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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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"slug": "quincy-jones-dead-at-91-obituary",
"title": "Quincy Jones, Musical Genius Who Worked With the Greats, Dies at 91",
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"headTitle": "Quincy Jones, Musical Genius Who Worked With the Greats, Dies at 91 | KQED",
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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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"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",
"description": "At a Ryan Castro and Blessd concert, fans talk about the heightened role the music plays in U.S. politics.",
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"headline": "Reggaeton Is Now Part of the 2024 Election. What Do Fans Think?",
"datePublished": "2024-11-02T08:00:55-07:00",
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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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"content": "\u003cp>It’s part comedy, part tragedy. It’s part road-trip saga, part odd couple-buddy flick, and part Holocaust film. What could possibly have gone wrong?\u003c/p>\n\u003cp>Yup — everything could have gone wrong. So the first miracle about \u003cem>A Real Pain\u003c/em>, writer-director \u003ca href=\"https://www.kqed.org/pop/105694/rediscovering-the-breakfast-club-with-jesse-eisenberg\">Jesse Eisenberg\u003c/a>’s remarkably accomplished film about mismatched cousins on a somber trip through Poland, is how it pulls off the most delicate of balancing acts.\u003c/p>\n\u003cp>That it does so while also asking intriguing questions about the nature of pain — personal vs. universal, historic vs. contemporary — is all the more impressive. So is the fact that it showcases an Oscar-worthy performance.\u003c/p>\n\u003cp>[aside postid='arts_13967482']That stunning performance comes from \u003ca href=\"https://www.kqed.org/arts/13906871/kieran-culkin-is-having-fun-with-succession-and-he-hopes-you-are-too\">Kieran Culkin\u003c/a>, and what’s striking is that it doesn’t overpower the rest of the ensemble. That’s a testament mostly to the careful way Eisenberg, who co-stars in the less flashy role, has constructed and paced his film. And as for Culkin, well, if you needed proof that his searing, Emmy-winning work as tortured live-wire Roman Roy in \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a> wasn’t a fluke, here you have it.\u003c/p>\n\u003cp>The movie, which is only Eisenberg’s second directorial effort, stems from a trip the \u003ca href=\"https://www.kqed.org/arts/34570/social_network_fact_or_fiction_a_tangled_web\">\u003cem>Social Network\u003c/em>\u003c/a> star took some 20 years ago to Poland. There, he found the tiny house his aunt had lived in before the Holocaust uprooted the family. He wondered what his own life would have been like had World War II never happened.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>And that’s one of the many conversations that David (Eisenberg) and Benji (Culkin) have as they travel through Poland on a mission to visit the house where their grandmother, who has recently died, once lived. (Eisenberg used the exact same house, which tells you just how personal this film was for him.)\u003c/p>\n\u003cp>It’s a poignant but also awkward reunion for the cousins, who were close as youngsters but are on very different paths as 40-something adults. David is the anxiety-ridden but highly functional type that Eisenberg the actor excels at; he works in tech and lives with his wife and young son in Brooklyn. As for Benji, he lives upstate and is largely unmoored, or undeveloped. He’s also a study in contrasts — the type, David notes, who can light up a room when he enters, and then crap on everyone. The death of their grandmother, with whom Benji was close, has taken a toll on his mental health.\u003c/p>\n\u003cp>The cousins first meet up at the airport in New York. Before they even get through security, Benji has terrified David by informing him he’s secured some really good weed for the journey. (Don’t worry, he’s mailed it to the hotel.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=b2et8Vpu7Ls\u003c/p>\n\u003cp>In Warsaw, they meet their small tour group and British guide James (Will Sharpe, of \u003cem>The White Lotus\u003c/em>), a scholar of wartime Poland. Fellow travelers include Marsha (Jennifer Grey), a divorcee who’s moved from LA back east and is trying to reconnect with her past; a Midwestern couple (Daniel Oreskes and Liza Sadovy); and Eloge (Kurt Egyiawan), a Rwandan-Canadian convert to Judasim who knows something about genocide.\u003c/p>\n\u003cp>[aside postid='arts_13967410']In short order, Benji both charms and exasperates the group — and this turbulent brand of charisma is Culkin’s specialty.\u003c/p>\n\u003cp>At a war memorial statue, he runs up to strike a playful action pose, embarrassing David. But somehow, the whole group ends up joining Benji in the childlike stunt, and David is left taking photos.\u003c/p>\n\u003cp>Then when the tour boards a train for Lublin, Benji suddenly explodes in anger at the group — how can they be sitting in first-class comfort when 80 years ago, their ancestors were corralled into cattle cars? He disappears to a lower-class car.\u003c/p>\n\u003cp>And at a visit to a wartime tombstone, Benji admonishes the mild-mannered guide, furiously, for focusing on statistics and not letting the group feel the pure emotion of the moment. (He’s not wrong, as the guide will later acknowledge.)\u003c/p>\n\u003cp>Eisenberg has said that when conceiving of his film, he was struck by a Polish ad that promised “Holocaust tours (with lunch.)” All these moments feel quite real; such tours are indeed filled with awkward (and rather inevitable) juxtapositions of modern tourist comforts and historical horrors.\u003c/p>\n\u003cp>Speaking of horrors, by far the most difficult scenes come when the group visits Majdanek, the Nazi camp. There, they walk past unspeakable sights of gas chambers and ovens and piles of abandoned shoes. One might at first gasp that Eisenberg is leading us here at all; wisely, he keeps these moments silent. When Benji breaks down, it’s on the way home — an acknowledgment that such reactions often come later.\u003c/p>\n\u003cp>At the end, with the cousins hugging goodbye uneasily in the same airport where we began, having completed a journey both physical and personal, it’s hard not to think back to the title of the movie. Yes, Benji is “a real pain.” But there are layers of pain at play here.\u003c/p>\n\u003cp>[aside postid='arts_13967293']There is David’s very real pain, an anxiety that forces him to take pills each day. There’s Benji’s pain, which not long ago has sent him into a very dangerous tailspin.\u003c/p>\n\u003cp>But, Eisenberg seems to be asking, how “valid” are these types of pain set against the historic pain that the film explores in Poland — a place where, as his camera shows empty streets where life once teemed, an entire people was erased by the Nazis?\u003c/p>\n\u003cp>It’s quite a journey for one film. All credit to Eisenberg, and his superb co-star, for making the road trip so thought-provoking.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Real Pain’ is released in Bay Area theaters on Nov. 14, 2024.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It’s part comedy, part tragedy. It’s part road-trip saga, part odd couple-buddy flick, and part Holocaust film. What could possibly have gone wrong?\u003c/p>\n\u003cp>Yup — everything could have gone wrong. So the first miracle about \u003cem>A Real Pain\u003c/em>, writer-director \u003ca href=\"https://www.kqed.org/pop/105694/rediscovering-the-breakfast-club-with-jesse-eisenberg\">Jesse Eisenberg\u003c/a>’s remarkably accomplished film about mismatched cousins on a somber trip through Poland, is how it pulls off the most delicate of balancing acts.\u003c/p>\n\u003cp>That it does so while also asking intriguing questions about the nature of pain — personal vs. universal, historic vs. contemporary — is all the more impressive. So is the fact that it showcases an Oscar-worthy performance.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That stunning performance comes from \u003ca href=\"https://www.kqed.org/arts/13906871/kieran-culkin-is-having-fun-with-succession-and-he-hopes-you-are-too\">Kieran Culkin\u003c/a>, and what’s striking is that it doesn’t overpower the rest of the ensemble. That’s a testament mostly to the careful way Eisenberg, who co-stars in the less flashy role, has constructed and paced his film. And as for Culkin, well, if you needed proof that his searing, Emmy-winning work as tortured live-wire Roman Roy in \u003ca href=\"https://www.kqed.org/arts/tag/succession\">\u003cem>Succession\u003c/em>\u003c/a> wasn’t a fluke, here you have it.\u003c/p>\n\u003cp>The movie, which is only Eisenberg’s second directorial effort, stems from a trip the \u003ca href=\"https://www.kqed.org/arts/34570/social_network_fact_or_fiction_a_tangled_web\">\u003cem>Social Network\u003c/em>\u003c/a> star took some 20 years ago to Poland. There, he found the tiny house his aunt had lived in before the Holocaust uprooted the family. He wondered what his own life would have been like had World War II never happened.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>And that’s one of the many conversations that David (Eisenberg) and Benji (Culkin) have as they travel through Poland on a mission to visit the house where their grandmother, who has recently died, once lived. (Eisenberg used the exact same house, which tells you just how personal this film was for him.)