincy Jones\u003c/em>, and his memoir made him a best-selling author.\u003c/p>\n\u003cp>[aside postID='arts_13951126']“Despite all the Grammys and the special awards and testimonials that maturity bestows, it will always be the values you carry within yourself — of work, love, and integrity — that carry the greatest worth, because these are what get you through with your dreams intact, your heart held firm and your spirit ready for another day,” he wrote in his book.\u003c/p>\n\u003cp>Born in Chicago in 1933, Jones would cite the hymns his mother sang around the house as the first music he could remember. But he looked back sadly on his childhood, telling Oprah Winfrey that “There are two kinds of people: those who have nurturing parents or caretakers, and those who don’t. Nothing’s in between.” \u003c/p>\n\u003cp>Jones’ mother suffered from emotional problems and was eventually institutionalized, a loss that made the world seem “senseless” for Quincy. He spent much of his time in Chicago on the streets, with gangs, stealing and fighting.\u003c/p>\n\u003cfigure id=\"attachment_13967638\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg\" alt=\"\" width=\"2000\" height=\"1595\" class=\"size-full wp-image-13967638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1536x1225.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1920x1531.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Quincy Jones and Andre 3000 arrive at the ‘Saks Fifth Avenue’s Unforgettable Evening’ at the Regent Beverly Wilshire on March 1, 2004 in Beverly Hills, California. \u003ccite>(Doug Benc/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music was his passion, and, almost literally, his salvation. As a boy, he learned that a Chicago neighbor owned a piano and he soon played it constantly himself. His father moved to Washington state when Quincy was 10 and his world changed at a neighborhood recreation center. Jones and some friends had broken into the kitchen and helped themselves to lemon meringue pie when Jones noticed a small room nearby with a stage. On the stage was a piano.\u003c/p>\n\u003cp>“I went up there, paused, stared, and then tinkled on it for a moment,” he wrote in his autobiography. “That’s where I began to find peace. I was 11. I knew this was it for me. Forever.”\u003c/p>\n\u003cp>Within a few years he was playing trumpet and befriending a young blind musician named Ray Charles, who became a lifelong friend. He was gifted enough to win a scholarship at the Berklee College of Music in Boston, but dropped out when Hampton invited him to tour with his band. Jones went on to work as a freelance composer, conductor, arranger and producer. As a teen, he backed Billie Holiday. By his mid-20s, he was touring with his own band.\u003c/p>\n\u003cp>“We had the best jazz band on the planet, and yet we were literally starving,” Jones later told \u003cem>Musician\u003c/em> magazine. “That’s when I discovered that there was music, and there was the music business. If I were to survive, I would have to learn the difference between the two.”\u003c/p>\n\u003cp>His survivors include actor Rashida Jones and five other daughters: Jolie Jones Levine, Rachel Jones, Martina Jones, Kidada Jones and Kenya Kinski-Jones; son Quincy Jones III; brother Richard Jones and sisters Theresa Frank and Margie Jay.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>AP Entertainment writer Andrew Dalton and former AP Entertainment Writer Sandy Cohen contributed to this report from Los Angeles.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Quincy Jones, the multi-talented music titan whose vast legacy ranged from producing Michael Jackson’s historic \u003cem>Thriller\u003c/em> album to writing prize-winning film and television scores and collaborating with Frank Sinatra, Ray Charles and hundreds of other recording artists, has died at 91.\u003c/p>\n\u003cp>Jones’ publicist, Arnold Robinson, says he died Sunday night at his home in the Bel Air section of Los Angeles, surrounded by his family. Jones was to have received an honorary Academy Award later this month.\u003c/p>\n\u003cp>“Tonight, with full but broken hearts, we must share the news of our father and brother Quincy Jones’ passing,” the family said in a statement. “And although this is an incredible loss for our family, we celebrate the great life that he lived and know there will never be another like him.”\u003c/p>\n\u003cfigure id=\"attachment_13967640\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg\" alt=\"\" width=\"2000\" height=\"1409\" class=\"size-full wp-image-13967640\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-800x564.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1020x719.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-768x541.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1536x1082.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-1183662311-1920x1353.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones attends an event for the Netflix film ‘Dolemite Is My Name!’ on October 26, 2019 in West Hollywood, California. \u003ccite>(Arnold Turner/Getty Images for Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Jones rose from running with gangs on the South Side of Chicago to the very heights of show business, becoming one of the first Black executives to thrive in Hollywood and leaving behind a vast musical catalog that includes some of the richest moments of American song and rhythm. Over the past half century, it was hard to find a music lover who did not own at least one record with Jones’ name on it or someone in the music, television or movie industries who did not have some connection to him.\u003c/p>\n\u003cp>Jones kept company with presidents and foreign leaders, movie stars and musicians, philanthropists and business leaders. He toured with Count Basie and Lionel Hampton, arranged records for Sinatra and Ella Fitzgerald, composed the soundtracks for \u003cem>Roots\u003c/em> and \u003cem>In the Heat of the Night\u003c/em>, organized President Clinton’s first inaugural celebration and oversaw the all-star recording of “We Are the World.”\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://www.npr.org/2013/05/27/186052477/quincy-jones-the-man-behind-the-music\">\u003cstrong>\u003cem>Listen to Quincy Jones’ ‘Fresh Air’ interview with Terry Gross\u003c/em>\u003c/strong>\u003c/a>.\u003c/p>\n\u003cp>In a career that began when records were still played on vinyl at 78 rpm, singling out any work seems unfair. But honors likely go to his productions with Jackson on \u003cem>Off the Wall\u003c/em>, \u003cem>Thriller\u003c/em> and \u003cem>Bad\u003c/em>, albums universal in their style and appeal. Jones’ versatility and imagination fit perfectly with the bursting talents of Jackson as he sensationally transformed from child star to the “King of Pop.” \u003c/p>\n\u003cp>On such classic tracks as “Billie Jean” and “Wanna Be Startin’ Somethin’,” Jones and Jackson drew upon disco, funk, rock, pop, R&B and jazz and African chants. For \u003cem>Thriller\u003c/em>, some of the most memorable touches originated with Jones, who recruited Eddie Van Halen for a guitar solo on the genre-defying “Beat It” and brought in Vincent Price for a ghoulish voiceover on the title track.