\u003c/p>\n\u003cp>It’s a poignant but also awkward reunion for the cousins, who were close as youngsters but are on very different paths as 40-something adults. David is the anxiety-ridden but highly functional type that Eisenberg the actor excels at; he works in tech and lives with his wife and young son in Brooklyn. As for Benji, he lives upstate and is largely unmoored, or undeveloped. He’s also a study in contrasts — the type, David notes, who can light up a room when he enters, and then crap on everyone. The death of their grandmother, with whom Benji was close, has taken a toll on his mental health.\u003c/p>\n\u003cp>The cousins first meet up at the airport in New York. Before they even get through security, Benji has terrified David by informing him he’s secured some really good weed for the journey. (Don’t worry, he’s mailed it to the hotel.)\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/b2et8Vpu7Ls'\n title='//www.youtube.com/embed/b2et8Vpu7Ls'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>In Warsaw, they meet their small tour group and British guide James (Will Sharpe, of \u003cem>The White Lotus\u003c/em>), a scholar of wartime Poland. Fellow travelers include Marsha (Jennifer Grey), a divorcee who’s moved from LA back east and is trying to reconnect with her past; a Midwestern couple (Daniel Oreskes and Liza Sadovy); and Eloge (Kurt Egyiawan), a Rwandan-Canadian convert to Judasim who knows something about genocide.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In short order, Benji both charms and exasperates the group — and this turbulent brand of charisma is Culkin’s specialty.\u003c/p>\n\u003cp>At a war memorial statue, he runs up to strike a playful action pose, embarrassing David. But somehow, the whole group ends up joining Benji in the childlike stunt, and David is left taking photos.\u003c/p>\n\u003cp>Then when the tour boards a train for Lublin, Benji suddenly explodes in anger at the group — how can they be sitting in first-class comfort when 80 years ago, their ancestors were corralled into cattle cars? He disappears to a lower-class car.\u003c/p>\n\u003cp>And at a visit to a wartime tombstone, Benji admonishes the mild-mannered guide, furiously, for focusing on statistics and not letting the group feel the pure emotion of the moment. (He’s not wrong, as the guide will later acknowledge.)\u003c/p>\n\u003cp>Eisenberg has said that when conceiving of his film, he was struck by a Polish ad that promised “Holocaust tours (with lunch.)” All these moments feel quite real; such tours are indeed filled with awkward (and rather inevitable) juxtapositions of modern tourist comforts and historical horrors.\u003c/p>\n\u003cp>Speaking of horrors, by far the most difficult scenes come when the group visits Majdanek, the Nazi camp. There, they walk past unspeakable sights of gas chambers and ovens and piles of abandoned shoes. One might at first gasp that Eisenberg is leading us here at all; wisely, he keeps these moments silent. When Benji breaks down, it’s on the way home — an acknowledgment that such reactions often come later.\u003c/p>\n\u003cp>At the end, with the cousins hugging goodbye uneasily in the same airport where we began, having completed a journey both physical and personal, it’s hard not to think back to the title of the movie. Yes, Benji is “a real pain.” But there are layers of pain at play here.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>There is David’s very real pain, an anxiety that forces him to take pills each day. There’s Benji’s pain, which not long ago has sent him into a very dangerous tailspin.\u003c/p>\n\u003cp>But, Eisenberg seems to be asking, how “valid” are these types of pain set against the historic pain that the film explores in Poland — a place where, as his camera shows empty streets where life once teemed, an entire people was erased by the Nazis?\u003c/p>\n\u003cp>It’s quite a journey for one film. All credit to Eisenberg, and his superb co-star, for making the road trip so thought-provoking.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘A Real Pain’ is released in Bay Area theaters on Nov. 14, 2024.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>In new horror movie \u003cem>Heretic\u003c/em>, the terror begins with the promise of a home-cooked blueberry pie. The pie is just one of the ways in which the villain of the piece, Mr. Reed (a superbly sinister Hugh Grant) lures two Mormon missionaries into his spiraling nightmare of a home. The pie — or rather, the lack of one — is the first indication Sister Barnes (\u003cem>Yellowjackets\u003c/em>’ Sophie Thatcher) and Sister Paxton (Chloe East) have that they’re in danger. Blueberry pie appears again and again throughout.\u003c/p>\n\u003cp>[aside postid='pop_105670']That pie is just one of several seemingly innocuous items used to terrifying effect in \u003cem>Heretic\u003c/em>. There’s a watering can. The key to a bike lock. A scented candle. A record player. A letter opener. A box of matches. Not one but four different editions of Monopoly (yes, the board game). These are the objects that raise the stakes in \u003cem>Heretic\u003c/em>, a story that believably centers a homely Englishman in a cozy cardigan as its most malevolent presence. The film also consistently uses the good manners and polite vernaculars of its three central characters to fray nerves and raise tension. It is a masterful and refreshing way to reinvent the horror house trope.\u003c/p>\n\u003cp>Mr. Reed’s reasons for luring the missionaries into his home aren’t immediately clear. His pretense that he wishes to learn more about the Church of the Latter Day Saints lasts only minutes and, sensing something is amiss, the women make a very sensible attempt at escape that proves fruitless. (One of the engaging things about \u003cem>Heretic\u003c/em> is that the women at the center of it consistently make the best decisions available to them, unlike so many horror protagonists.)\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=O9i2vmFhSSY\u003c/p>\n\u003cp>Before long, once he has Barnes and Paxton captured, Reed does his darnedest to persuade the women that Jesus is a mere “echo of something real” that existed eons before the birth of Christ. (This section is so well done, it might have some viewers running home and checking the foundations of their own faith.) This all slowly escalates until Reed chillingly forces Barnes and Paxton to choose between two doors that may or may not lead to an exit from his home: one is marked “belief,” the other “disbelief.” What happens to them after that … I’d rather not spoil the experience.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>What I will say is that one of \u003cem>Heretic\u003c/em>’s greatest successes is the way it permits its central characters to do spiritual battle. Mr. Reed is a theologian who desperately wants to take two sheltered missionaries down a peg or two. He — and the audience — is not expecting it when the young, seemingly naive women turn out to be worthy intellectual adversaries. Of course, the greatest (and darkest) surprises of all come once everyone reaches the lowest point of the house. The camera’s brief nod to an illustration of Dante’s \u003cem>Inferno\u003c/em> is no accident.\u003c/p>\n\u003cp>[aside postid='arts_13904911']\u003cem>Heretic\u003c/em> is the kind of perfect storm that doesn’t come along often enough in the horror genre. It benefits from excellent casting (Grant is a revelation), beautiful but discombobulating direction and a brilliantly cerebral undercurrent that runs throughout. But it doesn’t skimp on the things horror fans expect from their genre either: grotesque imagery, out-of-left-field shocks, red herrings and, yes, a decent amount of bloodletting.\u003c/p>\n\u003cp>Horror has been guilty for many years of taking Christian concepts and boiling them down to their most simplistic tenets. It’s all too easy to pit evil against good, demon against holy person and have God (or Satan — thanks, \u003cem>Hereditary\u003c/em>!) win out in the end. What \u003cem>Heretic\u003c/em> does is infinitely more complex and thought-provoking. And that’s a more delicious experience than gobbling down any number of blueberry pies.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Heretic’ opens nationwide on Nov. 8, 2024.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>That pie is just one of several seemingly innocuous items used to terrifying effect in \u003cem>Heretic\u003c/em>. There’s a watering can. The key to a bike lock. A scented candle. A record player. A letter opener. A box of matches. Not one but four different editions of Monopoly (yes, the board game). These are the objects that raise the stakes in \u003cem>Heretic\u003c/em>, a story that believably centers a homely Englishman in a cozy cardigan as its most malevolent presence. The film also consistently uses the good manners and polite vernaculars of its three central characters to fray nerves and raise tension. It is a masterful and refreshing way to reinvent the horror house trope.\u003c/p>\n\u003cp>Mr. Reed’s reasons for luring the missionaries into his home aren’t immediately clear. His pretense that he wishes to learn more about the Church of the Latter Day Saints lasts only minutes and, sensing something is amiss, the women make a very sensible attempt at escape that proves fruitless. (One of the engaging things about \u003cem>Heretic\u003c/em> is that the women at the center of it consistently make the best decisions available to them, unlike so many horror protagonists.)