\u003c/p>\n\u003cfigure id=\"attachment_13967639\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg\" alt=\"\" width=\"2000\" height=\"1228\" class=\"size-full wp-image-13967639\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-800x491.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1020x626.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-160x98.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-768x472.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1536x943.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-88686317-1920x1179.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Quincy Jones, Michael Jackson and David Geffen at a post-concert party at Universal Studios circa 1982 in Los Angeles. \u003ccite>(Brad Elterman/FilmMagic)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>Thriller\u003c/em> sold more than 20 million copies in 1983 alone, helped Jackson become the first major Black artist to have a video played on MTV and influenced countless performers.\u003c/p>\n\u003cp>“Michael had the look and the voice, and I had every sound you can think of,” Jones would explain.\u003c/p>\n\u003cp>The list of his honors and awards fills 18 pages in his 2001 autobiography \u003cem>Q\u003c/em>: 28 Grammys (out of 80 nominations), an honorary Academy Award and an Emmy for \u003cem>Roots\u003c/em>. He also received France’s Legion d’Honneur and the Rudolph Valentino Award from the Republic of Italy. In 2001, Jones was named a Kennedy Center Honoree for his contributions to American culture. He was the subject of a 1990 documentary, \u003cem>Listen Up: The Lives of Quincy Jones\u003c/em>, and his memoir made him a best-selling author.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>“Despite all the Grammys and the special awards and testimonials that maturity bestows, it will always be the values you carry within yourself — of work, love, and integrity — that carry the greatest worth, because these are what get you through with your dreams intact, your heart held firm and your spirit ready for another day,” he wrote in his book.\u003c/p>\n\u003cp>Born in Chicago in 1933, Jones would cite the hymns his mother sang around the house as the first music he could remember. But he looked back sadly on his childhood, telling Oprah Winfrey that “There are two kinds of people: those who have nurturing parents or caretakers, and those who don’t. Nothing’s in between.” \u003c/p>\n\u003cp>Jones’ mother suffered from emotional problems and was eventually institutionalized, a loss that made the world seem “senseless” for Quincy. He spent much of his time in Chicago on the streets, with gangs, stealing and fighting.\u003c/p>\n\u003cfigure id=\"attachment_13967638\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg\" alt=\"\" width=\"2000\" height=\"1595\" class=\"size-full wp-image-13967638\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-800x638.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1020x813.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-160x128.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-768x612.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1536x1225.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/GettyImages-3031648-1920x1531.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Composer Quincy Jones and Andre 3000 arrive at the ‘Saks Fifth Avenue’s Unforgettable Evening’ at the Regent Beverly Wilshire on March 1, 2004 in Beverly Hills, California. \u003ccite>(Doug Benc/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Music was his passion, and, almost literally, his salvation. As a boy, he learned that a Chicago neighbor owned a piano and he soon played it constantly himself. His father moved to Washington state when Quincy was 10 and his world changed at a neighborhood recreation center. Jones and some friends had broken into the kitchen and helped themselves to lemon meringue pie when Jones noticed a small room nearby with a stage. On the stage was a piano.\u003c/p>\n\u003cp>“I went up there, paused, stared, and then tinkled on it for a moment,” he wrote in his autobiography. “That’s where I began to find peace. I was 11. I knew this was it for me. Forever.”\u003c/p>\n\u003cp>Within a few years he was playing trumpet and befriending a young blind musician named Ray Charles, who became a lifelong friend. He was gifted enough to win a scholarship at the Berklee College of Music in Boston, but dropped out when Hampton invited him to tour with his band. Jones went on to work as a freelance composer, conductor, arranger and producer. As a teen, he backed Billie Holiday. By his mid-20s, he was touring with his own band.\u003c/p>\n\u003cp>“We had the best jazz band on the planet, and yet we were literally starving,” Jones later told \u003cem>Musician\u003c/em> magazine. “That’s when I discovered that there was music, and there was the music business. If I were to survive, I would have to learn the difference between the two.”\u003c/p>\n\u003cp>His survivors include actor Rashida Jones and five other daughters: Jolie Jones Levine, Rachel Jones, Martina Jones, Kidada Jones and Kenya Kinski-Jones; son Quincy Jones III; brother Richard Jones and sisters Theresa Frank and Margie Jay.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>AP Entertainment writer Andrew Dalton and former AP Entertainment Writer Sandy Cohen contributed to this report from Los Angeles.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "blessd-ryan-castro-reggaeton-harris-trump-bay-area-fans-election",
"title": "Reggaeton Is Now Part of the 2024 Election. What Do Fans Think?",
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"headTitle": "Reggaeton Is Now Part of the 2024 Election. What Do Fans Think? | KQED",