\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/O9i2vmFhSSY'\n title='//www.youtube.com/embed/O9i2vmFhSSY'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Before long, once he has Barnes and Paxton captured, Reed does his darnedest to persuade the women that Jesus is a mere “echo of something real” that existed eons before the birth of Christ. (This section is so well done, it might have some viewers running home and checking the foundations of their own faith.) This all slowly escalates until Reed chillingly forces Barnes and Paxton to choose between two doors that may or may not lead to an exit from his home: one is marked “belief,” the other “disbelief.” What happens to them after that … I’d rather not spoil the experience.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>What I will say is that one of \u003cem>Heretic\u003c/em>’s greatest successes is the way it permits its central characters to do spiritual battle. Mr. Reed is a theologian who desperately wants to take two sheltered missionaries down a peg or two. He — and the audience — is not expecting it when the young, seemingly naive women turn out to be worthy intellectual adversaries. Of course, the greatest (and darkest) surprises of all come once everyone reaches the lowest point of the house. The camera’s brief nod to an illustration of Dante’s \u003cem>Inferno\u003c/em> is no accident.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cem>Heretic\u003c/em> is the kind of perfect storm that doesn’t come along often enough in the horror genre. It benefits from excellent casting (Grant is a revelation), beautiful but discombobulating direction and a brilliantly cerebral undercurrent that runs throughout. But it doesn’t skimp on the things horror fans expect from their genre either: grotesque imagery, out-of-left-field shocks, red herrings and, yes, a decent amount of bloodletting.\u003c/p>\n\u003cp>Horror has been guilty for many years of taking Christian concepts and boiling them down to their most simplistic tenets. It’s all too easy to pit evil against good, demon against holy person and have God (or Satan — thanks, \u003cem>Hereditary\u003c/em>!) win out in the end. What \u003cem>Heretic\u003c/em> does is infinitely more complex and thought-provoking. And that’s a more delicious experience than gobbling down any number of blueberry pies.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Heretic’ opens nationwide on Nov. 8, 2024.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>\u003cem>Blitz\u003c/em>, set in London during World War II, might technically be \u003ca href=\"https://video.kqed.org/video/immersive-art-1718306239/\">Steve McQueen\u003c/a>’s first war movie. But struggle and survival has long marked the filmmaker’s tough and tortured work.\u003c/p>\n\u003cp>No matter the circumstance — slavery in \u003cem>12 Years a Slave\u003c/em>, the 1960s-1980s London of West Indian immigrants in \u003cem>Small Axe\u003c/em>, the Irish hunger strike of \u003cem>Shame\u003c/em> — McQueen has been drawn to moments of history less for their dramatic extremes than for how they test the morality of those in and around the fight. Did they turn a blind eye? Did they risk themselves? Do we remember?\u003c/p>\n\u003cp>McQueen’s films tend to ask questions — often uncomfortable ones. That’s been true in his nonfiction work, too. His 2023 short film \u003cem>Grenfell\u003c/em> captured the aftermath of the tragic Grenfell Tower blaze. Last year’s \u003cem>Occupied City\u003c/em> compared present-day street addresses in Amsterdam to what happened in those precise locations during the Nazi occupation of WWII.\u003c/p>\n\u003cp>[aside postid='arts_13959414']In that film, McQueen juxtaposed past and present, death and life, and some of the same collisions are found in the 1940-set \u003cem>Blitz\u003c/em>, which opens Friday in theaters and streams Nov. 22 on Apple TV+. It’s told largely from the perspective of a 9-year-old boy, George (Elliott Heffernan), whose single mother, Rita (a steely Saoirse Ronan), has made the anguished decision to send him to the countryside with thousands of other schoolchildren fleeing the Blitz.\u003c/p>\n\u003cp>A year into the war, the bombing is already intense, and so is the questionable nature of how some are responding to the omnipresent danger and the loosening of order. The film opens in a fiery blaze as firefighters wrestle with an out-of-control hose, and a mass of people rush toward the underground to take cover from the bombers overhead. Outside the station, the gates are locked, and the nearby police refuse to open them. It’s an early hint that McQueen’s treatment of the war will be more complicated and unsparing than the average WWII drama.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cem>Blitz\u003c/em> properly gets underway once Rita leaves George at the train station. The parting is bitter (“I hate you,” George says on the platform) only because their bond is so evidently strong. It’s not long once aboard the train that George sees a chance to flee and hops off. \u003cem>Blitz\u003c/em> proceeds as George’s odyssey in trying to get home.\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=iZwykQK9aZo\u003c/p>\n\u003cp>It’s an awkwardly condensed tale — the film takes place over one day but feels like a lifetime — that clunkily cuts between George and Rita. \u003cem>Blitz\u003c/em> feels stuck between a conventional war drama and something more adventurous and probing. It doesn’t coalesce the way McQueen’s best work does, but the frictions that drive \u003cem>Blitz\u003c/em> make it a singular and sporadically moving experience.\u003c/p>\n\u003cp>A representative sequence happens early in the film. George, who’s Black and surely feels some growing anxiety leaving London, climbs into a passing train only to find three young brothers are also stowaways there. After a tense moment, they find camaraderie together. Riding atop the train, they seem almost carefree. But moments later, when they’re fleeing authorities at the trainyard, one of the boys is killed in an instant by a moving train.\u003c/p>\n\u003cp>Throughout, \u003cem>Blitz\u003c/em> toggles between moments of tenderness and violence, a back and forth that McQueen suggests isn’t just part of wartime. Following the trainyard moment, the film slides into a flashback of Rita and George’s otherwise unseen Grenadian immigrant father, Marcus (CJ Beckford). On their way home from a joyous night dancing at a jazz club, a man intentionally bumps into Marcus. In the ensuing tussle Marcus is arrested, and later, swiftly deported. In an instant, cruelty and racism can wreck a life just as surely as a Nazi bomb from above.\u003c/p>\n\u003cp>[aside postid='arts_13967293']The film stays close to George as he makes his way closer to home in Stepney Green in the East End. \u003cem>Blitz\u003c/em> is far less concerned with the aerial bombardment above than the festering prejudices and injustices on the ground. In the movie’s most Dickens-esque sequence, George is taken in, and held prisoner, by a Fagin-like criminal (Stephen Graham) whose band of thieves steal from the dead and plunder freshly bombed-out flats. There are chillingly ghostly sequences, most of all one set in the Café de Paris. One moment it’s a teaming, multiracial jazz club, the next — as captured in one sweeping, grotesque shot by Yorick Le Saux — it’s a bloody ruin.\u003c/p>\n\u003cp>There are moments of uplift, or at least temporary relief. One comes when Rita, who works in a munitions factory with a Rosie the Riveter headscarf, sings for a BBC radio program from the factory floor. Once Rita learns that George is lost, there’s an ill-fitting side plot of her feuding with an unsympathetic boss, arguing with those in charge of the evacuation and her attempting to find George with the help of a police officer (Harris Dickinson, in a role too vague to resonate).\u003c/p>\n\u003cp>Again and again we see, though, that going against a tide of indifference takes the conviction and courage of individuals. That includes the activist Mikey Davies (Leigh Gill), who makes a stirring speech in a shelter. And, most of all, it includes a Nigerian ARP warden Ife (Benjamin Clémentine), who George meets outside a store advertising coffee and sugar from Africa with caricatures of Black faces. Clémentine, the talented singer-songwriter, has a radiant presence that warms a fiercely unsentimental film. Ife imbues George with a pride and confidence with himself as a young Black man. For his part, the young Heffernan shows no strain in carrying the movie, his first.\u003c/p>\n\u003cp>Ultimately, that there is a war on in \u003cem>Blitz\u003c/em> may not be its defining feature. The London under siege in McQueen’s film is as much at risk from injustice as it is German planes. For George, Rita and the others pushing back, resistance isn’t just wartime survival. It’s a way of life.\u003c/p>\n\u003chr>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>‘Blitz’ is released in the Bay Area on Nov. 7, 2024. The film begins streaming on Apple TV+ on Nov. 22.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003cem>Blitz\u003c/em>, set in London during World War II, might technically be \u003ca href=\"https://video.kqed.org/video/immersive-art-1718306239/\">Steve McQueen\u003c/a>’s first war movie. But struggle and survival has long marked the filmmaker’s tough and tortured work.\u003c/p>\n\u003cp>No matter the circumstance — slavery in \u003cem>12 Years a Slave\u003c/em>, the 1960s-1980s London of West Indian immigrants in \u003cem>Small Axe\u003c/em>, the Irish hunger strike of \u003cem>Shame\u003c/em> — McQueen has been drawn to moments of history less for their dramatic extremes than for how they test the morality of those in and around the fight. Did they turn a blind eye? Did they risk themselves? Do we remember?\u003c/p>\n\u003cp>McQueen’s films tend to ask questions — often uncomfortable ones. That’s been true in his nonfiction work, too. His 2023 short film \u003cem>Grenfell\u003c/em> captured the aftermath of the tragic Grenfell Tower blaze. Last year’s \u003cem>Occupied City\u003c/em> compared present-day street addresses in Amsterdam to what happened in those precise locations during the Nazi occupation of WWII.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>In that film, McQueen juxtaposed past and present, death and life, and some of the same collisions are found in the 1940-set \u003cem>Blitz\u003c/em>, which opens Friday in theaters and streams Nov. 22 on Apple TV+. It’s told largely from the perspective of a 9-year-old boy, George (Elliott Heffernan), whose single mother, Rita (a steely Saoirse Ronan), has made the anguished decision to send him to the countryside with thousands of other schoolchildren fleeing the Blitz.\u003c/p>\n\u003cp>A year into the war, the bombing is already intense, and so is the questionable nature of how some are responding to the omnipresent danger and the loosening of order. The film opens in a fiery blaze as firefighters wrestle with an out-of-control hose, and a mass of people rush toward the underground to take cover from the bombers overhead. Outside the station, the gates are locked, and the nearby police refuse to open them. It’s an early hint that McQueen’s treatment of the war will be more complicated and unsparing than the average WWII drama.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Blitz\u003c/em> properly gets underway once Rita leaves George at the train station. The parting is bitter (“I hate you,” George says on the platform) only because their bond is so evidently strong. It’s not long once aboard the train that George sees a chance to flee and hops off. \u003cem>Blitz\u003c/em> proceeds as George’s odyssey in trying to get home.\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/iZwykQK9aZo'\n title='//www.youtube.com/embed/iZwykQK9aZo'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>It’s an awkwardly condensed tale — the film takes place over one day but feels like a lifetime — that clunkily cuts between George and Rita. \u003cem>Blitz\u003c/em> feels stuck between a conventional war drama and something more adventurous and probing. It doesn’t coalesce the way McQueen’s best work does, but the frictions that drive \u003cem>Blitz\u003c/em> make it a singular and sporadically moving experience.\u003c/p>\n\u003cp>A representative sequence happens early in the film. George, who’s Black and surely feels some growing anxiety leaving London, climbs into a passing train only to find three young brothers are also stowaways there. After a tense moment, they find camaraderie together. Riding atop the train, they seem almost carefree. But moments later, when they’re fleeing authorities at the trainyard, one of the boys is killed in an instant by a moving train.\u003c/p>\n\u003cp>Throughout, \u003cem>Blitz\u003c/em> toggles between moments of tenderness and violence, a back and forth that McQueen suggests isn’t just part of wartime. Following the trainyard moment, the film slides into a flashback of Rita and George’s otherwise unseen Grenadian immigrant father, Marcus (CJ Beckford). On their way home from a joyous night dancing at a jazz club, a man intentionally bumps into Marcus. In the ensuing tussle Marcus is arrested, and later, swiftly deported. In an instant, cruelty and racism can wreck a life just as surely as a Nazi bomb from above.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The film stays close to George as he makes his way closer to home in Stepney Green in the East End. \u003cem>Blitz\u003c/em> is far less concerned with the aerial bombardment above than the festering prejudices and injustices on the ground. In the movie’s most Dickens-esque sequence, George is taken in, and held prisoner, by a Fagin-like criminal (Stephen Graham) whose band of thieves steal from the dead and plunder freshly bombed-out flats. There are chillingly ghostly sequences, most of all one set in the Café de Paris. One moment it’s a teaming, multiracial jazz club, the next — as captured in one sweeping, grotesque shot by Yorick Le Saux — it’s a bloody ruin.\u003c/p>\n\u003cp>There are moments of uplift, or at least temporary relief. One comes when Rita, who works in a munitions factory with a Rosie the Riveter headscarf, sings for a BBC radio program from the factory floor. Once Rita learns that George is lost, there’s an ill-fitting side plot of her feuding with an unsympathetic boss, arguing with those in charge of the evacuation and her attempting to find George with the help of a police officer (Harris Dickinson, in a role too vague to resonate).\u003c/p>\n\u003cp>Again and again we see, though, that going against a tide of indifference takes the conviction and courage of individuals. That includes the activist Mikey Davies (Leigh Gill), who makes a stirring speech in a shelter. And, most of all, it includes a Nigerian ARP warden Ife (Benjamin Clémentine), who George meets outside a store advertising coffee and sugar from Africa with caricatures of Black faces. Clémentine, the talented singer-songwriter, has a radiant presence that warms a fiercely unsentimental film. Ife imbues George with a pride and confidence with himself as a young Black man. For his part, the young Heffernan shows no strain in carrying the movie, his first.\u003c/p>\n\u003cp>Ultimately, that there is a war on in \u003cem>Blitz\u003c/em> may not be its defining feature. The London under siege in McQueen’s film is as much at risk from injustice as it is German planes. For George, Rita and the others pushing back, resistance isn’t just wartime survival. It’s a way of life.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Scary Legends From Around the World You Probably Haven’t Heard",
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"content": "\u003cp>Some are well-worn warnings as familiar as the changing of seasons. Others are slow burns that end with a bang. Still others are just plain eerie.\u003c/p>\n\u003cp>[aside postid='arts_13884403']Stories of spiritual entities, paranormal activity and creepy cryptids are passed through generations the world over, becoming local legends that only sometimes reach across borders and cultures.\u003c/p>\n\u003cp>So if the sordid tales you grew up with no longer make you shiver, it’s time to reanimate your roster with global tales of ghosts, hauntings, and petrifying processions.\u003c/p>\n\u003cp>With Halloween nigh, and the season in many parts of the world ripe for campfires and spooky stories, people gravitate toward fear even in a complex and sometimes scary world. Here are some favorites — lore and fiction, with maybe some truth sprinkled throughout — that The Associated Press gathered from its journalists around the planet:\u003c/p>\n\u003cfigure id=\"attachment_13967490\" class=\"wp-caption aligncenter\" style=\"max-width: 2464px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043.jpg\" alt=\"An Asian person in white face paint posing in a menacing position.\" width=\"2464\" height=\"1648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043.jpg 2464w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-2048x1370.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-1920x1284.jpg 1920w\" sizes=\"(max-width: 2464px) 100vw, 2464px\">\u003cfigcaption class=\"wp-caption-text\">Yo-ho, yo-ho, beware fake paper money scatterings! \u003ccite>(K. Y. Cheng/South China Morning Post via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>China: The corpse walkers\u003c/h2>\n\u003cp>If you were out on the road in China in the old days — if you believe the stories, that is — you might have encountered a strange procession.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>First, a man carrying a white paper lantern and scattering fake paper money ahead of them, chanting, “Yo ho, yo ho.” Then, a towering, hooded black figure wearing a ghastly mask and marching in an awkward, wooden gait. Bringing up the rear, another man guiding the giant by touch, perhaps with a black cat.\u003c/p>\n\u003cp>They were corpse walkers — and the giant was the corpse.\u003c/p>\n\u003cp>[aside postid='arts_13883118']Bad things happen when someone gets buried far from home: Without descendants to feed their spirit and keep their grave clean, they’ll have a hard time settling in. They could even come back as a hungry ghost. So when a traveler died, the family would hire people who knew the strange art of walking a stiff body home.\u003c/p>\n\u003cp>When interviewer Liao Yiwu asked about memories of corpse walkers in the 2000s, some said they’d use a black cat to imbue the body with static electricity to make it walk. Others said there was a third man hiding under the cloak and giving the corpse a piggyback ride.\u003c/p>\n\u003cp>People kept their distance, he wrote, but the corpse walkers were always welcome at inns because they paid three times the normal rate and were said to bring good luck.