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"content": "\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>[dropcap]O[/dropcap]n Halloween night, Colombian stars Blessd and Ryan Castro played a sold-out show at the San Jose Civic to nearly 3,000 reggaeton fans that sang along to every verse. San José was their first stop on the ¡Ay Bendito Ghetto! Tour — a city that in the past few years has become the home of a \u003ca href=\"https://www.kqed.org/news/11994119/colombia-copa-america-final-san-jose-argentina\">rapidly growing Colombian community\u003c/a>.\u003c/p>\n\u003cp>The concert came just days after reggaeton was thrust into the political arena. At a Donald Trump campaign rally on Oct. 27, comedian Tony Hinchcliffe made crude jokes about Latinos and referred to Puerto Rico as a “floating island of garbage.”\u003c/p>\n\u003cp>Global reggaeton superstar Bad Bunny subsequently \u003ca href=\"https://www.pbs.org/newshour/politics/superstar-bad-bunny-backs-harris-for-president-after-trump-event-features-comedians-racist-cracks\">signaled his support for Kamala Harris\u003c/a>, citing the comments at the rally. Nicky Jam, the reggaetonero who surprised fans when he endorsed Trump in September, \u003ca href=\"https://apnews.com/article/nicky-jam-donald-trump-endorsement-rescinded-1502ebc97adf28be8e22bb01d41a3e42\">retracted his endorsement\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13967607\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Castro performs at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How do reggaeton fans feel about their genre being thrust to the forefront of the presidential campaign, just days before Election Day? As the last major reggaeton concert in the Bay Area before Nov. 5, Thursday’s concert proved an ideal opportunity to ask just that.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Indeed, most of the crowd at the San Jose Civic were young people who have recently migrated from Colombia to the United States. Blessd and Castro’s music, and reggaeton overall, are more than bops — they’re the soundtrack of their migration journey.\u003c/p>\n\u003cp>“When you listen to reggaeton, you feel like you’re back in your home country again,” said Valeria Bou, originally from Colombia but now living in Seattle. \u003c/p>\n\u003cfigure id=\"attachment_13967613\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED.jpg\" alt=\"\" width=\"1600\" height=\"2000\" class=\"size-full wp-image-13967613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-1229x1536.jpg 1229w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Maria Sanchez (left) and Andres Naruaez pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andrés Nárvaez, now living in San Jose, says he listens to Blessd’s “CONDENADO AL EXITO II” all the time since he migrated. “That song says that all is possible with time and hard work,” he said. “I identify with that. I want to stay in this country and work so I can buy myself a Mercedes and a home.”\u003c/p>\n\u003ch2>Courting the Latino Vote With Reggaeton\u003c/h2>\n\u003cp>Over 36 million Latinos are eligible to vote this year, and many analysts consider the demographic \u003ca href=\"https://time.com/7096983/election-latino-voters-swing-states-harris-trump-campaigns-economy-immigration/\">a key to victory in important swing states like Nevada, Arizona and Pennsylvania\u003c/a>. Both Kamala Harris and Donald Trump know this; their campaigns have \u003ca href=\"https://www.bloomberg.com/news/features/2024-10-19/trump-harris-fight-for-latino-2024-vote-seen-by-record-spanish-ads\">invested millions in courting Latino voters\u003c/a>.\u003c/p>\n\u003cp>Gone are the days of Gerald Ford trying to eat a tamal (and failing miserably: he bit into it \u003ca href=\"https://remezcla.com/food/ford-tamal-eating-1976/\">without taking the corn husk off first\u003c/a>). Or Hillary Clinton’s 2016 list of “7 things Hillary Clinton has in common with your abuela,” \u003ca href=\"https://www.nytimes.com/2015/12/24/us/politics/hillary-clinton-is-not-my-abuela-critics-say.html\">widely criticized\u003c/a> as pandering. This year, both Harris and Trump have tapped reggaeton stars for support.\u003c/p>\n\u003cfigure id=\"attachment_13967623\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13967623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Paola Melo poses for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First it was Puerto Rican superstars Anuel AA and Justin Quiles, who \u003ca href=\"https://www.rollingstone.com/music/music-latin/reggaeton-donald-trump-endorsements-explained-1235103592/\">endorsed Trump at a rally\u003c/a> in Pennsylvania in August. Then it was their fellow boricua Nicky Jam, who surprised fans and peers when he \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2024/09/15/donald-trump-nicky-jam-las-vegas-rally/75237185007/\">endorsed Trump at a September rally in Las Vegas\u003c/a>. (Before Nicky walked on stage, Trump referring to him repeatedly as “she.”)\u003c/p>\n\u003cp>But it would be Harris that finally received the \u003ca href=\"https://www.washingtonpost.com/style/power/2024/09/19/bad-bunny-kamala-harris-endorsement/\">highly coveted\u003c/a> support of Bad Bunny in a series of Instagram videos shortly after Hinchcliffe’s “floating island of garbage” comment at Madison Square Garden.\u003c/p>\n\u003cp>[aside postID='arts_13967133']\u003c/p>\n\u003ch2>‘What Resources Are You Investing to Support Us?’\u003c/h2>\n\u003cp>For Pittsburg friends Evelyn Suárez, Elaine Torres and Brianna Ruiz, reggaeton as a genre has changed in recent years to center self-empowerment. “It’s authentic,” said Torres, “It’s a lot about showing who you are and putting yourself out there.”\u003c/p>\n\u003cp>In Suárez’s eyes, when an artist speaks about an issue they care about, it makes them a more complete person. “When it’s someone I love, I ask myself, ‘What’s this about? Is this something that I should be caring about that I didn’t know about before?’” she said. For her, that includes the 2024 election.\u003c/p>\n\u003cp>“When I saw that Bad Bunny is supporting Kamala, I’m all for it because Kamala is a lot better than Trump,” Suárez said.\u003c/p>\n\u003cfigure id=\"attachment_13967610\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Elaine Torres, Bryanda Ruiz and Evelin Suarez, pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knowing where an artist stands also helps her know if she wants to keep rooting for them. “I listen to Nicky Jam and when I saw that he was supporting Trump, I was like, ‘Oh no, I don’t support Trump,’” she said. “Seeing him, a Latino, back Trump and forget about all his fans that are Latinos who have suffered from the stuff that Trump has done, I was just like, ‘No.’”\u003c/p>\n\u003cp>While the three agreed that it’s important for candidates to invest energy in understanding Latino voters, they also want actual results after Election Day.\u003c/p>\n\u003cp>“It’s not only about having Bad Bunny on your side to get our votes,” Suárez explained, “but what also matters is what you’re continuously doing in power to support the Latino community. What resources are you investing to support us?”\u003c/p>\n\u003cfigure id=\"attachment_13967618\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Juan Jose Troncoso (left) and Juan Diego Naranjo pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Music That’s ‘So Pure and Beautiful’\u003c/h2>\n\u003cp>Other fans at the show said they feel protective of reggaeton against U.S. politicians co-opting Latin American music for personal gain.\u003c/p>\n\u003cp>“I think all of this is out of convenience,” said Juan Troncoso of San José. A dancer who recently migrated from Colombia, Troncoso was first drawn to reggaeton because it reflected the reality of growing up Colombian. “For me, reggaeton represents the cultural mixture we have as a people, all the different histories we have.”\u003c/p>\n\u003cp>“What politicians may want out of these artists is to just reach their audiences for votes,” he added. “I don’t see it as something genuine.”\u003c/p>\n\u003cfigure id=\"attachment_13967616\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Juan Pablo Quesada, Valeria Arteaga Bou and Santiago Quesada from Seattle pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others said they wanted reggaeton and politics to stay separate. “I think [reggaetoneros] shouldn’t get involved in all of this, to be honest,” said Juan Ríos of San José. \u003c/p>\n\u003cp>Ríos said he was drawn to artists like Blessd and Ryan Castro for their style, swagger and music. He also approved of \u003ca href=\"https://www.elespectador.com/revista-vea/famosos/blessd-compro-un-equipo-de-futbol-cual-es-y-cuanto-cuesta/\">Blessd’s recent purchase, alongside other investors, of Vendsyssel FF\u003c/a>, a professional soccer team from Denmark.\u003c/p>\n\u003cp>But he thinks that “many of the people that follow reggaeton are too young to vote, so I don’t know if supporting candidates actually works out.”\u003c/p>\n\u003cfigure id=\"attachment_13967611\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Emanuel Parra, Melannie Zapata and Sebastian Londoño pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>All in It Together\u003c/h2>\n\u003cp>Dressed as Blade-style vampires, Sebastián Fox and his friends drove over 100 miles from Santa Rosa to see Blessd. Fox is a house and electronic music DJ and producer originally from Colombia who came to the United States to pursue his dreams. The long drive was worth it, he said, to see one of his inspirations. \u003c/p>\n\u003cp>“I see Blessd’s journey of coming from the streets, moving up and becoming a hit, and that motivates me,” he said. “Because if he can, then I can also do the same with my music.”\u003c/p>\n\u003cp>As someone who creates music for a living, he thinks politics should stay separate. “Music is something that needs to be respected. It’s something so pure and beautiful,” said Fox. “Mixing it with politics and influence, that doesn’t match up for me.”\u003c/p>\n\u003cfigure id=\"attachment_13967614\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brothers Adrian (left) and Ricardo Abonce pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing was clear at the San Jose Civic: the power of reggaeton exists thanks to the dedication of its fans.\u003c/p>\n\u003cp>Brothers Ricardo and Adrian Abonce from Dublin showed up to the performance in Halloween costumes, with Ricardo dressed as the Pope and his brother as a priest. (“All of this made possible by \u003ca href=\"https://www.kqed.org/news/11965792/spirit-halloween-unleashed-its-first-bay-area-store-in-1983\">Spirit Halloween\u003c/a>,” they joked.) \u003c/p>\n\u003cp>They said they both grew up listening to reggaeton, listening to everything by Daddy Yankee and La Factoria. “It makes me very proud to see that Latin American music has come so far in the United States,” said Ricardo. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>His brother agreed. “As Latinos, it’s incredible that we’ve come so far,” Adrian said. “We’re all in this together.”\u003c/p>\n\u003cfigure id=\"attachment_13967609\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Blessd and Ryan Castro concert during the“ Ay Bendito Ghetto” tour at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n",
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"excerpt": "At a Ryan Castro and Blessd concert, fans talk about the heightened role the music plays in U.S. politics.",
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"title": "Reggaeton Is Now Part of the 2024 Election. What Do Fans Think? | KQED",
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"headline": "Reggaeton Is Now Part of the 2024 Election. What Do Fans Think?",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>This story is part of the KQED series \u003ca href=\"https://www.kqed.org/fandomvote\">The Fandom Vote\u003c/a>, exploring the election-year concerns and voting preferences of pop culture fanbases.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cspan class=\"utils-parseShortcode-shortcodes-__dropcapShortcode__dropcap\">O\u003c/span>\u003c/p>\u003cp>n Halloween night, Colombian stars Blessd and Ryan Castro played a sold-out show at the San Jose Civic to nearly 3,000 reggaeton fans that sang along to every verse. San José was their first stop on the ¡Ay Bendito Ghetto! Tour — a city that in the past few years has become the home of a \u003ca href=\"https://www.kqed.org/news/11994119/colombia-copa-america-final-san-jose-argentina\">rapidly growing Colombian community\u003c/a>.\u003c/p>\n\u003cp>The concert came just days after reggaeton was thrust into the political arena. At a Donald Trump campaign rally on Oct. 27, comedian Tony Hinchcliffe made crude jokes about Latinos and referred to Puerto Rico as a “floating island of garbage.”\u003c/p>\n\u003cp>Global reggaeton superstar Bad Bunny subsequently \u003ca href=\"https://www.pbs.org/newshour/politics/superstar-bad-bunny-backs-harris-for-president-after-trump-event-features-comedians-racist-cracks\">signaled his support for Kamala Harris\u003c/a>, citing the comments at the rally. Nicky Jam, the reggaetonero who surprised fans when he endorsed Trump in September, \u003ca href=\"https://apnews.com/article/nicky-jam-donald-trump-endorsement-rescinded-1502ebc97adf28be8e22bb01d41a3e42\">retracted his endorsement\u003c/a>.\u003c/p>\n\u003cfigure id=\"attachment_13967607\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967607\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-08-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Ryan Castro performs at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>How do reggaeton fans feel about their genre being thrust to the forefront of the presidential campaign, just days before Election Day? As the last major reggaeton concert in the Bay Area before Nov. 5, Thursday’s concert proved an ideal opportunity to ask just that.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Indeed, most of the crowd at the San Jose Civic were young people who have recently migrated from Colombia to the United States. Blessd and Castro’s music, and reggaeton overall, are more than bops — they’re the soundtrack of their migration journey.\u003c/p>\n\u003cp>“When you listen to reggaeton, you feel like you’re back in your home country again,” said Valeria Bou, originally from Colombia but now living in Seattle. \u003c/p>\n\u003cfigure id=\"attachment_13967613\" class=\"wp-caption aligncenter\" style=\"max-width: 1600px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED.jpg\" alt=\"\" width=\"1600\" height=\"2000\" class=\"size-full wp-image-13967613\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED.jpg 1600w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-800x1000.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-1020x1275.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-768x960.