\u003c/p>\n\u003cp>— By David Cohen in Bangkok\u003c/p>\n\u003ch2>France: The legend of St. Denis\u003c/h2>\n\u003cp>One of France’s oldest spooky legends is also one of its most gruesome, because it involves a walking headless corpse.\u003c/p>\n\u003cp>Said to have been Paris’ first bishop, Denis — later St. Denis — went on to lend his name to what is now the northern Paris suburb of Saint-Denis, famous for its magnificent basilica, its soccer stadium and the Olympic village that housed athletes during the Paris Games.\u003c/p>\n\u003cp>The third-century Roman rulers of what was then Gaul were apparently less than thrilled that Denis and companions Rustique and Éleuthère were making converts. Even after tossing them in prison, Denis continued to celebrate Mass. In some accounts, Denis suffered all manner of unspeakable tortures to make him renounce his faith — not just run-of-the-mill flagellation, but also mauling by famished wild beasts and being locked in a scorching oven.\u003c/p>\n\u003cp>Eventually, the three were sentenced to death and beheaded.\u003c/p>\n\u003cp>Legend has it that Denis’ corpse, lifted by two angels, picked up his severed head and walked from the Mount of Martyrs — the supposed execution site now called Montmartre — for about 6 kilometers (nearly 4 miles) before collapsing in the village of Catulliacum, now the town of Saint-Denis.\u003c/p>\n\u003cp>In Montmartre today, Suzanne Buisson Square has a statue of St. Denis holding his head, which he is said to have washed in the waters of a fountain there before staggering away with it.\u003c/p>\n\u003cp>— By John Leicester in Paris\u003c/p>\n\u003ch2>Mongolia: The death worm\u003c/h2>\n\u003cp>Slithering beneath the vast dunes of the Gobi Desert, legend has it, is the monstrous Mongolian Death Worm. It kills prey by squirting lethal venom and can even electrocute from a distance. So goes the folklore that has since inspired depictions of deadly giant worms in movies and fiction. In Mongolia, the creature is known as olgoi khorkhoi, which roughly translates as “intestine worm.”\u003c/p>\n\u003cp>[aside postid='arts_13894837']The critter became known abroad after American paleontologist and explorer Roy Chapman Andrews wrote about it in his 1926 book, “On the Trail of Ancient Man: A Narrative of the Field Work of the Central Asiatic Expeditions.” During a meeting with the Mongolian premier, Andrews was asked to capture a specimen of the giant worm.\u003c/p>\n\u003cp>“None of those present ever had seen the creature, but they all firmly believed in its existence and described it minutely,” he wrote. “It is shaped like a sausage about two feet long, has no head nor legs and is so poisonous that merely to touch it means instant death.”\u003c/p>\n\u003cp>Some believe the lore began with a more common animal — a snake called the Tartar sand boa. Others, undeterred, believe the giant worms exists. Subsequent expeditions have yet to yield any proof.\u003c/p>\n\u003cp>— By Emily Wang Fujiyama in Beijing\u003c/p>\n\u003cfigure id=\"attachment_13967491\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967491 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-scaled.jpg\" alt=\"A traditional print depicting a woman throwing a knife at a man's chest. Behind her stands a demon with a a bent nose and long ears.\" width=\"2560\" height=\"1771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-1020x705.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-1536x1062.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-2048x1416.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-1920x1328.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Maybe don’t get involved with Bárbara, fellas… \u003ccite>(Sepia Times/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brazil: Bárbara of the Pleasures\u003c/h2>\n\u003cp>It’s the turn of the 19th century, and colonial Rio de Janeiro is bustling. There are merchants, vendors, enslaved people, sailors — and a Portuguese immigrant, about 20 years old, named Bárbara. Legend says she stabbed her sleeping husband to run off with a lover, who then began exploiting her. Bárbara killed him, too, and was on her own.\u003c/p>\n\u003cp>As the story goes, she turned to sex work inside the Teles Arch. The dank, dark passage led off the plaza where the Portuguese emperor sat, and members of the royal court became faithful clients of the beautiful courtesan known as Bárbara of the Pleasures.\u003c/p>\n\u003cp>But age and disease caught up to her. One chronicler, Hermeto Lima, wrote in 1921 of a hole in Bárbara’s nose, her bulging eyes, scratched eyelids and skeletal hands.\u003c/p>\n\u003cp>[aside postid='arts_13919589']To rejuvenate, Bárbara started washing with animal blood. When that failed, it’s said, she used blood from infants abandoned in the Wheel of the Exposed — the revolving compartment for foundlings outside a Catholic institution. Between 1738 and 1848, 20,966 babies were left in the wheel, according to text of an imperial ministry report provided by Esther Arantes, a retired professor in the infancy department of the State University of Rio de Janeiro.\u003c/p>\n\u003cp>Arantes’ archival research yielded no evidence of Bárbara, but Rio’s rumor mill claimed otherwise:\u003c/p>\n\u003cp>Whenever someone brought a baby to the wheel, “the miserable woman, like a toad, came out from her hiding place, and ran to steal the child,” Lima wrote, adding Bárbara would make sure to drip its blood upon her leprous ulcers.\u003c/p>\n\u003cp>Bárbara disappeared, but her story lingers. Word is that she still prowls Teles Arch by night, surviving on the blood of babes.\u003c/p>\n\u003cp>— By David Biller in Rio de Janeiro\u003c/p>\n\u003ch2>Nigeria: Madam Koi Koi\u003c/h2>\n\u003cp>In Nigeria, the “Madam Koi Koi” ghost story was a nightmare for students in boarding secondary schools.\u003c/p>\n\u003cp>The “madam” in question often walked around hostels with her red heels, especially at night, the sound of “koi koi” trailing behind her. You dare not come out if anyone raised an alarm that they heard the sound. Sometimes horrified students ran out and hostels were shut until morning, or even for days.\u003c/p>\n\u003cp>The backstory? No one knows for sure, but one popular theory was that she was fired as a teacher and died days later — vengeful, jobless and sad.\u003c/p>\n\u003cp>— By Dyepkazah Shibayan in Abuja, Nigeria\u003c/p>\n\u003ch2>Britain: The Talbot Hotel\u003c/h2>\n\u003cp>A sobbing woman. Ghostly, dressed in white — or, sometimes, black. And a storied oak staircase with royal connections.\u003c/p>\n\u003cp>The spooky stories revolve around a staircase that still stands at The Talbot Hotel in Oundle — a United Kingdom market town about 85 miles (135 kilometers) north of London that’s been around since the 1500s.\u003c/p>\n\u003cp>[aside postid='arts_13892672']Mary, Queen of Scots — rival to England’s Queen Elizabeth I — is said to have descended the very same flight of steps on the way to her execution in 1587. But at the time, the multilevel structure was part of nearby Fotheringhay Castle, the site of Mary’s beheading.\u003c/p>\n\u003cp>Nearly four decades later, the Talbot was rebuilt using stones and other material salvaged from the abandoned Fotheringhay — including the castle’s storied staircase.\u003c/p>\n\u003cp>Guests and staff have reported seeing a ghostly woman on the stairs, and some have said they heard sobbing in the wee hours — all thought to be the doomed queen. The Associated Press has visited several times and can confirm quality coffee and cakes, but not the presence of ghosts.\u003c/p>\n\u003cp>— By Laurie Kellman in London\u003c/p>\n\u003cfigure id=\"attachment_13967514\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-scaled.jpg\" alt=\"A ghostly woman wearing a long white dress stands on some train tracks, at a distance.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A train collision killed 139 passengers in 1987, giving rise to many mystical stories around the railway. \u003ccite>(Lord Henri Voton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Indonesia: Ghosts of the Bintaro train tragedy\u003c/h2>\n\u003cp>The Bintaro train tragedy of October 1987 is well known in Indonesia. The head-on collision between two commuter trains in the southern area of Jakarta is considered one the deadliest train accidents in the country’s history.\u003c/p>\n\u003cp>The collision killed 139 passengers, giving rise to many mystical stories around the railway.\u003c/p>\n\u003cp>In the 37 years since the crash, many local residents and railway workers have reported seeing apparitions of people dressed in old, bloodstained clothing, wandering near the tracks where the tragedy took place. As the local urban legend goes, these ghostly figures are believed to be the spirits of those who perished in the accident and remain unable to move on to the afterlife. Some people also say there was a figure wandering around and looking for his body parts.\u003c/p>\n\u003cp>In 2013, another train accident happened at the same track, only 200 meters (yards) from the 1987 accident. The commuter train hit a petrol truck in the crossing gate, killing seven people, including the train engineer.\u003c/p>\n\u003cp>— By Edna Tarigan in Jakarta, Indonesia\u003c/p>\n\u003ch2>The Philippines: The ghost on Balete Drive\u003c/h2>\n\u003cp>Ask anyone in Manila about Balete Drive and many will associate it with the mysterious “white lady” who appears at night.\u003c/p>\n\u003cp>The street, named after trees that used to line its sidewalks in suburban Quezon city, has been the subject of scary stories that have been told and retold since the 1950s. There are claims that a beautiful woman with long hair dressed in white would sometimes suddenly appear at night — then just disappear without a trace.