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-26-103124-KQED-1229x1536.jpg 1229w\" sizes=\"(max-width: 1600px) 100vw, 1600px\">\u003cfigcaption class=\"wp-caption-text\">Maria Sanchez (left) and Andres Naruaez pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Andrés Nárvaez, now living in San Jose, says he listens to Blessd’s “CONDENADO AL EXITO II” all the time since he migrated. “That song says that all is possible with time and hard work,” he said. “I identify with that. I want to stay in this country and work so I can buy myself a Mercedes and a home.”\u003c/p>\n\u003ch2>Courting the Latino Vote With Reggaeton\u003c/h2>\n\u003cp>Over 36 million Latinos are eligible to vote this year, and many analysts consider the demographic \u003ca href=\"https://time.com/7096983/election-latino-voters-swing-states-harris-trump-campaigns-economy-immigration/\">a key to victory in important swing states like Nevada, Arizona and Pennsylvania\u003c/a>. Both Kamala Harris and Donald Trump know this; their campaigns have \u003ca href=\"https://www.bloomberg.com/news/features/2024-10-19/trump-harris-fight-for-latino-2024-vote-seen-by-record-spanish-ads\">invested millions in courting Latino voters\u003c/a>.\u003c/p>\n\u003cp>Gone are the days of Gerald Ford trying to eat a tamal (and failing miserably: he bit into it \u003ca href=\"https://remezcla.com/food/ford-tamal-eating-1976/\">without taking the corn husk off first\u003c/a>). Or Hillary Clinton’s 2016 list of “7 things Hillary Clinton has in common with your abuela,” \u003ca href=\"https://www.nytimes.com/2015/12/24/us/politics/hillary-clinton-is-not-my-abuela-critics-say.html\">widely criticized\u003c/a> as pandering. This year, both Harris and Trump have tapped reggaeton stars for support.\u003c/p>\n\u003cfigure id=\"attachment_13967623\" class=\"wp-caption aligncenter\" style=\"max-width: 1333px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED.jpg\" alt=\"\" width=\"1333\" height=\"2000\" class=\"size-full wp-image-13967623\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED.jpg 1333w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-800x1200.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-1020x1530.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-160x240.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-768x1152.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-46-103124-KQED-1024x1536.jpg 1024w\" sizes=\"(max-width: 1333px) 100vw, 1333px\">\u003cfigcaption class=\"wp-caption-text\">Paola Melo poses for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>First it was Puerto Rican superstars Anuel AA and Justin Quiles, who \u003ca href=\"https://www.rollingstone.com/music/music-latin/reggaeton-donald-trump-endorsements-explained-1235103592/\">endorsed Trump at a rally\u003c/a> in Pennsylvania in August. Then it was their fellow boricua Nicky Jam, who surprised fans and peers when he \u003ca href=\"https://www.usatoday.com/story/entertainment/music/2024/09/15/donald-trump-nicky-jam-las-vegas-rally/75237185007/\">endorsed Trump at a September rally in Las Vegas\u003c/a>. (Before Nicky walked on stage, Trump referring to him repeatedly as “she.”)\u003c/p>\n\u003cp>But it would be Harris that finally received the \u003ca href=\"https://www.washingtonpost.com/style/power/2024/09/19/bad-bunny-kamala-harris-endorsement/\">highly coveted\u003c/a> support of Bad Bunny in a series of Instagram videos shortly after Hinchcliffe’s “floating island of garbage” comment at Madison Square Garden.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003ch2>‘What Resources Are You Investing to Support Us?’\u003c/h2>\n\u003cp>For Pittsburg friends Evelyn Suárez, Elaine Torres and Brianna Ruiz, reggaeton as a genre has changed in recent years to center self-empowerment. “It’s authentic,” said Torres, “It’s a lot about showing who you are and putting yourself out there.”\u003c/p>\n\u003cp>In Suárez’s eyes, when an artist speaks about an issue they care about, it makes them a more complete person. “When it’s someone I love, I ask myself, ‘What’s this about? Is this something that I should be caring about that I didn’t know about before?’” she said. For her, that includes the 2024 election.\u003c/p>\n\u003cp>“When I saw that Bad Bunny is supporting Kamala, I’m all for it because Kamala is a lot better than Trump,” Suárez said.\u003c/p>\n\u003cfigure id=\"attachment_13967610\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967610\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-22-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Elaine Torres, Bryanda Ruiz and Evelin Suarez, pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Knowing where an artist stands also helps her know if she wants to keep rooting for them. “I listen to Nicky Jam and when I saw that he was supporting Trump, I was like, ‘Oh no, I don’t support Trump,’” she said. “Seeing him, a Latino, back Trump and forget about all his fans that are Latinos who have suffered from the stuff that Trump has done, I was just like, ‘No.’”\u003c/p>\n\u003cp>While the three agreed that it’s important for candidates to invest energy in understanding Latino voters, they also want actual results after Election Day.\u003c/p>\n\u003cp>“It’s not only about having Bad Bunny on your side to get our votes,” Suárez explained, “but what also matters is what you’re continuously doing in power to support the Latino community. What resources are you investing to support us?”\u003c/p>\n\u003cfigure id=\"attachment_13967618\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967618\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-34-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Juan Jose Troncoso (left) and Juan Diego Naranjo pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>A Music That’s ‘So Pure and Beautiful’\u003c/h2>\n\u003cp>Other fans at the show said they feel protective of reggaeton against U.S. politicians co-opting Latin American music for personal gain.\u003c/p>\n\u003cp>“I think all of this is out of convenience,” said Juan Troncoso of San José. A dancer who recently migrated from Colombia, Troncoso was first drawn to reggaeton because it reflected the reality of growing up Colombian. “For me, reggaeton represents the cultural mixture we have as a people, all the different histories we have.”\u003c/p>\n\u003cp>“What politicians may want out of these artists is to just reach their audiences for votes,” he added. “I don’t see it as something genuine.”\u003c/p>\n\u003cfigure id=\"attachment_13967616\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967616\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-30-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Juan Pablo Quesada, Valeria Arteaga Bou and Santiago Quesada from Seattle pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Others said they wanted reggaeton and politics to stay separate. “I think [reggaetoneros] shouldn’t get involved in all of this, to be honest,” said Juan Ríos of San José. \u003c/p>\n\u003cp>Ríos said he was drawn to artists like Blessd and Ryan Castro for their style, swagger and music. He also approved of \u003ca href=\"https://www.elespectador.com/revista-vea/famosos/blessd-compro-un-equipo-de-futbol-cual-es-y-cuanto-cuesta/\">Blessd’s recent purchase, alongside other investors, of Vendsyssel FF\u003c/a>, a professional soccer team from Denmark.\u003c/p>\n\u003cp>But he thinks that “many of the people that follow reggaeton are too young to vote, so I don’t know if supporting candidates actually works out.”\u003c/p>\n\u003cfigure id=\"attachment_13967611\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967611\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-23-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">(From left) Emanuel Parra, Melannie Zapata and Sebastian Londoño pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>All in It Together\u003c/h2>\n\u003cp>Dressed as Blade-style vampires, Sebastián Fox and his friends drove over 100 miles from Santa Rosa to see Blessd. Fox is a house and electronic music DJ and producer originally from Colombia who came to the United States to pursue his dreams. The long drive was worth it, he said, to see one of his inspirations. \u003c/p>\n\u003cp>“I see Blessd’s journey of coming from the streets, moving up and becoming a hit, and that motivates me,” he said. “Because if he can, then I can also do the same with my music.”\u003c/p>\n\u003cp>As someone who creates music for a living, he thinks politics should stay separate. “Music is something that needs to be respected. It’s something so pure and beautiful,” said Fox. “Mixing it with politics and influence, that doesn’t match up for me.”\u003c/p>\n\u003cfigure id=\"attachment_13967614\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967614\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-27-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Brothers Adrian (left) and Ricardo Abonce pose for a photograph before the concert of Colombian artists Blessd and Ryan Castro at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>One thing was clear at the San Jose Civic: the power of reggaeton exists thanks to the dedication of its fans.\u003c/p>\n\u003cp>Brothers Ricardo and Adrian Abonce from Dublin showed up to the performance in Halloween costumes, with Ricardo dressed as the Pope and his brother as a priest. (“All of this made possible by \u003ca href=\"https://www.kqed.org/news/11965792/spirit-halloween-unleashed-its-first-bay-area-store-in-1983\">Spirit Halloween\u003c/a>,” they joked.) \u003c/p>\n\u003cp>They said they both grew up listening to reggaeton, listening to everything by Daddy Yankee and La Factoria. “It makes me very proud to see that Latin American music has come so far in the United States,” said Ricardo. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His brother agreed. “As Latinos, it’s incredible that we’ve come so far,” Adrian said. “We’re all in this together.”\u003c/p>\n\u003cfigure id=\"attachment_13967609\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED.jpg\" alt=\"\" width=\"2000\" height=\"1333\" class=\"size-full wp-image-13967609\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED.jpg 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/BLESSD-FANDOMVOTE-20-103124-KQED-1920x1280.jpg 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">The crowd at the Blessd and Ryan Castro concert during the“ Ay Bendito Ghetto” tour at the San Jose Civic in San Jose on Oct. 31, 2024. \u003ccite>(Josie Lepe for KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\n\u003c/div>\u003c/p>",
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"title": "Keri Russell Returns as ‘The Diplomat,’ Which Is Just as Savvy in Season 2",
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"content": "\u003cp>At a time when it seems political rhetoric couldn’t get more bitter or outrageous, it’s easy to see the world’s leaders and the people who support them in the worst possible light.\u003c/p>\n\u003cp>[aside postid='arts_13966481']But Netflix’s \u003cem>The Diplomat\u003c/em> offers a different vision of politics: one where sharp staffers are often the backseat drivers in government, and many of those involved are truly interested in improving lives — even when they do awful things along the way.\u003c/p>\n\u003cp>That’s the universe Netflix’s series thrives in, where \u003cem>The Americans\u003c/em> alum Keri Russell plays a hard-nosed, practical mid-level diplomat suddenly elevated to serve as ambassador to Britain, amid plans to groom her to become America’s next vice president.\u003c/p>\n\u003ch3>Starting season two with a bang\u003c/h3>\n\u003cp>As the show’s second season kicks off, Russell’s Ambassador Kate Wyler is dealing with the aftermath of a cliffhanger that ended the first season. Her husband — former ambassador Hal Wyler — along with her deputy, Stuart Hayford and another aide were caught in the blast of a car bomb while trying to meet with an official from the British government.\u003c/p>\n\u003cp>The official may have had information about who really initiated a deadly attack against a British aircraft carrier from the first season. But instead of learning more, Kate’s husband and two members of her staff were caught in another attack.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>While British and American officials scamper to figure out exactly what happened, we see \u003cem>The Diplomat \u003c/em>ride a delicious, compelling line between serving up hefty slices of political drama and revealing the mournful humanity of co-workers trying to recover from a massively traumatic event.\u003c/p>\n\u003cp>Every performance here is golden. Rory Kinnear is particularly excellent as an egotistical blowhard of a British Prime minister, Nicol Trowbridge. Ali Ahn, currently earning raves for her performance as a witch on Disney+’s \u003cem>Agatha All Along\u003c/em>, shines here as CIA station chief Eidra Park — trying to offer savvy, effective support to Kate while not-so-secretly fretting about Kate’s deputy Stuart, with whom she had a relationship.\u003c/p>\n\u003cp>Rufus Sewell is magnetic as Kate’s husband Hal; she suspects he sees her ascension to vice president as his best route back to power, but he insists otherwise, testing their relationship. David Gyasi plays U.K. foreign secretary Austin Dennison as a precise-yet-passionate power player, focused on doing the right thing for Britain, even as he grows closer to Kate and her marriage frays.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=J49VymjKJ8w\u003c/p>\n\u003cp>But it’s not until \u003cem>West Wing\u003c/em> alum Allison Janney arrives as current Vice President Grace Penn that we see the show’s drama really come alive. As a brilliant vice president who may be forced to step down because of a financial scandal involving her husband, Penn excels at maneuvering others into doing what she wants while leaving them convinced it was all their idea.