\u003c/p>\n\u003cp>[aside postid='arts_13881990']It is said that the sightings were reported by taxi drivers working on late-night shifts. Some claim she would appear asking for a ride and then suddenly disappear from the passenger seat as the vehicle moves. Others say her image would appear at the rearview mirror of drivers driving alone and vanish just as quickly.\u003c/p>\n\u003cp>“I haven’t seen her,” says 53-year-old Roberto Perez, who works part-time near Balete Drive, “but when I pass there between midnight to about 1:30, I get goosebumps, so I just quickly turn to another street.”\u003c/p>\n\u003cp>The tale’s origins are unknown. There are varying accounts why the ghost appears along Balete Drive, but the most common story is that decades ago, a girl died due to a car accident along the street. Horror movies in the Philippines have been produced based on this urban legend.\u003c/p>\n\u003cp>— By Celine Rosario in Bangkok and Aaron Favila in Manila, Philippines\u003c/p>\n\u003cfigure id=\"attachment_13967492\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967492 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-scaled.jpg\" alt=\"Closeup of a bronze statue of a bride with cobwebs on her face.\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A marble bride in Argentina. Because marble brides are everywhere. \u003ccite>(Rosie Betancourt/Jeffrey Greenberg/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hungary: The marble bride\u003c/h2>\n\u003cp>Through the branches of stately trees on a leafy avenue in Hungary’s capital, passersby can spot an unusual figure keeping solemn watch from above: the statue of a woman with a mournful expression peering from a stone balcony.\u003c/p>\n\u003cp>The sculpture, known as the “marble bride,” is unlike any of the other frescoes on surrounding buildings in Budapest, and the mystery of its presence has produced legends going back nearly a century.\u003c/p>\n\u003cp>In one, a young couple shared an apartment in the building when the husband was called to fight in World War I. The wife waited patiently on the balcony each day for his return, and when a letter arrived with news of his death on the front, the woman died of a broken heart.\u003c/p>\n\u003cp>But the letter had been mistaken. When the husband returned home and found his wife had died, he had a sculpture carved in her honor and placed where she had spent so many days faithfully waiting.\u003c/p>\n\u003cp>Another legend says that the husband never returned from the war and, unable to accept his death, the woman stayed waiting on the balcony and eventually turned to stone, and still waits today for a reunion that will never come.\u003c/p>\n\u003cp>— By Justin Spike in Budapest, Hungary\u003c/p>\n\u003ch2>Thailand: Lady Nak of Phra Khanong\u003c/h2>\n\u003cp>Bangkok is home to one of Thailand’s most famous pieces of folklore: the tragic love of Mae Nak, or the Lady Nak of Phra Khanong.\u003c/p>\n\u003cp>[aside postid='arts_13917340']The young and pregnant Nak was waiting for her husband, Mak, to come back from war to their home on the banks of Phra Khanong canal. Nak and her baby died during childbirth, but Mak still came home to see them waiting. With his unwavering love, Mak rejected warnings that Nak was a ghost until he saw her stretching her arm from the upper-floor porch to the ground to pick up a lime. He fled, and Nak started terrorizing the town in grief and fury.\u003c/p>\n\u003cp>In one variation of the story’s ending, Nak was stopped either by a shaman who captured her in a clay jar, or a powerful Buddhist monk who performed a rite to rest her spirit in peace.\u003c/p>\n\u003cp>The story has been reinterpreted into dozens of movies, with the critically acclaimed 1999 version becoming the first Thai movie to gross over 100 million baht — about $2.7 million at the time. The shrine dedicated to Nak at Wat Mahabut, the temple where her body is believed to be buried, is famous for worshippers seeing their prayers about love and children being answered.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>— By Jintamas Saksornchai in Bangkok\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Some are well-worn warnings as familiar as the changing of seasons. Others are slow burns that end with a bang. Still others are just plain eerie.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Stories of spiritual entities, paranormal activity and creepy cryptids are passed through generations the world over, becoming local legends that only sometimes reach across borders and cultures.\u003c/p>\n\u003cp>So if the sordid tales you grew up with no longer make you shiver, it’s time to reanimate your roster with global tales of ghosts, hauntings, and petrifying processions.\u003c/p>\n\u003cp>With Halloween nigh, and the season in many parts of the world ripe for campfires and spooky stories, people gravitate toward fear even in a complex and sometimes scary world. Here are some favorites — lore and fiction, with maybe some truth sprinkled throughout — that The Associated Press gathered from its journalists around the planet:\u003c/p>\n\u003cfigure id=\"attachment_13967490\" class=\"wp-caption aligncenter\" style=\"max-width: 2464px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967490\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043.jpg\" alt=\"An Asian person in white face paint posing in a menacing position.\" width=\"2464\" height=\"1648\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043.jpg 2464w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-800x535.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-1020x682.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-768x514.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-1536x1027.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-2048x1370.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1126292043-1920x1284.jpg 1920w\" sizes=\"(max-width: 2464px) 100vw, 2464px\">\u003cfigcaption class=\"wp-caption-text\">Yo-ho, yo-ho, beware fake paper money scatterings! \u003ccite>(K. Y. Cheng/South China Morning Post via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>China: The corpse walkers\u003c/h2>\n\u003cp>If you were out on the road in China in the old days — if you believe the stories, that is — you might have encountered a strange procession.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>First, a man carrying a white paper lantern and scattering fake paper money ahead of them, chanting, “Yo ho, yo ho.” Then, a towering, hooded black figure wearing a ghastly mask and marching in an awkward, wooden gait. Bringing up the rear, another man guiding the giant by touch, perhaps with a black cat.\u003c/p>\n\u003cp>They were corpse walkers — and the giant was the corpse.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Bad things happen when someone gets buried far from home: Without descendants to feed their spirit and keep their grave clean, they’ll have a hard time settling in. They could even come back as a hungry ghost. So when a traveler died, the family would hire people who knew the strange art of walking a stiff body home.\u003c/p>\n\u003cp>When interviewer Liao Yiwu asked about memories of corpse walkers in the 2000s, some said they’d use a black cat to imbue the body with static electricity to make it walk. Others said there was a third man hiding under the cloak and giving the corpse a piggyback ride.\u003c/p>\n\u003cp>People kept their distance, he wrote, but the corpse walkers were always welcome at inns because they paid three times the normal rate and were said to bring good luck.\u003c/p>\n\u003cp>— By David Cohen in Bangkok\u003c/p>\n\u003ch2>France: The legend of St. Denis\u003c/h2>\n\u003cp>One of France’s oldest spooky legends is also one of its most gruesome, because it involves a walking headless corpse.\u003c/p>\n\u003cp>Said to have been Paris’ first bishop, Denis — later St. Denis — went on to lend his name to what is now the northern Paris suburb of Saint-Denis, famous for its magnificent basilica, its soccer stadium and the Olympic village that housed athletes during the Paris Games.\u003c/p>\n\u003cp>The third-century Roman rulers of what was then Gaul were apparently less than thrilled that Denis and companions Rustique and Éleuthère were making converts. Even after tossing them in prison, Denis continued to celebrate Mass. In some accounts, Denis suffered all manner of unspeakable tortures to make him renounce his faith — not just run-of-the-mill flagellation, but also mauling by famished wild beasts and being locked in a scorching oven.\u003c/p>\n\u003cp>Eventually, the three were sentenced to death and beheaded.\u003c/p>\n\u003cp>Legend has it that Denis’ corpse, lifted by two angels, picked up his severed head and walked from the Mount of Martyrs — the supposed execution site now called Montmartre — for about 6 kilometers (nearly 4 miles) before collapsing in the village of Catulliacum, now the town of Saint-Denis.\u003c/p>\n\u003cp>In Montmartre today, Suzanne Buisson Square has a statue of St. Denis holding his head, which he is said to have washed in the waters of a fountain there before staggering away with it.