\u003c/p>\n\u003cp>Some may have been concerned that Janney is playing a souped-up version of her \u003cem>West Wing \u003c/em>character, White House staffer C.J. Cregg. But ultimately, they don’t have much in common beyond a habit of speaking directly and a predilection for pantsuits.\u003c/p>\n\u003cfigure id=\"attachment_13967597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png\" alt=\"A middle aged woman with a blond bob stands, arms crossed, in front of a stately home. She is wearing a dark red pantsuit.\" width=\"2000\" height=\"1351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1920x1297.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Allison Janney as Vice President Grace Penn. \u003ccite>(Alex Bailey/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A show centered on smart women leading\u003c/h3>\n\u003cp>What both of Janney’s characters do have in common, however, is that they are accomplished, effective women — making a difference in environments where their talents and achievements are often underestimated or overlooked.\u003c/p>\n\u003cp>Indeed, several storylines in \u003cem>The Diplomat \u003c/em>revolve around smart women deftly guiding powerful men into making better decisions than they could manage on their own. These men aren’t complete idiots, but also are not as smart as they believe — especially Trowbridge, a vociferous bully who leans heavily on several sharp-thinking women, including his wife.\u003c/p>\n\u003cp>[aside postid='arts_13965841']In a particularly pointed exchange, as Hal notes all the humiliating reasons why Penn should accept her fate and resign without damaging the president’s agenda, Kate responds with a telling line. “What do you think my husband would do if it was him?” she says to Penn. “Would he quit?”\u003c/p>\n\u003cp>The answer — that Hal naturally assumes the benefits he brings would outweigh any political cost — neatly outlines the specter of sexism which hangs over \u003cem>The Diplomat\u003c/em>. In a world free from that particular “ism,” you get the sense these women would actually occupy the seats of power, instead of acting as backseat drivers for the men who do.\u003c/p>\n\u003ch3>Complicated plots that pay off\u003c/h3>\n\u003cp>Compelling as all of this is, the plot gets even more complicated in the second season, as Kate and her team begin to sort what really happened in both the warship attack and the car bomb. New viewers trying to jump into the series now could be thoroughly confused — best to make sure you know the events of the first season before joining in for the second.\u003c/p>\n\u003cp>But once acclimated, you can sit back and enjoy a story set in a political universe where expertise is valued, competition plays out like a protracted, 3D chess game and several staffers caught in the middle truly believe in the possibility of using their offices to make life better for everyone.\u003c/p>\n\u003cp>Who knew a visceral, fast-paced series about a global political conspiracy could also — thanks to the terrible state of our real-world political clashes — feel like something of a fantasy?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Season 2 of ‘The Diplomat’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a time when it seems political rhetoric couldn’t get more bitter or outrageous, it’s easy to see the world’s leaders and the people who support them in the worst possible light.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>But Netflix’s \u003cem>The Diplomat\u003c/em> offers a different vision of politics: one where sharp staffers are often the backseat drivers in government, and many of those involved are truly interested in improving lives — even when they do awful things along the way.\u003c/p>\n\u003cp>That’s the universe Netflix’s series thrives in, where \u003cem>The Americans\u003c/em> alum Keri Russell plays a hard-nosed, practical mid-level diplomat suddenly elevated to serve as ambassador to Britain, amid plans to groom her to become America’s next vice president.\u003c/p>\n\u003ch3>Starting season two with a bang\u003c/h3>\n\u003cp>As the show’s second season kicks off, Russell’s Ambassador Kate Wyler is dealing with the aftermath of a cliffhanger that ended the first season. Her husband — former ambassador Hal Wyler — along with her deputy, Stuart Hayford and another aide were caught in the blast of a car bomb while trying to meet with an official from the British government.\u003c/p>\n\u003cp>The official may have had information about who really initiated a deadly attack against a British aircraft carrier from the first season. But instead of learning more, Kate’s husband and two members of her staff were caught in another attack.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>While British and American officials scamper to figure out exactly what happened, we see \u003cem>The Diplomat \u003c/em>ride a delicious, compelling line between serving up hefty slices of political drama and revealing the mournful humanity of co-workers trying to recover from a massively traumatic event.\u003c/p>\n\u003cp>Every performance here is golden. Rory Kinnear is particularly excellent as an egotistical blowhard of a British Prime minister, Nicol Trowbridge. Ali Ahn, currently earning raves for her performance as a witch on Disney+’s \u003cem>Agatha All Along\u003c/em>, shines here as CIA station chief Eidra Park — trying to offer savvy, effective support to Kate while not-so-secretly fretting about Kate’s deputy Stuart, with whom she had a relationship.\u003c/p>\n\u003cp>Rufus Sewell is magnetic as Kate’s husband Hal; she suspects he sees her ascension to vice president as his best route back to power, but he insists otherwise, testing their relationship. David Gyasi plays U.K. foreign secretary Austin Dennison as a precise-yet-passionate power player, focused on doing the right thing for Britain, even as he grows closer to Kate and her marriage frays.\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/J49VymjKJ8w'\n title='//www.youtube.com/embed/J49VymjKJ8w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>But it’s not until \u003cem>West Wing\u003c/em> alum Allison Janney arrives as current Vice President Grace Penn that we see the show’s drama really come alive. As a brilliant vice president who may be forced to step down because of a financial scandal involving her husband, Penn excels at maneuvering others into doing what she wants while leaving them convinced it was all their idea.\u003c/p>\n\u003cp>Some may have been concerned that Janney is playing a souped-up version of her \u003cem>West Wing \u003c/em>character, White House staffer C.J. Cregg. But ultimately, they don’t have much in common beyond a habit of speaking directly and a predilection for pantsuits.\u003c/p>\n\u003cfigure id=\"attachment_13967597\" class=\"wp-caption aligncenter\" style=\"max-width: 2000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967597\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png\" alt=\"A middle aged woman with a blond bob stands, arms crossed, in front of a stately home. She is wearing a dark red pantsuit.\" width=\"2000\" height=\"1351\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj.png 2000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-800x540.png 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1020x689.png 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-160x108.png 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-768x519.png 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1536x1038.png 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/11/aj-1920x1297.png 1920w\" sizes=\"(max-width: 2000px) 100vw, 2000px\">\u003cfigcaption class=\"wp-caption-text\">Allison Janney as Vice President Grace Penn. \u003ccite>(Alex Bailey/Netflix)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>A show centered on smart women leading\u003c/h3>\n\u003cp>What both of Janney’s characters do have in common, however, is that they are accomplished, effective women — making a difference in environments where their talents and achievements are often underestimated or overlooked.\u003c/p>\n\u003cp>Indeed, several storylines in \u003cem>The Diplomat \u003c/em>revolve around smart women deftly guiding powerful men into making better decisions than they could manage on their own. These men aren’t complete idiots, but also are not as smart as they believe — especially Trowbridge, a vociferous bully who leans heavily on several sharp-thinking women, including his wife.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In a particularly pointed exchange, as Hal notes all the humiliating reasons why Penn should accept her fate and resign without damaging the president’s agenda, Kate responds with a telling line. “What do you think my husband would do if it was him?” she says to Penn. “Would he quit?”\u003c/p>\n\u003cp>The answer — that Hal naturally assumes the benefits he brings would outweigh any political cost — neatly outlines the specter of sexism which hangs over \u003cem>The Diplomat\u003c/em>. In a world free from that particular “ism,” you get the sense these women would actually occupy the seats of power, instead of acting as backseat drivers for the men who do.\u003c/p>\n\u003ch3>Complicated plots that pay off\u003c/h3>\n\u003cp>Compelling as all of this is, the plot gets even more complicated in the second season, as Kate and her team begin to sort what really happened in both the warship attack and the car bomb. New viewers trying to jump into the series now could be thoroughly confused — best to make sure you know the events of the first season before joining in for the second.\u003c/p>\n\u003cp>But once acclimated, you can sit back and enjoy a story set in a political universe where expertise is valued, competition plays out like a protracted, 3D chess game and several staffers caught in the middle truly believe in the possibility of using their offices to make life better for everyone.\u003c/p>\n\u003cp>Who knew a visceral, fast-paced series about a global political conspiracy could also — thanks to the terrible state of our real-world political clashes — feel like something of a fantasy?\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Season 2 of ‘The Diplomat’ is streaming now on Netflix.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
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"officialWebsiteLink": "/podcasts/closealltabs",
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"order": 1
},
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"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
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"meta": {
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"source": "Commonwealth Club of California"
},
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"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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"title": "Forum",
"tagline": "The conversation starts here",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
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"order": 9
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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"officialWebsiteLink": "http://freakonomics.com/",
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"meta": {
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"source": "WNYC"
},
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"apple": "https://itunes.apple.com/us/podcast/freakonomics-radio/id354668519",
"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
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},
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"id": "fresh-air",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=214089682&at=11l79Y&ct=nprdirectory",
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"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"apple": "https://itunes.apple.com/us/podcast/how-i-built-this-with-guy-raz/id1150510297?mt=2",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"officialWebsiteLink": "/podcasts/hyphenacion",
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"order": 15
},
"link": "/podcasts/hyphenacion",
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"spotify": "https://open.spotify.com/show/2p3Fifq96nw9BPcmFdIq0o?si=39209f7b25774f38",
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/jerrybrown",
"meta": {
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"order": 18
},
"link": "/podcasts/jerrybrown",
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"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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},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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}
},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Morning-Edition-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.npr.org/programs/morning-edition/",
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"link": "/radio/program/morning-edition"
},
"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
"meta": {
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"source": "kqed",
"order": 11
},
"link": "/podcasts/onourwatch",
"subscribe": {
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
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"meta": {
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"source": "wnyc"
},
"link": "/radio/program/on-the-media",
"subscribe": {
"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
}
},
"pbs-newshour": {
"id": "pbs-newshour",
"title": "PBS NewsHour",
"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.pbs.org/newshour/",
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"source": "pbs"
},
"link": "/radio/program/pbs-newshour",
"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",
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"officialWebsiteLink": "/perspectives/",
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"source": "kqed",
"order": 14
},
"link": "/perspectives",
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