\u003c/p>\n\u003cp>— By John Leicester in Paris\u003c/p>\n\u003ch2>Mongolia: The death worm\u003c/h2>\n\u003cp>Slithering beneath the vast dunes of the Gobi Desert, legend has it, is the monstrous Mongolian Death Worm. It kills prey by squirting lethal venom and can even electrocute from a distance. So goes the folklore that has since inspired depictions of deadly giant worms in movies and fiction. In Mongolia, the creature is known as olgoi khorkhoi, which roughly translates as “intestine worm.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The critter became known abroad after American paleontologist and explorer Roy Chapman Andrews wrote about it in his 1926 book, “On the Trail of Ancient Man: A Narrative of the Field Work of the Central Asiatic Expeditions.” During a meeting with the Mongolian premier, Andrews was asked to capture a specimen of the giant worm.\u003c/p>\n\u003cp>“None of those present ever had seen the creature, but they all firmly believed in its existence and described it minutely,” he wrote. “It is shaped like a sausage about two feet long, has no head nor legs and is so poisonous that merely to touch it means instant death.”\u003c/p>\n\u003cp>Some believe the lore began with a more common animal — a snake called the Tartar sand boa. Others, undeterred, believe the giant worms exists. Subsequent expeditions have yet to yield any proof.\u003c/p>\n\u003cp>— By Emily Wang Fujiyama in Beijing\u003c/p>\n\u003cfigure id=\"attachment_13967491\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967491 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-scaled.jpg\" alt=\"A traditional print depicting a woman throwing a knife at a man's chest. Behind her stands a demon with a a bent nose and long ears.\" width=\"2560\" height=\"1771\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-800x553.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-1020x705.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-160x111.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-768x531.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-1536x1062.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-2048x1416.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1288523353-1920x1328.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">Maybe don’t get involved with Bárbara, fellas… \u003ccite>(Sepia Times/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Brazil: Bárbara of the Pleasures\u003c/h2>\n\u003cp>It’s the turn of the 19th century, and colonial Rio de Janeiro is bustling. There are merchants, vendors, enslaved people, sailors — and a Portuguese immigrant, about 20 years old, named Bárbara. Legend says she stabbed her sleeping husband to run off with a lover, who then began exploiting her. Bárbara killed him, too, and was on her own.\u003c/p>\n\u003cp>As the story goes, she turned to sex work inside the Teles Arch. The dank, dark passage led off the plaza where the Portuguese emperor sat, and members of the royal court became faithful clients of the beautiful courtesan known as Bárbara of the Pleasures.\u003c/p>\n\u003cp>But age and disease caught up to her. One chronicler, Hermeto Lima, wrote in 1921 of a hole in Bárbara’s nose, her bulging eyes, scratched eyelids and skeletal hands.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>To rejuvenate, Bárbara started washing with animal blood. When that failed, it’s said, she used blood from infants abandoned in the Wheel of the Exposed — the revolving compartment for foundlings outside a Catholic institution. Between 1738 and 1848, 20,966 babies were left in the wheel, according to text of an imperial ministry report provided by Esther Arantes, a retired professor in the infancy department of the State University of Rio de Janeiro.\u003c/p>\n\u003cp>Arantes’ archival research yielded no evidence of Bárbara, but Rio’s rumor mill claimed otherwise:\u003c/p>\n\u003cp>Whenever someone brought a baby to the wheel, “the miserable woman, like a toad, came out from her hiding place, and ran to steal the child,” Lima wrote, adding Bárbara would make sure to drip its blood upon her leprous ulcers.\u003c/p>\n\u003cp>Bárbara disappeared, but her story lingers. Word is that she still prowls Teles Arch by night, surviving on the blood of babes.\u003c/p>\n\u003cp>— By David Biller in Rio de Janeiro\u003c/p>\n\u003ch2>Nigeria: Madam Koi Koi\u003c/h2>\n\u003cp>In Nigeria, the “Madam Koi Koi” ghost story was a nightmare for students in boarding secondary schools.\u003c/p>\n\u003cp>The “madam” in question often walked around hostels with her red heels, especially at night, the sound of “koi koi” trailing behind her. You dare not come out if anyone raised an alarm that they heard the sound. Sometimes horrified students ran out and hostels were shut until morning, or even for days.\u003c/p>\n\u003cp>The backstory? No one knows for sure, but one popular theory was that she was fired as a teacher and died days later — vengeful, jobless and sad.\u003c/p>\n\u003cp>— By Dyepkazah Shibayan in Abuja, Nigeria\u003c/p>\n\u003ch2>Britain: The Talbot Hotel\u003c/h2>\n\u003cp>A sobbing woman. Ghostly, dressed in white — or, sometimes, black. And a storied oak staircase with royal connections.\u003c/p>\n\u003cp>The spooky stories revolve around a staircase that still stands at The Talbot Hotel in Oundle — a United Kingdom market town about 85 miles (135 kilometers) north of London that’s been around since the 1500s.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Mary, Queen of Scots — rival to England’s Queen Elizabeth I — is said to have descended the very same flight of steps on the way to her execution in 1587. But at the time, the multilevel structure was part of nearby Fotheringhay Castle, the site of Mary’s beheading.\u003c/p>\n\u003cp>Nearly four decades later, the Talbot was rebuilt using stones and other material salvaged from the abandoned Fotheringhay — including the castle’s storied staircase.\u003c/p>\n\u003cp>Guests and staff have reported seeing a ghostly woman on the stairs, and some have said they heard sobbing in the wee hours — all thought to be the doomed queen. The Associated Press has visited several times and can confirm quality coffee and cakes, but not the presence of ghosts.\u003c/p>\n\u003cp>— By Laurie Kellman in London\u003c/p>\n\u003cfigure id=\"attachment_13967514\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13967514\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-scaled.jpg\" alt=\"A ghostly woman wearing a long white dress stands on some train tracks, at a distance.\" width=\"2560\" height=\"1707\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1166220179-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A train collision killed 139 passengers in 1987, giving rise to many mystical stories around the railway. \u003ccite>(Lord Henri Voton/Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Indonesia: Ghosts of the Bintaro train tragedy\u003c/h2>\n\u003cp>The Bintaro train tragedy of October 1987 is well known in Indonesia. The head-on collision between two commuter trains in the southern area of Jakarta is considered one the deadliest train accidents in the country’s history.\u003c/p>\n\u003cp>The collision killed 139 passengers, giving rise to many mystical stories around the railway.\u003c/p>\n\u003cp>In the 37 years since the crash, many local residents and railway workers have reported seeing apparitions of people dressed in old, bloodstained clothing, wandering near the tracks where the tragedy took place. As the local urban legend goes, these ghostly figures are believed to be the spirits of those who perished in the accident and remain unable to move on to the afterlife. Some people also say there was a figure wandering around and looking for his body parts.\u003c/p>\n\u003cp>In 2013, another train accident happened at the same track, only 200 meters (yards) from the 1987 accident. The commuter train hit a petrol truck in the crossing gate, killing seven people, including the train engineer.\u003c/p>\n\u003cp>— By Edna Tarigan in Jakarta, Indonesia\u003c/p>\n\u003ch2>The Philippines: The ghost on Balete Drive\u003c/h2>\n\u003cp>Ask anyone in Manila about Balete Drive and many will associate it with the mysterious “white lady” who appears at night.\u003c/p>\n\u003cp>The street, named after trees that used to line its sidewalks in suburban Quezon city, has been the subject of scary stories that have been told and retold since the 1950s. There are claims that a beautiful woman with long hair dressed in white would sometimes suddenly appear at night — then just disappear without a trace.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>It is said that the sightings were reported by taxi drivers working on late-night shifts. Some claim she would appear asking for a ride and then suddenly disappear from the passenger seat as the vehicle moves. Others say her image would appear at the rearview mirror of drivers driving alone and vanish just as quickly.\u003c/p>\n\u003cp>“I haven’t seen her,” says 53-year-old Roberto Perez, who works part-time near Balete Drive, “but when I pass there between midnight to about 1:30, I get goosebumps, so I just quickly turn to another street.”\u003c/p>\n\u003cp>The tale’s origins are unknown. There are varying accounts why the ghost appears along Balete Drive, but the most common story is that decades ago, a girl died due to a car accident along the street. Horror movies in the Philippines have been produced based on this urban legend.\u003c/p>\n\u003cp>— By Celine Rosario in Bangkok and Aaron Favila in Manila, Philippines\u003c/p>\n\u003cfigure id=\"attachment_13967492\" class=\"wp-caption aligncenter\" style=\"max-width: 2560px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13967492 size-full\" src=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-scaled.jpg\" alt=\"Closeup of a bronze statue of a bride with cobwebs on her face.\" width=\"2560\" height=\"1706\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-scaled.jpg 2560w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-1536x1024.jpg 1536w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-2048x1365.jpg 2048w, https://cdn.kqed.org/wp-content/uploads/sites/2/2024/10/GettyImages-1347423986-1920x1280.jpg 1920w\" sizes=\"(max-width: 2560px) 100vw, 2560px\">\u003cfigcaption class=\"wp-caption-text\">A marble bride in Argentina. Because marble brides are everywhere. \u003ccite>(Rosie Betancourt/Jeffrey Greenberg/Universal Images Group via Getty Images)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Hungary: The marble bride\u003c/h2>\n\u003cp>Through the branches of stately trees on a leafy avenue in Hungary’s capital, passersby can spot an unusual figure keeping solemn watch from above: the statue of a woman with a mournful expression peering from a stone balcony.\u003c/p>\n\u003cp>The sculpture, known as the “marble bride,” is unlike any of the other frescoes on surrounding buildings in Budapest, and the mystery of its presence has produced legends going back nearly a century.\u003c/p>\n\u003cp>In one, a young couple shared an apartment in the building when the husband was called to fight in World War I. The wife waited patiently on the balcony each day for his return, and when a letter arrived with news of his death on the front, the woman died of a broken heart.\u003c/p>\n\u003cp>But the letter had been mistaken. When the husband returned home and found his wife had died, he had a sculpture carved in her honor and placed where she had spent so many days faithfully waiting.\u003c/p>\n\u003cp>Another legend says that the husband never returned from the war and, unable to accept his death, the woman stayed waiting on the balcony and eventually turned to stone, and still waits today for a reunion that will never come.\u003c/p>\n\u003cp>— By Justin Spike in Budapest, Hungary\u003c/p>\n\u003ch2>Thailand: Lady Nak of Phra Khanong\u003c/h2>\n\u003cp>Bangkok is home to one of Thailand’s most famous pieces of folklore: the tragic love of Mae Nak, or the Lady Nak of Phra Khanong.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>The young and pregnant Nak was waiting for her husband, Mak, to come back from war to their home on the banks of Phra Khanong canal. Nak and her baby died during childbirth, but Mak still came home to see them waiting. With his unwavering love, Mak rejected warnings that Nak was a ghost until he saw her stretching her arm from the upper-floor porch to the ground to pick up a lime. He fled, and Nak started terrorizing the town in grief and fury.\u003c/p>\n\u003cp>In one variation of the story’s ending, Nak was stopped either by a shaman who captured her in a clay jar, or a powerful Buddhist monk who performed a rite to rest her spirit in peace.\u003c/p>\n\u003cp>The story has been reinterpreted into dozens of movies, with the critically acclaimed 1999 version becoming the first Thai movie to gross over 100 million baht — about $2.7 million at the time. The shrine dedicated to Nak at Wat Mahabut, the temple where her body is believed to be buried, is famous for worshippers seeing their prayers about love and children being answered.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>— By Jintamas Saksornchai in Bangkok\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "A Musical, Pulpy Crime Thriller, ‘Emilia Pérez’ Swings for the Fences",
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"content": "\u003cp>There is so much going on in \u003cem>Emilia Pérez\u003c/em>, the audacious musical/melodrama/crime-thriller from filmmaker Jacques Audiard, it’s impossible not to appreciate the sheer ambition of it all.\u003c/p>\n\u003cp>There is obvious craft and moments of true transcendence, beauty and horror. Set around Mexico City, this is a movie about family, about ambition, about the possibility of change, cartels, human disappearances, gender-affirmation, money and corruption.\u003c/p>\n\u003cp>[aside postid='arts_13967226']Sometimes the characters break into fantastical musical numbers: Some are filled with rage, others with joy and hope. Other times the songs come out in barely a whisper. And yet even with all that life and color and passion on screen, there’s a distinct rift between all those big emotions that the characters are cycling through and what the audience is feeling, which is practically nothing. It’s almost as if \u003cem>Emilia Pérez\u003c/em> forgot to invite us along for the ride.\u003c/p>\n\u003cp>And it is quite a ride: One day a cartel boss named Manitas (Karla Sofía Gascón) has a smart, but undervalued lawyer Rita Mora Castro (Zoe Saldaña) kidnapped. Manitas wants gender confirmation surgery, and for Rita to handle the logistics: Hiring the discreet surgeon, faking Manitas’ death and transporting the wife, Jessi (Selena Gomez) and two kids to their new home in Switzerland. In return, Rita will get rich. Somehow, this is only the first act.\u003c/p>\n\u003cp>Four years later, Rita’s gotten a glow up. Gone are her bush eyebrows and frumpy suit, replaced with the kind of grooming only money and genetics like Saldaña’s can produce. And she’s leading a cosmopolitan life in London, something that we get to see all too briefly, when she meets another woman who’s gone through a major transformation, Emilia Pérez (Gascón).\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>https://www.youtube.com/watch?v=4h7j_EcZ5fU\u003c/p>\n\u003cp>Audiard plays briefly with the idea that Rita assumes Emilia is there to kill her, to rid the world of any remaining evidence of those who know what happened. In actuality, she just misses her kids and wants them back in Mexico to live with her. It’s up to Rita to get them to move once more, in with Emilia, posing as an aunt they’ve never met before if you’re wondering where all those \u003cem>Mrs. Doubtfire\u003c/em> comparisons come into play. (The bloody \u003cem>Sicario\u003c/em> stuff is yet to come).\u003c/p>\n\u003cp>Saldaña lends a captivating fierceness to Rita, despite being a terribly underwritten character. It’s strange to spend so much time with someone and feel entirely detached from who they are and what they want. She just follows others around, a receptacle for everyone else’s decisions with little arc or agency of her own.\u003c/p>\n\u003cp>[aside postid='arts_13967410']Early on in the film Rita debates (in song) with a plastic surgeon in Hong Kong about whether or not changing the body has any effect on the soul. He doesn’t think so. She does, and even goes a step further, singing “changing the soul changes society, changing society changes everything.” It’s a lovely idea that the film handles clumsily in its maximalist, go-for-broke way that values massive set-pieces and high drama over authentic emotion.\u003c/p>\n\u003cp>At first Emilia seems entirely changed, no longer the vindictive, jealous, violent cartel leader she once was. She is soft spoken, empathetic and happy. She starts a foundation to find all the disappeared people and give their families the chance of a proper burial and farewell. She even finds love. And yet she can’t handle watching Jessi move on. It’s the stuff of soap operas — and not necessarily the fun ones. Here, it could even read as dangerously reductive.\u003c/p>\n\u003cp>Jessi sometimes feels like she’s part of an entirely different film, or rather a music video that seems to be paying homage somehow to Pedro Almodóvar, David Lynch and Robert Rodriguez. It is fun and wild at times, and Gomez fully commits to the bit of this woman who is being gaslit into insanity. But she and the film crescendo into absurdity, with little in the way of relief or catharsis. After all those big ideas, all those grand themes and genre-subverting gestures, we’re left with shockingly little to hold on to.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘Emilia Pérez’ is released nationwide on Nov. 1, 2024. The movie begins streaming on Netflix on Nov. 13.\u003c/em>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>Sometimes the characters break into fantastical musical numbers: Some are filled with rage, others with joy and hope. Other times the songs come out in barely a whisper. And yet even with all that life and color and passion on screen, there’s a distinct rift between all those big emotions that the characters are cycling through and what the audience is feeling, which is practically nothing. It’s almost as if \u003cem>Emilia Pérez\u003c/em> forgot to invite us along for the ride.\u003c/p>\n\u003cp>And it is quite a ride: One day a cartel boss named Manitas (Karla Sofía Gascón) has a smart, but undervalued lawyer Rita Mora Castro (Zoe Saldaña) kidnapped. Manitas wants gender confirmation surgery, and for Rita to handle the logistics: Hiring the discreet surgeon, faking Manitas’ death and transporting the wife, Jessi (Selena Gomez) and two kids to their new home in Switzerland. In return, Rita will get rich. Somehow, this is only the first act.\u003c/p>\n\u003cp>Four years later, Rita’s gotten a glow up. Gone are her bush eyebrows and frumpy suit, replaced with the kind of grooming only money and genetics like Saldaña’s can produce. And she’s leading a cosmopolitan life in London, something that we get to see all too briefly, when she meets another woman who’s gone through a major transformation, Emilia Pérez (Gascón).\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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